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I welcome comments about Sean's era still. And you segued into OHMSS nicely.
I realize that artists grow and change and do want acknowledgement of some kind (that is an individual thing, what kind of acknowledgment is meaningful for them). And the era during the late 60's and early 70's was chock full of change.
Personally, I still think it is a shame Sean did not make OHMSS. I do think he would have found the passion for the role to do a superb job in the right circumstances ... however, the issues you raised would have had to have been resolved for that to even come about. So the entire producers' treatment of him, including salary, would have had to have been finalized to everyone's satisfaction, in order for OHMSS to get made with Sean as Bond. So how likely was that? Probably, given the protracted tussle of it all, not very. But I do wish it had happened because it would have been better, for sure, with a purposeful and committed Sean in it.
Thanks, @Thunderfinger. :) That is interesting, the comic strip magazine! Cool. And I bet @BeatlesSansEarmuffs and some other folks would love to see that. Me, too; even though I don't have the background of reading many comic strips or magazines like others here do. I'd still enjoy seeing it. And I'm glad you enjoyed Lazenby in Bond; it is nice to read that someone feels more positive about his performance. You are not entirely alone, I think. (Hmmm. That reminds me - @Retrokitty is still absent. She is quite fond of Lazenby ... hope she returns to our forum soon.) :)>-
On another thread (I will go find it shortly), our member ics (I think he writes his username all lowercaps ...) has posted some quotes from Lazenby that are interesting. He went to a chat that Lazenby gave. I'll get back with that in a bit, I hope. :-B
Meanwhile, who else would like to write a bit about Lazenby as Bond? Or specifically about OHMSS? Some of you have already told us why you love OHMSS, as part of our first new topic of favorite Bond films. But please free to chime in a bit here; we won't be on Lazenby for long. As much as I still would have loved Sean in OHMSS (under the right circumstances, I think that would have been so great), since we did get Lazenby it feels to me like a shame he backed out of role before the film was even finished. Perhaps if he had done one more, his performance (acting-wise) would have really improved. Don't get me wrong, I love Roger Moore and am really glad he came along when he did. It is just that - as much as I am dissatisfied with Lazenby's performance, I still rather wish he had one more "go" at it. B-)
Lazenby:
First meeting with Telly : “Can you play poker, boy?” – GL lost his week salary the same night.
;)
EON offered him a seven picture deal and he turned it down.( Lois Maxwell thought he was insane to turn his nose up at this)
In hindsight, he should have signed up for an additional four films thus giving him the same number of Connery. He could have taken some acting classes and hired his own voice coach in between gigs. He could have started work on building his acting resume.
Most of us recall how during his Bondage days Connery appeared in Alfred Hitchcock's "Marnie", "The Hill" and a screwball comedy, "A find Madness".
Lazenby would have been best served had he taken this route for his acting career instead of assuming that since he made one Bond picture the casting directors would be beating a path to his door. What a rude awakening he received!
It has been documented that OHMSS is my favorite Bond film and I liked Lazenby in it. I just hated that he screwed up what could have been a promising career in acting.
I plan on watching OHMSS this coming Sunday - a little late for our time here discussing George, but I'll try to get to it (my time is so limited this entire week).
And Sean had time to develop before he became Bond. He was also in Darby O'Gill and the Little People, if I remember that title correctly. You are right, he was able to make other films, notably Marnie and The Hill, while Bond. Lazenby didn't have to feel completely limited by the role. But then hindsight is so much easier. I hope Lazenby is truly happy enough with his life. He seems to enjoy the fans these days; that is nice.
"That's quite an inducement...but I don't need a million pounds"
Wow George, really conflicted ;)
Saying that the barn scene between him and Diana Rigg does produce a few man-tears from me I have to admit. Its so beautifully played. Both are very good but Diana Rigg is exceptional.
Sooo much better than the "I have no armour left" stuff (and I'm a big fan of CR).
So, a very fine film. A very fine film of which the lead actor even before the release states he won't return. That, in itself, is odd. Whatever really happened, what really went through his head, is just a guess. He walked brusquily and brave in and foolishly and highheartedly out. Somewhere it has some comedic value I think. Thankfully he seems to be able to live with his mistakes and I guess he's loved by so many fans he's found his Bond-peace. It's at least an interesting story they may want to make a film of in the future ;-)
Here's a brief timeline of my history with OHMSS as a non Original. When I was first discovering the Bond films as a child in the 80's, I didn't see this one. My father (who is an Original) didn't like it and as a result it was not shown in our house. Such was his love for Connery that he could never accept good old George as Bond. In fact, his favorite part of the film is the infamous "other fella" line probably because it made a reference to Connery. As a teenager I started to read the novels and developed a deeper understanding of the character. When I did finally watch this film I was blown away. I loved it then and still feel the same way about it now.
