homersimpson_esq
Posts: 19969
Joined: 30/9/2005
From: Springfield
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Connery has gone! How is Bond going to continue? With On her Majesty's Secret Service we have a curiosity for Bond. Only one of three Bond films to have an instrumental only title sequence, and only one of three in which the title of the film is not mentioned in a song (Dr No, From Russia With Love make up the others in the first category, Dr No and Quantum of Solace make up the others in the second). These trivial facts are nothing compared to the fact that one of the series' most valuable assets had gone, to be replaced by model and inexperienced actor George Lazenby. In early scenes his chirpy, wise-cracking Bond is at odds with the ice-cool of Connery's Bond. His inexperience shows through and at times he is the weakest link in this film. Nevertheless there is a definite appeal to his Bond which grows on you. One considers that, had he been given a couple more films, there may have been more substance. Alas, Connery would be lured back for one more role before saying never again, and then the pretender would take the throne.
We start with Bond following another car in an unspecified locale. Peter Hunt's direction betrays his editing skills, as we have quick, sharp cuts between the road and close-ups of Bond, playing up the fact that it's not Connery, and allowing Lazenby a similar style of build-up to the reveal of his face. Indeed Hunt's direction is very much editing-centred, and this skill shows most keenly in the action scenes, as rapid-cuts and under-cranked shots ramp up the thrills. Bond sees the driver of the other car get out and she (for it is a lady, literally) - wearing a gown that makes her look almost angelic - walks calmly into the sea, one presumes to kill herself. Bond saves her, but is attacked by nameless goons, before delivering the killer pre-credits line, 'this never happened to the other guy'.
The story meanders into a plot - the first half is more about Bond working out who this mysterious Comtesse is, his removal from the Blofeld case, and a holiday (Miss Moneypenny intervening from Bond's hotheaded resignation). Through a neat montage we see Bond and Tracy's relationship blossom, before Bond makes a key discovery about Blofeld and is reassigned. Here the story switches to the Alps where Bond, undercover as a heraldry expert (geek note: the motto of the Bond family is 'orbis non sufficit', or 'The world is not enough') is well-placed to observe Blofeld's latest machinations. The fact that Blofeld met Bond face to face in You Only Live Twice is ignored here, and almost goes unnoticed since both characters are portrayed by new actors, but the dodgy chronology of Bond started here. Still, this is not to detract from the plot since arguably Bond was in disguise in YOLT, and he is in disguise here - the efficacy of the disguise is not ours to question!
That Bond lands in a mountain top building filled with young, beautiful, women is pure Bond-movie genius. (Geek note2: look out for a young Joanna Lumley as 'English', one of said girls.) We get more of an insight into Bond's animalistic girl-bedding instincts, tag-teaming the girls. (Given he is supposedly in love with Tracy, clearly fidelity only applies after marriage for Bond.) Lazenby excels here, balancing his charm with an edge for the action scenes. Skiing would become a classic Bond look, but it was born here.
It is with that skiing that we get the best use of Barry's theme. Simple, gutteral, brash, the theme is perfect for the film. Certainly there are no words to the main theme, but we get that with Louis Armstrong's unforgettable rendition of We Have All The Time In The World. This theme, with its relentless four-note downward-scale bass, brings a beat to the action, and a sense of adventure to the genuinely thrilling scenes as Blofeld sets off an avalanche, capturing Tracy.
Of course, one cannot mentione OHMSS without talking about the ending. If you haven't seen the film, then don't read any more. I mentioned Louis Armstrong's tune before - it has often been associated with a melancholy tone. Indeed, his other well-known tune 'What A Wonderful World' is also often used ironically (see Twelve Monkeys). However, it is here that the bittersweet becomes bitter. Bond finds happiness, gets married. A touching moment between Bond and Moneypenny is played well, and if nothing else serves as a proleptic touch for what is to come. It is in the final scene that Lazenby reveals his trump card - Bond has emotion. Certainly Craig showed emotion in Casino Royale, but here the simple way in which Lazenby reacts is startling. To end the film in this way was a brave move, especially for what is essentially a might-hearted spy caper series with girls and gadgets. OHMSS remains one of my firm favourites; oft overlooked, but worthy of another chance of you've previously rejected it.
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That deep-browed Homer ruled as his demesne.  TREK WARS |
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RE: The Bond Thread - #04: Thunderball (1965) - 
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