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Comments
Put it in one of the political threads. They got nothing of any consequence going on over there...
I am not doing the Bondathon, just throwing in a remark now and then. I am busy with my X-Filathon these days.
I can't help but love this movie. There is a lot going on but it doesn't feel that there's too much. We've got a great Bond adventure, a truly touching love story and we also have the story of Tracy, from being suicidal, to falling in love with 007, to her shocking death. Thanks to a wonderful script and excellent direction all 3 of these things are handled so well throughout and we have, not only a great Bond movie, but a great movie in general. It's a shame that non-Bond fans don't have the same appreciation that many Bond fans have.
Exciting, thrilling and highly emotional.
Currently top of my new ranking, I won't be surprised if it's there or there about at the end.
Like "From Russia With Love," "On Her Majesty's Secret Service" is filled with mysterious characters and realistic action… Blofeld's plot involves germ warfare and his stronghold this time is a converted Swiss allergy clinic… The film is loaded with action—ski chases, bobsled chases, car chases, helicopter attacks, fights in the surf, fights in the hotel, fights in the office… Peter Hunt succeeded in distracting the audience from noticing that a new Bond was on duty…
"On Her Majesty's Secret Service" is a strong contender for the title of best Bond film.
After watching You Only Live Twice and On Her Majesty's Secret Service over the course of two evenings (early mornings really), I have final thoughts on the former and starting thoughts on the latter.
As far as You Only Live Twice is concerned, I was very hard on it the first time I revisited it, because Thunderball was still in my mind. Watching it more disconnected to the four previous Connery films worked in its favor, and on its own it does have a seriously strong first hour that is a welcome addition to the Connery canon of the 60s, but the second half has many complications, not the least of which is Bond going Japanese. The movie still does have great espionage moments, great gadgetry with a real world basis, and what is easily one of the best uses of a location in a Bond film ever. It'll be interesting to see how it ranks down the line as other films come through the pipeline, because I'm very so-so on it. It's probably bound for a middling place.
I hadn't see On Her Majesty's Secret Service for a long, long time, so watching it again for the first time in Blu-ray was like experiencing it for the first time. It really is such a special film on every level. The team went for it with the story and the technical production is insane, especially with the brilliant string of sequences that come as the film gets closer to the end with chases on skis and in cars abounding, and of course the storming of Piz Gloria.
On Her Majesty's is still to this day a Bond film unlike any other, and at some points doesn't feel like it does or wants to belong in the pack. It subverts and deconstructs who and what Bond is, makes him as a character divert from who we expect him to be, and makes him face a decision we haven't seen him face since 1969 by taking a woman in marriage and wishing to do something more with his life. There's so many strong elements in this film that truly make it feel like an epic, and it's grounded in the foundation of great performances as our favorite characters from the past films really face tough times. Bond and M, once so understanding in where their professional relationship stood, are at each other, and Bond is growing tired of red tape and all that's getting in the way of him doing what he feels is right. Moneypenny is caught in the middle of it, and Tracy feels like a bargaining chip for a lot of the film, like she's a prize and not someone to be loved. There's a lot of character drama here to unpack behind all the blockbuster action.
There's issues like canonical inconsistencies and the references to the previous films, which I hate. Seeing clips of the past movies in the opening titles was a waste of what could have been a cool sequence, and while Bond looking through his souvenirs from past films is interesting on paper, in this instance with a Bond that isn't Sean, it doesn't work because he didn't go on those missions. And that's the main problem here, really. Giving us images and clips of the past Connery films will make us think, "oh yeah, Sean's not in this one, is he?" more than we would have if you just got on to business as usual. On Her Majesty's openly brings criticism onto itself by pointing out to viewers that it's not a Connery film, and there's a part of me that would have killed to see Sean in this, even with the knowledge that by this time he was out of him prime as the character post-Thunderball. I salivate at the idea of Connery's Bond and Lee's M going at it in the latter's office where we really feel the tense gravitas of Blofeld's threat since these two have a relationship that's been built up over five previous films. I'd weep to see Sean toss his hat to Moneypenny, because he and Lois had developed their dynamic over five films and that hat thing was theirs; the same with Connery's Bond and Desmond's Q, and on and on. Watching the film I'm often tempted to shout at George for talking to Lois or Bernard and Desmond like he knew them, because it was Sean who crafted the image of Bond alongside those actors and characters, not him, and not having Sean there hurts a bit. After You Only Live Twice went off the rails and the franchise was going in a direction Sean hated, this film was the kind of thing that he deserved and wanted to get back to, a movie with real stones and character, sans silliness (mostly), so it's devastating to know he just missed out on it. On Her Majesty's with Sean would have been something interesting, for sure, one of the biggest what ifs of Bond, up there with Lazenby doing more than one film.