I'm glad that Lazenby did this one film. It doesn't break my heart that he wasn't in any future releases but I do think that he showed potential and it would have been fascinating to see how he would have evolved in the role. I do remember seeing a documentary that said the original plan (had Lazenby continued) was to put Tracy's death scene at the beginning of DAF. That just doesn't sit right with me. It would have robbed us of one Fleming's best endings much like FRWL did. So I think that it all turned out the way it was supposed to. Well, DAF could have been much improved but that's a different story.
It's a good job too, as On Her Majesty's Secret Service is one of Fleming's greatest works. Hunt felt one didn't need to add things to this very fine novel, it was all there; suspense, intrigue, violence and sex, all mixed up with Fleming's prose and sense of journalistic pace and detail.
Richard Maibaum was the scribe put in charge of adapting Fleming's excellent novel. He was joined, later on, by Simon Raven, to polish up the script. Together they produced one of the truest adaptations of the series, and it's all the better for it.
The hunt for a new James Bond would prove be to be a tricky one. The producers wanted to find a hidden gem; a' la Sean Connery, but as Harry said, “finding good, undiscovered actors of 30, is not too easy”.
Hunt looked at over 200 screen-tests, and only one got him truly excited; George Lazenby.
Born on the 5th of September, Lazenby dabbled in all sorts of jobs, including guitar player, combat instructor for the Australian Army and a car salesman, before moving to Europe as a male model.
Lazenby's casting agent friend suggested he'd be perfect for a role, but when she refused to go into specifics, Lazenby was not interested. When Lazenby did find out the details, however, he put everything into getting the coveted role, the role, of course, of 007.
He drove an Aston Martin, wore a Rolex watch, got one of Connery's discarded suits, and even went to the Dorchester Hotel, where Connery and Cubby had their hair cut. Cubby saw Lazenby, and thought he was a successful business man. That is how the story of Cubby discovering Lazenby, in a barber shop, began.
Lazenby then outrageously stole into EON's Production Offices, and leaning on Harry's office door-frame, said; “I hear you're looking for a new James Bond?”.
Hunt was certainly impressed with Lazenby, and after they had watched a screen-test of a fight, so were Cubby and Harry. However, Lazenby had never acted before, so it was a big gamble on their part.
Lazenby undoubtedly had the good looks and physical prowess, but the film-makers, unconsciously maybe, decided to go with experienced actors in the guise of Diana Rigg, Telly Savalas, Ilse Steppat and Gabriele Ferzetti, to back Lazenby up; a truly international cast.
The single greatest asset to On Her Majesty's Secret Service is the direction by Peter Hunt, who worked on the Sean Connery pictures as editor. Thus he has an innate understanding of the “Bond persona”, and it shows.
Taking Ian Fleming's élan and violence, and integrating it with the cinematic devices of pace and decisiveness, Hunt creates a gem of a movie. Hunt expertly delivers that one would expect from a Bond director; tempo, intrigue, suspense, plotting, character development, humour and romance, and one is left with an engaging, and surprisingly moving, piece of cinema. Kudos Mr Hunt.
In particular, Hunt fills the action scenes, with a certain panache, drive and intensity, conceiving an almost balletic, brutal action sequences, brought shatteringly to life by Lazenby, who has an unbelievable grace, poise and presence to said scenes.
Despite the romantic overtones, Majesty's doesn't scrimp on action, especially in the final third. Two major action sequences, skiing and bob-sleighing, form the backbone to the to final act, which is ingeniously shot by Willy Bogner, and compiled by Hunt, and his second unit director, and editor, John Glen; the sequences are breathtaking. More so when one factors in Michael Reed's beautiful photography and John Barry's rhythmically, foreboding, pulsing action cues, and one has a cumulative master-class, featuring all the various aspects of film making, such as directing, editing, stunt arrangers, cinematography and music; they all combine to create a supreme and elegant sequence.
Majesty's is an epic film, which is aided enormously by Reed; his work on capturing the Swiss scenery is nothing short of majestical.
