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Discussion in 'Misc. Films' started by Kevin Roegele, Apr 15, 2006.
I'm torn on this issue. I think OHMSS is Lazenby's best AND worst Bond film.
i think it's s###. he should do another austin powers film.
I finally saw it last night. I actually like it a whole bunch, which is surprising.
I think a good case can be made for OHMSS as the top Bond movie ever (I have been a fan of the series for over 20 years, so this is not a claim I make lightly). The most obvious point against it is, of course, the absence of the iconic Connery-- but in some respects that might have been for the better. By the time 1969 rolled around Connery was older and greyer than he was in the earlier films and on top of that he was very evidently bored out of his mind with the role. While I won't dispute that a Goldfinger era Connery would have been the best fit for this movie, I can't help but note that Lazenby's youthful vitality is one of this film's strongest points (in that respect his performance reminds me a lot of Daniel Craig's in the latest). I have watched this film many times over the past 20 years and, while at the beginning I frequently wondered "why oh why did Connery have to sit this one out?", it has gotten to the point where I can't even imagine anyone other than George Lazenby in the starring role. And lets be honest, considering this is his first go at it, he did pretty damn good. The acting was a little rough in parts, to be sure, but his athleticism (and personal charisma) more than made up for it.
Besides that there are a number of other points that, I feel, place OHMSS in a category over and above just about every other Bond movie (save perhaps only Goldfinger and From Russia With Love).
1) The score! There never has been, and probably never will be, a better soundtrack to a Bond film. The music in Bond movies has always been one of the key elements. When I look back at the list of Bond movies that struck me the most, I find it strangely coincident with those that had the most memorable music. In many ways this film was the turning point in for Bond soundtracks. A hallmark of the 60s films, to a large degree (YOLY being the most obvious exception), is the jazzy big-band brassy scores. After this one they started to drift into the realm of pop, romanticism and haunting atmosphere. While there were some amazing soundtracks in the 70s and 80s none captured the /essence/ of Bond as did the ones of the 60s, of which OHMSS is the crown jewel.
2) All of the elements from the coolest Bond decade of all were delivered to perfection in this movie-- the aforementioned jazzy score; the quintessential Bond villian, Blofeld; the world-wide extortion plot without going into cheesy, blatantly unrealistic overkill (as in the previous movie); the casinos, martinis and cigarettes; the very 60s-ish /feel/ of the film. Did I mention the excellent soundtrack?
3) The girl, the ending, and the very personal feel of the movie. This film is unique, as we all know, in that Bond falls in love and gets married. Also, more than any other Bond movie, in this one we feel as though we are witnessing the personal side of James Bond-- in all of the other movies (save perhaps the new one) Bond comes across as almost this cartoonish superman, but in this one he appears very human. I really felt for the guy when he cradled his wife's dead body at the end of it. And the romantic subplot was very well done. Diana Rigg worked wonderfully and, again, the ending was very emotionally moving.
4) The direction and pace of the movie. This is probably the longest James Bond movie of them all-- and one hardly notices. Everything is done so tightly-- none of the scenes seem tacked on or out of place and everything seems to move at just the right pace (a lot of this, again, comes back to the wonderful soundtrack).
6) The action sequences were some of the best in any Bond movie. The ski chases (that killer soundtrack again), the chase through the Swiss village, and the assault on Piz Gloria at the end, were all epic.
6) Lazenby. I really think he did an excellent job, all things considered, and given that this film is unique in so many other ways, it only seems fitting that it's star, like so many other of its elements, was a one time only deal.
It really was the epic Bond movie to cap the epic Bond decade and, after 20 years of waffling, I feel secure in declaring it my all time favorite.
We can sum it up by saying that OHMSS is an excellent Bond movie. The best? No. One of the best? Sure!
Lazenby's one film still better than most Roger Moore Bond flicks. And dare I say this,better than the one Connery did afterwards. Diamonds are Forever isn't a good Bond flick.
Live and Let Die is okay.
Man with the Golden Gun?,meh.
The Spy who Loved Me,and For your Eyes only is his best with Octpussy.
but Moonraker,and a View to a Kill.
Those have moments and stunts that are memorable but as a whole the films stink.
George had a good thing going but self-destructed,OHMSS was a box office hit.
Oh well what might have been.
Lazenby basically burned his bridges. But he's on one of the best entries of the franchise, that's undeniable.
1983 was a great year for Bond fans.
This is a 'GENIUS F***ING THREAD!'
...I liked the part where I laughed a lot the most...
and WHAT is up with all the George Lazenby threads today??!?
The problem with OHMSS is that, after a good opening ten minutes with Bond meeting Tracy twice and some great fight scenes - nothing then happens for the best part of an hour. 007 as Sir Hilary is amusing but hardly dramatic. Finally when the bad guys figure out what he's up to does the film resemble a Bond movie again.
Lazneby does, though, definetly have the coolest gun barrel. So graceful yet quick, whereas most of the other guys were simply trying not to fall over.