About that guy, by the way. I know I may sound hard on Lazenby here, but I have to dip my hat to the man. For someone who'd had no real experience in this kind of element, he is seriously good for most of it. He's got weak deliveries and moments, but when he needed to bring it, he did. Lazenby was really great at displaying Bond's fear in pivotal moments, and that makes me scared too, because 007 is often so on the edge of death here. There's a real center of emotion and vulnerability in Lazenby's performance that I don't think he gets proper credit for, especially when he's holding Tracy's corpse at the end. He plays Bond almost as a man having an out of body experience, like he's subtracted from reality and just plain lost in response to what has just happened. He's displaying the kind of spine tingling catatonic shock you would experience in real life, and it's frightening to see Bond in a moment where he doesn't know what he's going to do, because he always has an answer. The scene is shocking, messy, jarring, everything it needed to be, and George sells it. I'd kill to see the take where he cried, because I get emotional with what we already get in the film.
I'll have more thoughts on all this later, but for now, a tribute to Tracy Bond, a dame for the ages, and the one and only for our one and only:
Apologies for the tardy delay in viewing the magisterial Majesty’s, and if you allow me just a quick word on this film, before we move on to Diamonds Are Forever.
I really wish they hadn’t dubbed Lazenby voice for George Baker’s, in the scenes when Bond is undercover at Piz Gloria. Having the bland, unemotive face of Lazenby coupled with the emotive voice of Baker is a bit dichotomous, for my liking. The production team shot the Piz Gloria segments first, and you can tell from Lazenby's acting.
Everything else about this film is bloody good. Everyone bought their “A” game and it shows. Peter Hunt wanted this picture to look gorgeous, having been inspired by the glamour associated with Terence Young and particularly Ross Hunter. Hunt was also influenced by David Lean – both have a dynamic editing style for example. Together with Michael Reed, Hunt created fabulous shots and frames. The Alps footage is breathtaking.
Furthermore, Hunt wanted this film to be as per the novel, saying “it’s one of the best Fleming stories”. Indeed Majesty’s is a hell of a story, taking great care and reverence to the source material, and is the first time since From Russia With Love to tell a story, something that's often lost in other Bond films, where the story is often sacrificed for spectacle.
So, onto George Lazenby. The last time I watched Majesty’s, I was also in the midst of reading the Fleming novels. This allowed me to transplant Bond's feelings onto the silver screen, such as when Tracy rescues Bond at the Ice Rink. In isolation, without the novels to fall back on, or not to have read the novels, I could see why some people are not impressed with Lazenby's performance.
Certainly Lazenby grows into the role. One roots for him. Lazenby is the “Evolving Bond”. He moves well, looks good and fights extremely proficiently. Lazenby shares great chemistry with Lee, Rigg and Savalas. Yet is overawed by Ferzetti and Steppat. Still you’ve got to admire Lazenby's guts for blagging the role of Bond.
Royale’s Ranking -
1. From Russia With Love
2. On Her Majesty’s Secret Service
3. Dr. No
4. Goldfinger
5. Thunderball
6. You Only Live Twice
New Ranking
1. OHMSS
2. GF
3. FRWL
4. DN
5. TB
6. YOLT
7. DAF
Previous Ranking
1. The Spy Who Loved Me
2. On Her Majesty's Secret Service
3. Casino Royale
4. From Russia With Love
5. Skyfall
6. Goldfinger
7. Octopussy
8. Spectre
9. Dr No
10. The Living Daylights
11. Goldeneye
12. Live And Let Die
13. Licence To Kill
14. A View To A Kill
15. For Your Eyes Only
16. Moonraker
17. Thunderball
18. Quantum Of Solace
19. Diamonds Are Forever
20. Tomorrow Never Dies
21. You Only Live Twice
22. The Man With The Golden Gun
23. Die Another Day
24. The World Is Not Enough
Bond actor and performance
Connery returns as 007, with a quite obvious wig and a bit of timber he's put on. He's a far cry from the lean 007 we saw back in 1962. He's quite, obviously, aged here. His performance is ok, nowhere near the standards he set himself back in his earlier films, but there are times he shows us what made him a great Bond.