The film is also helped by Barry, the musical maestro, who produced, not only the finest Bond soundtrack, but also one of the finest soundtracks, in any movie. At the end of the film, Barry deploys, “We Have All The Time In The World” with devastating effect. The song segues into Barry's freshly orchestrated “James Bond Theme”, showing Bond has got his armor back on, after a fleeting glimpse of vulnerability.
Majesty's then, has some of the best action, the best “Bond girl”, the best music, the best direction, and has some of the best cinematography, not to mention it has a very talented cast, but what about James Bond himself?
As previously acknowledged, George Lazenby is exceptional during the action scenes, which, when added to the fact he was good looking, he moved very well, almost in a Connery-esque manner, and arrogant, Lazenby was an ideal template for portraying Bond.
With no prior acting experience Lazenby does remarkably well. At times, it must be said, Lazenby is rather wooden, but at other times, he is terrific, such as when Lazenby confronts M and Blofeld.
One can see him growing in stature throughout the movie, and by the end of it, Lazenby makes one care for Bond; he is a human Bond, much more akin to Ian Fleming's novels. Remember Lazenby was acting on instinct, and when his instinct is so true to the novels, one can imagine Lazenby developing, evolving into the role, with future efforts.
On Her Majesty's Secret Service ranks at the top of the Bondian tree, vying with From Russia With Love as the greatest 007 movies. With stylish and kinetic, frantic direction by Peter Hunt, outstanding scoring by John Barry, a diverse cast, and an evolving, charming performance by George Lazenby, a faithful adaptation of one Ian Fleming's most brilliant novels, Majesty's is an epic, action adventure, with a heart.
I'm going to pinch @pachazo's excellent idea, regaling you my own time line with OHMSS. Back when I was a wee nipper, it was unfashionable to like OHMSS. Lazenby was an infamous pariah, and if he only done one Bond film, it could not have been very good.
In the late 90's, ITV (a channel in the U.K) were doing one of their Bond-a-thons, and reached OHMSS. I was round a friends house, so we played Bond. I was "Q", he was Bond. The reason being that I wanted to watch OHMSS, otherwise I would've put more a fight to be 007. My friends Mum, was most disconcerted - my friend was off playing around the house, and I was stuck at HQ, i.e. the living room, enjoying OHMSS. I had to convince her that I was having a grand old time.
I didn't see OHMSS after that. I always managed to miss it when ITV had their Bond-a-thons. That is until I got the entire Bond collection on VHS at Christmas, just after seeing The World Is Not Enough, at the cinema - I became a Bond aficionado on that eventful day.
I watched Thunderball and OHMSS during that Christmas Day. And it was a veritable treat. I could not understand how OHMSS had such a bad reputation - I thought it was great, and immediately had it down in my burgeoning, formative top ten. (just behind TLD and Spy!). OHMSS has grown enormously in my appreciation, since then.
If you made this far, I salute you!!
And, @CommanderRoss, yes OHMSS has great Bondian moments and also nonBond moments. It is an interesting mixture and a big departure after YOLT.
But again, all comments are important because you are the life of this thread. Thanks, everyone. :-bd
On a personal note, I am rather sick and will not be able to post more today. Just a dreary bad head cold, starting late yesterday. I wanted to check our threads and get back to bed. I will write more this weekend - and we will change tomorrow to The Roger Moore Era. :>
So any more thoughts and comments about Lazenby and OHMSS are very welcome today! Indeed, any personal sharing about the Connery Era or your fav Bond films are also still very welcome.
Like I said in my comments, Lazenby's boldness, confidence and air of superiority helped him to win the coveted role as much as his physical prowness.
I may switch to Roger Moore in about 9 more hours (making it Sunday a.m.) for me, if no one has any objections.
But first: What I'd love to read about, as we finish up Lazenby, is any other personal recollections from Originals (first saw Connery in the theatre) about OHMSS. Do you recall your friends' reactions to Lazenby or OHMSS? Any special memories connected to this particular film? Did any of you have "We Have All the Time in the World" played at your wedding later? :D
I actually did not see this one in the theatre, so I missed it for many years. But those of you who saw it during its initial release, do you have any other comments about those times, the reception of the film (good or bad) among your peers, any particular memory that stands out connected to OHMSS?
Or anyone, what is your personal OHMSS timeline, tidbits such as royale65 and pachazo mentioned, etc. etc. That would be interesting to read as we wrap up our OHMSS/Lazenby visit.
Cheers!
Nice to hear about drive-ins! That is definitely a part of America's past. :)>-
At the time (late sixties, grade school) I had two chums who were big Bondmaniacs, Ron and Wilbur. Wilbur refused to see OHMSS. Ron saw it before I did and gave the film and Lazenby high marks.
Summer of 1970, I worked with a guy one summer and he was a Bond fan but he did not see OHMSS. I told him how much I had enjoyed the film but he refused to consider it. His words were "it was not Sean Connery".
When I was in the Army prior to TSWLM release, I had a fellow buddy say that he liked OHMSS but he thought George Lazenby stunk.
This was the general feelings of my small circle of Bond-addicts in the late sixties and into the 70's in regard to OHMSS and George. I have always felt sorry for these narrow minded sages who never knew what they were missing.
Maybe some of them came around later.
EDIT/UPDATE:
Thank goodness that worked! I back-paged (even though no draft was saved) again and again and found my draft in the weird internet space here and have just now posted what I fully meant to post below. Whew! Please read my next post below and thanks:
*******
So please allow me to talk briefly about this For Original Fans thread ~
This thread is a special place for the older, let's say more mature, "seasoned" fans. B-) SirHenry named us the Originals because we saw our first Bond film with Sean as Bond in a threatre during its original release. Sharing our take on Bond, over all these years, and sharing a bit about our personal experiences along the way, our recollections of the times then and the perceptions of Bond that have changed or solidified - that is pretty much what this thread is for. I know SirHenry welcomed comments from all members, even younger ones, and he hoped for us to have good dialog and discussion with all. Yet, overall, he did want this to be a "hangout and refuge" amidst the craziness that this forum sometimes becomes (quoting him, actually), a special place for the Originals.
Well, SirHenry got what he envisioned: for the past couple of years this thread has stayed its course, with thoughtful and fun discussions, very eloquent posts, chock full of amazing information and tidbits, banter, and camaraderie. Younger members asking what it was like back then, everybody sharing thoughts and opinions, as well as detailed reviews. Reviewing each of the Bond films was the best beginning possible for this thread; it gave us lots of time and ongoing focus.
As we now carry on, I am beginning to feel sure that this thread can survive and serve its purpose. I just want to say thank you - to all of you.
*******
And so, onwards! It's time for The Roger Moore Era ~
Oh yes, the longest serving Bond, a man who must have been a Saint to take on this role (stealing shamelessly from @BeatlesSansEarmuffs there). :D A Bond I personally enjoyed right from his first film but fell full and truly for, in every way, in The Spy Who Loved Me. Roger Moore gave us a Bond that changed, that had his own unique style - a smooth, wry charm and unflappable persona that very few actors can ever have (Cary Grant being one who did). Much to talk about!
Let us begin ... please give us your thoughts on Roger Moore as Bond - what you felt when you heard he was going to be Bond, your first impressions with Live and Let Die, how Moore developed Bond, the humor (!), just everything and anything about this long Moore era. And this is also a good time to hear from fans not quite as "seasoned" as us Originals, because many of you grew up with Moore as Bond.
Again, any format is fine: a brief checklist or bullet point, a detailed examination of his Bond in any way, paragraph or two about a particular film or about Moore as Bond, etc. It's all good. (My contribution will be posted later ... but please chime in any time now!) :-bd
Now I will focus on the locations and some trivia that I think might not be general knowledge (but you tell me). As I've said before the locations are one of the highlights of this film, with Switzerland and Portugal taking center stage. For obvious reasons I will focus on the Portuguese part. The book partially takes place in Royale-les-Eaux, just like Casino Royale. The producers made a smart move by exchanging the fictional French beach resort for the place that served as inspiration to the events in Casino Royale: Estoril. This little (now not so much) town in the outskirts of Lisbon has many stories to tell, Fleming spent time there most notably during WWII, it was the refuge for exiled royal families, the hiding place for wealthy Jewish families running away from Nazis, a beautiful beach resort, has the largest Casino in Europe and last but definitely not least the background for espionage games. The filming took place at the Hotel Palácio (where Fleming used to stay and where they still religiously keep his registration forms) and the staff was played by the real staff of the hotel. For example, the young lad who brings the keys to the room is nowadays concierge of the hotel. Unfortunately the bedroom scenes as well as the casino ones had to be filmed on set at Pinewood. The first scene of the film was not filmed at Estoril but on Guincho, a beach famous for its waves and constant wind that is nowadays a hotspot for surfers from all over the world.