Bond girl/s and performance
Plenty O' Toole - The sacrificial lamb as it were. Not much of a character really, just there purely for the point of popping her off. However, she does have a couple of very good assets that come through well.
Tiffany Case - started off so well, her great introduction of being a "take no prisoners" diamond smuggler is soon got rid off to dumb her down and pop her in a bikini to make sure she looks good but that's all she has. Also, how had a small-time diamond smuggler heard of James Bond?? A shame as she started off with good potential to be a decent Bond girl.
Bond henchmen and performance
Ah, Mr Wint and Mr Kidd, the marmite of the Bond series? You either love them or hate them. Personally, I think they are one of the best parts of this movie. Yes, they may be as camp as they come but they are ruthless in their execution of key characters during the movie (The dentist (I forget his name), Shady Tree and Mrs Whistler in particular). Event though we don't see them together, I assume they work for Blofeld, even though we never see them together. I guess it could also be said that they are hitmen as opposed to henchmen as their sole purpose is to kill off anyone who comes into contact with the diamonds. A memorable pair of characters, very well played by Bruce Glover (who I have only just realised is the father of Crispin Glover) and Putter Smith. They bring something very sinister to the characters they are playing.
Bond villain/s and performance
Charles Gray turns up as our 3rd Blofeld in 3 movies. Again, something totally different for the character in that Gray plays him as a very smooth character, almost charming. He's a good take on the character and I read that some see him as the best. Not for me though, but he is pretty decent. Fair play to him getting dragged up as well during the movie. Part of it's camp charm.
Supporting cast performances (M, Monepenny, Q, allies, minor characters etc)
We have the usual repartee with M, in this case at the home of Sir Donald Munger, my favourite part being that it was "refreshing to hear there's one subject you're not an expert on". Little exchanges like this always make me laugh.
Lois Maxwell was her usual self, however, one part that always confuses me is, after she's asked if she would like anything brought back from Holland and she says "A diamond? In a ring?". Surely she's aware that Bond has not long lost his wife and this seems a rather inappropriate thing to say. This is made worse by 007's quip of "Would you settle for a tulip?". A scene that gives me a little annoyance. I know we aren't to take this seriously but still, after "gaining his revenge" in the pts, surely this follows the event of OHMSS in some way. It's just like that movie has been forgotten.
Desmond Llewellyn is always wonderful as Q and this is no different in this movie. I love his little scene where he's taking jackpots from all the slot machines.
Norman Burton as Felix Leiter is ok and he certainly sees a lot of time in the movie, however, his Leiter is a bumbling idiot and his team no better, unable to complete their own jobs successfully. This movies does a good job of making the CIA look incapable.
There are many other characters, some memorable, in this movie. Who could forget Bambi and Thumper for a start? While some aren't as memorable as others, like Bert Saxby, they certainly fit the Las Vegas setting of this movie. In particular, Jimmy Dean as Willard Whyte certainly fits that part well.
James Bond as played by Sean Connery moves through this film with a distinct twinkle in his eye. Connery often said at the time that he liked the script for this film which probably means he liked the snappy dialogue and amusing one liners. Therefore we get a Connery playing up to that for all he is worth.
Looking 10 years older and 10 lbs heavier than the last time we saw him Connery is otherwise in tip top condition.
We learn that Bond has Playboy club membership. Seriously, we shouldn’t be surprised.
And Bond is in a very playful mood, teasing everyone throughout the film.
For example, when he is handed a badge to protect him against radiation he says “I feel a lot safer with this on”
When Franks’ coffin is loaded into the plane, Bond (posing as the deceased’s brother) steps back to the plane and says “We were inseparable you know?” Absolutely no need for it, but Bond is just in one of those moods.