Another location was a farming estate in Ribatejo where Draco is having his birthday party and where later Bond and Tracy get married. From what I know this was a private estate and the owners borrowed it for the shooting. A funny fact is that when the wedding was shot the workers of the farm and the house were invited to serve as extras but they were not aware that it wasn't a real wedding, so the next time you see them celebrating think that they were really having a party that day ;) If you think it was strange that people didn't recognize some familiar faces you have to take into account that Portugal still lived under a fascist dictatorship at the time, most of the population lived in poverty, and culture (from music to books and films) was heavily filtered and censored. I'm pretty sure (though I should ask my mother) that the Bond films only started being commercially released in their original form after the 1974 revolution (anything with sex and violence was considered unsuitable by the regime).
A story I really like is that of the engagement ring. Bond and Tracy are sightseeing in Lisbon, they stop by a jeweler's window, go inside, and Bond buys Tracy a beautiful ring. The shop still exists and is one of the most traditional jewelers in Lisbon (Ferreira Marques, FYI). Director Peter Hunt asked one of the employees (Mr. Raul da Silva, isn't it funny?) to act in the scene (only his hands made it to the final cut), a ring was chosen from those available, cameras and lights were crammed inside and they shot the scene. Afterwards they went away and the production took the ring for the rest of the filming. From the moment the film was released the jeweler became a pilgrimage site and almost every day someone will stop by to ask if they have a similar ring to sell. Unfortunately, as so many times is the case with traditional Portuguese jewelry, the piece was one of a kind and there were no moulds or sketches. The owners claim that they would have made a fortune if they had produced more!
Roger Moore is often accused of being too old or too jokey. I don't buy that to be honest. Only in AVTAK do I find his looks (post facial work?) slightly objectionable but even then, AVTAK has more severe issues than old Rog. As for too jokey, I disagree about that also. Roger delivered his lines with a bigger eyebrow raise than the others, but I don't think the frequency of jokes is necessarily higher than, say, in the Brosnan films. He was given some of the most tongue-in-cheek scripts though.
I think of Roger Moore as a great Bond. His popularity was high enough to keep Bond going, even through the 70s and first half of the 80s, and to stand up against a certain film called NSNA, starring Sean Connery. Though I was only a toddler when Moore did OP and a child when he did AVTAK, the cinematic style of those films isn't entirely unfamiliar to me. Those films provoke warm feeling of nostalgia.
I think FYEO is Moore's best Bond film. The one I like most is MR (and I admit, as a guilty pleasure more than anything else.) I think of LALD as a pretty good introduction film for Moore. TSWLM seems to be the one Moore himself prefers. Overall, I have a lot of praise for Moore.
You just gave us some wonderful incidental information that I am sure is new to most of us. Thanks for filling us in on the places in Portugal. I esepcially liked hearing about the workers thinking they were at a real party and the story of the ring. That ring! How wonderful it would be if they had made a sketch of it, or a photo, so they could have replicated it. I am sure many couples from around the world would have loved that. :x
But no. So many couples, and the shop's owners, were left feeling like this: :o3
Excellent background info on Portugal and a good nod to the cast. For me, Diana Rigg as Tracy was the most important actor in the film. Yes, Telly and other supporting actors were excellent; the casting of the film was crucial. However, I doubt anyone could have topped Rigg's performance in that role, so big kudos to her.
Thanks, @Birdleson and @DarthDimi, for beginning our round of talks about the Moore Era.
Personally (and I will write more later), I feel that you are spot on, Birdleson, when you say: Fleming's Bond was erudite, urbane and a traditional Englishman. He could kill cold-bloodedly when he had to, but he hated doing so. He detested that aspect of his profession. Moore's Bond would never stand idly by and watch an assassination take place (ala SKYFALL), and neither would Fleming's Bond. Yes, for me Bond in the novels and Roger's Bond is chivalrous. I am not as hard on him regarding the humor, though. I feel that some humor in Roger's films became, over time, too over the top, yes (looking at you, Moonraker). But much of it, throughout his tenure, I liked a lot. So many of Moore's films are decent and hold up well for me. I still enjoy LALD, TSWLM, FYEO, and Octopussy. Two are definite strong favorites of mine: TSWLM and FYEO.