Finally when he knows he has to kill Peter Franks he adopts a foreign accent at the lift and asks “Who is your floor?”. He may have a nasty job to do but he may as well have some fun along the way.
There are several other moments like this, and it’s good to see the old warrior having some fun.
Even M has to put up with more one-upmanship from Bond as he teases his boss with ridiculous knowledge of fine sherries.
“1851…unmistakeable”. It’s this kind of line delivery that simply knocks spots off the actors who followed him.
Elsewhere Jill St John, looking simply ravishing in a bikini, plays a rather confused, ambiguous figure in Tiffany Case. I mean what’s with the wigs? Was there a point to that?
And why does a clever, resourceful and sassy woman turn into a total airhead (then back to resourceful before settling on airhead) in no time at all?
And when Bond makes the rather crude joke “provided the collars and cuffs match” does Tiffany say “Well we’ll talk about that later”.
Why on earth does she want to talk about that later?
But like I say she looks so spectacular in a bikini I can simply forgive her anything.
Plenty O’Toole is little more than a low class hooker. A chancer who never really stood a chance of surviving the film. (a bad edit to the film ensured no one really understood why she died).
The girls in this film lack any sort of class, which is quite jarring after On Her Majesty’s Secret Service.
The hitmen Wint & Kidd were somewhat ahead of their time. In an era when the world was fascinated by camp actors and comedians these two characters played it relatively straight (if you know what I mean). Especially Putter Smith.
Jimmy Dean the C&W singer is a hoot as Willard Whyte, throwing himself into a tizz as he realises what’s been happening to him and his empire. Slightly confused as to why he didn’t simply leave his ‘prison’. Were Bamby and Thumper really his only guards? Or indeed were they guards at all?
Charles Grey, so good in You Only Live Twice as Henderson, gives us a Blofeld well in line with the feel of the film. It’s an overblown, frivolous piece so it’s perfectly fitting that Blofeld should dress in drag, and camp it up as an aristocratic Englishman. Maybe Blofeld has finally become the Count he craved to be? Must admit I forgot to look at Charles Grey’s earlobes. My bad.
The problem is that Blofeld changes so dramatically in each film that the character is watered down to the point of being quite irrelevant.
Other villains come and go as the pipeline is closed down. And we have Metz, who is just Kutze from Thunderball. A scientist caught up in more than he can handle and losing his bottle as the climax ensues.
And wouldn't you know it we have Wayne Newton making his first appearance in a Bond film, albeit on a billboard. Bless your heart.
Special mention to Miss Moneypenny. Assuming this film is following on from On Her Majesty’s Secret Service, her answer to Bond asking her if she wants something from Holland.
“A diamond in a ring. You know the kind you wear on the third finger of your left hand?”
MONEYPENNY, FOR GOD’S SAKE, HIS WIFE HAS JUST DIED!!
Thank goodness she settles for a tulip.
;)
I did. First time I'd really thought about it, but it's so inappropriate.
I did. First time I'd really thought about it, but it's so inappropriate. But then, so is Bond's reply etc.
MI6 Community Bondathon:
1.) DN
2.) FRWL
The point being, these films aren’t made for fans; they’re made for the general public and the general public had decided it wasn’t interested in a downer of a Bond who ends his first take on the character in tears because his wife has just been killed by the bad guys. Eon and United Artists were seriously concerned about the continued viability of the franchise…so they ponied up the dough to get Connery back for one more go-round and came up with a frothy, Vegas-style romp. Girls, glitter, gangsters and goofiness. And say what you will: it worked. The franchise was able to hang in there long enough to bring in a new Bond and a different sensibility, one more in keeping with the sensationally silly seventies. Any landing you can walk away from is a good landing, and the franchise hadn’t really had a good landing since Helga Brandt bailed out of her airplane, leaving Bond without a parachute.
Personally, I was happy to see Bond’s elevator fight with Peter Franks and him “hopping upstairs” for a brief meeting with Willard Whyte. The scene with Bond about to get cremated at Morton Slumber’s place was about as suspenseful as anything the franchise had presented up to that point in time. I LOVED Plenty O’Toole’s dip in the hotel pool, and if the logic of her later turning up in Tiffany’s pool left a little something to be desired, well, that’s what the out-takes in our modern discs are made for. Q playing the slot machines was a new take on the character, but it worked; and Blofeld in drag…well…it only lasted a few moments. Jimmy Dean was a charmer as Willard Whyte, far more enjoyable than anybody standing in for Howard Hughes had any right to be. Klaus Hergeshimer ALMOST made up for the moon buggy chase, and the botched stunt with Bond’s car on two wheels -- driver’s side or passenger side, what’s it going to be? -- this moment sums up the film a little too succinctly in my mind. Fabulous concept almost (but not quite) ruined by sloppy execution. Turn off your mind and have another vodka martini. You’ll hardly notice the error. What the heck, it’s the seventies! Try something a little stronger! Maybe it’ll help you forget about the finale on the oil rig. Not exactly the best possible use of Ken Adams’ talents, but hey, how about that house where Bambi & Thumper kept Willard Whyte entertained? Now THAT’S a Bond set!
The Fleming purist in me was rankled when I first saw this film, back in 1971 -- but today I have to acknowledge, the novel this film is based on really wasn’t one of Fleming’s better efforts. The script here kept enough of Fleming’s core elements: the diamond smuggling, Vegas, a few mobsters. Even the novel’s best moment, where Tingaling Bell gets buried at the mud baths, is approximated in Blofeld’s mud bath during the PTS. Bottom line, no, this film isn’t the equal of FRWL or GF…and it’s not going to hold up for the modern fan as well as OHMSS does…but it did what it was supposed to do: brought Bond into the seventies with most of his established audience still intact. When I looked up into the starry skies with Bond and Tiffany as Shirley Bassey reprised the theme song, my verdict was: Mission Accomplished.
MY RANKINGS:
1) GF
2) FRWL
3) OHMSS
4) TB
5) DN
6) YOLT
7) DAF
Diamonds Are Forever - Notes on Bond elements
Is the gun barrel shot in black and white?
Aha the glories of our friend who says 'Cai..Cai..Cairo'. How we all have grown to love him.
Interesting to note that the editing in the PTS is a little wonky. None of the tightness of previous films. Seems they are missing Peter Hunt already.
The main surgeon who talks to Blofeld, sounds suspiciously like Draco!
We have some varied locations, like South Africa, Amstersam, and the Nevada desert, but non of them are photographed in a way that shows them off. Quite a disappointing aspect of the film.
I do feel Lewis Gilbert or Peter Hunt would have shot these amazing places with a more cinematic feel.
The biggy is Las Vegas, a gaudy, vulgar place (in keeping with the feel of the film in general), but again we rarely sense the epic, ornate splendour of the town. And we get distracted by people watching the filming on the sidewalks.
Loved Bond's gun he uses to get into Whyte's penthouse, and to dispatch one of the Blofelds with.
The action like in the next two Guy Hamilton films suffers a little from the lack of music to drive it along. In On Her Majesty's Secret Service the thrilling ski chase had the epic theme in the background. A lot of the action here is played out in silence.
I felt the lift fight lacked the sheer brutality of the fights in From Russia With Love and Thunderball.
The cremation scene complete with heavenly music was suspenseful if all too brief. Bond's St Peter quip was right on the money though.
The moon buggy chase, like the car chase needed some music to accompany it. But unlike the car chase which had some fabulous stunt driving, the buggy chase was just gimmicky.
During the car chase we had a prototype Sheriff Pepper. Hamilton seems to love to take the biggest chase sequence away from Bond and the bad guys and give his time over to the comedy sheriff. Maybe he didn't think we could sustain interest without a little light relief, or maybe he simply didn't trust his own abilities.
At least in Goldfinger he kept the chase tight and focused, and it worked perfectly well.
The climax was the weakest of the series to date. Utterly underwhelming.
I do like Diamonds Are Forever, even if this write up suggests otherwise. It's witty and engaging if a little bit ridiculous. And it's good to see Connery enjoying himself.
And his wry smile when Tiffany (referring to the 3 CIA guards outside their penthouse) says "That's a turn up. The wolf being guarded by the three little pigs" tells us as much about Connery as Bond as it does about Bond himself.
Very much agree, in the novel however we had Wint and Gore, and the way I see it Wint became Kidd and Gore became Wint in the film.
There is a Kidd in the novel as well, but he is there for a second or so.