I will say more later, but I do think that Roger's era was quite good, overall, for the series. It was important that his Bond be a bit different from Connery, and it was. And that made the series fresh again, and also brought fun to it. So when the balance was right, just my opinion of course, as in TSWLM and FYEO, I feel it was a solid contribution to the cinematic James Bond. So I agree with DarthDimi about Moore being a great Bond. In essence, I find value in what you both said.
Off to a great start ~ Looking forward to more thoughts and comments about the one and only Roger Moore.
Cheers, everyone!
Roger Moore was the Bond I grew up with, from age 6-18. I did not see the films in the 70s, but I sure wanted to. I knew Roger Moore as Simon Templar and Brett Sinclair and he was already one of my favourite actors when I finally saw my first Bond in the cinema in 1981. I was hoping at the time that he would go on forever, but by AVTAK I changed my mind about that...
Until a decade ago, all video rental stores here would advertise their Bond films with posters outside and inside featuring Sean Connery and Roger Moore. Not Lazenby, not Dalton and not Brosnan. Connery and Moore have been seen as the definitive Bonds for a long time. Maybe because they have more films under their belts, but more likely because they both defined the part with their own personalities more than anyone else. I love Sir Roger, and I am very happy that he is still among us and in good health.
When I think of Roger Moore, I naturally think first and foremost of my favorite Bond films with him: The Spy Who Loved Me, For Your Eyes Only, Octopussy, and Live and Let Die.
Roger Moore as James Bond had these strengths:
a) Elegant, charming, and smooth
b) Confident but in a quiet, far more subtle way than Connery and without arrogance
c) Intelligent and sharp; good memory and spoke a few languages
d) Chivalrous and a gentleman
e) Unflappable, he kept his cool beyond what most people ever could
f) Unhesitatingly did his job, whatever it took - but he was not a cold blooded killer, nor was he by nature brutal
So where would I put his humor? Moore's best kind of humor I include as part of his charm, his personal style:
The famous raised eyebrow, yes ... the tiny knowing smile and slight sideways tilt of his head in acknowledgement or amusement, yes ... his wry, dry wit delivered in a way that seemed utterly perfect for him to be saying it, with his lovely voice. Truly Moore's delivery of his lines was often superb and probably no other actor could have pulled them off as well. B-)
To watch Roger Moore as James Bond, especially in the films I noted, was a treat. As I mentioned earlier, he needed to be different from Connery and fortunately, his own persona helped fill this out nicely. Anybody trying to imitate Sean would have failed; that wasn't the answer. He refused to say the "shaken not stirred" line because that was pure Connery. He put a lot of thought into playing this role and in his best films, or in any moment when he was at his best, that really showed. Roger Moore was a unique Bond and put his own stamp on the role from his first Bond film, Live and Let Die.
I am not overly fond of The Man With The Golden Gun, for a few reasons. But suffice to say, I thought that right out of the gates, with LALD, Moore was James Bond and that was crucial. I believed he was Bond. I loved the character of Bond, had read the novels, and I could really buy Roger as James Bond (which I never felt with Lazenby). And with the fun, exciting, and thoroughly enjoyable to watch TSWLM, he gave us his best full rounded Bond, which we also saw again in FYEO. I like the grittier parts of FYEO, it is a close second favorite Moore Bond film of mine and a great performance by Moore.
Moore becoming James Bond really saved the series, in my opinion, and gave fresh life, and a whole generation of new fans, to this glorious set of films that has now carried on for so many years.
Yes, in some of his films, notably Moonraker, Octopussy, and A View To A Kill some of the humor was clearly Over The Top. 8-| Moonraker especially. I don't care for much OTT humor, no. And it became too much, things were happening around Roger that were insanely ridiculous. We can all name several. But did that stop me from enjoying his films? Well, really only Moonraker left a bad taste after I saw it. I still loved Roger and he looked great in the film, but that movie is not my cup of tea. Others love it, guilty or not guilty pleasure. To each his or her own, that's fine.
And do I wish Roger had stepped down after Octopussy? Why yes, I do. But I can still enjoy parts of AVTAK, notably his scenes with Pola (and the fine score).
Roger Moore was a wonderful James Bond. I am so glad we had him for that long and mostly satisfying ride. I will write a bit more later, but I just wanted to say my piece about him today before I go to sleep. So ...
What did I say when I walked out of the theatre after seeing Live and Let Die?
Two things, basically: "Gimme more Roger Moore!" =D>
and
"Paul rocks! Man, I love him!" (true)
:)>-
Please let us hear about your take on the Roger Moore era.
Cheers!