James Bond tracks his archnemesis, Ernst Blofeld, to a mountaintop retreat where he is training an army of beautiful, lethal women. Along the way, Bond falls for Italian contessa Tracy Draco, and marries her in order to get closer to Blofeld.
George Lazenby Diana Rigg Telly Savalas Gabriele Ferzetti Ilse Steppat Bernard Lee Lois Maxwell George Baker Bernard Horsfall Desmond Llewelyn Yuri Borienko Virginia North Geoffrey Cheshire Irvin Allen Terence Mountain James Bree John Gay Angela Scoular Catherine Schell Julie Ege Mona Chong Sylvana Henriques Dani Sheridan Joanna Lumley Zaheera Anouska Hempel Ingrid Back Helena Ronee Jenny Hanley Show All…
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AustraliaPG
Germany16
Greece
ItalyT
Netherlands12
Sweden15
UKPG
USAPG
Denmark7
FinlandK-16
France12
Spain18
JapanG
PortugalM/18
Brazil12
IrelandPG
South Korea
MexicoAA
Poland12
USAPG
Netherlands12
Netherlands12
Netherlands12
Australia
Brazil
Denmark
Finland
France
Germany
Greece
Ireland
Italy
Japan
Mexico
Netherlands
Poland
Portugal
South Korea
Spain
Sweden
UK
USA
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"But today is the 13th, commander."
"I'm superstitious."
A deliberate experience in style and focus that Bond films rarely are. Lazenby's performance and that moody purple glow makes the drama complex and the action lift off its feet, and that's not even mentioning the editing - flowing from current to current, with mood dictating the pace of the action. One of the best from the series.
When I was a kid, this was considered a disaster. Now, a lot of colleagues I respect rank it as the very best Bond. The truth’s somewhere in between. OHMSS is long, the romance always underwhelms me, and Bond’s disguise as a genealogist makes Clark Kent look like Lon Cheney. It’s also got a great Blofeld, amazing music, a classic title sequence, and a director in Peter R. Hunt whose background in editing creates action that’s somehow both chaotic and clear. There’s an intensity to the movie’s fights and chases that’s on another level than even the great Bond adventures that preceded it.
Of all the Bonds that took up the mantle, Lazenby may be my personal vote for most emblematic of what "Bond" the idea looks like to me. As many others have noted, there is a certain softness to his approach that allows not just for a more nuanced character but story as well. The levity that is present throughout much of the rest of the series is not exactly gone here, but it becomes one shade of the paints this one employs, a Bond that is not so much aggressively suave as he is nervously-confident. A bit of a contradiction but I suppose that's who you have to be to be Bond.
Was talking to my viewing buddy about this…
its main virtue being that it's an exceptionally faithful adaptation of the novel, keeping intact Fleming's occasionally tacky dime-store intrigue without minimizing the pulpy soap-opera romance (you keep asking yourself how he's going to be James Bond after he's married and then oh, that's how) director Peter Hunt, who edited a few previous entries, and his editor John Glen (who along with Lewis Gilbert would go on to perfect the franchise style) have a preference for both really deep compositions and cutting quickly between three or four angles at a time, which gives the whole movie a kind of rambunctious, jittery pace that perfectly complements Lazenby's still-somehow-underappreciated performance. he manages to seem casually calculating and completely reckless at the same…
M here again. As you were. OHMSS is a Bond film unlike any other, so much so, it doesn’t even feel completely like a Bond Film at all. Though it features most of things that we have come to expect, OHMSS seems like an attempt to take the franchise in a new direction. It is more heavily character driven than the other films and even the cinematography feels completely different. Introducing a new Bond in George Lazenby and a different spin on the storytelling, OHMSS would go down as a one and done, never to be repeated. What follows is my mission debriefing, I hope you enjoy.
The Opening: Our new Bond is introduced while pursuing this installment’s Bond Girl,…
"This never happened to the other fellow."
On Her Majesty's Secret Service is something of an anomaly in the Bond franchise. Not only is it George Lazenby's only time at bat as the iconic British secret agent, it also shies away from some of the tropes and general silliness that was coming to define the series. After one of the wackiest installment in You Only Live Twice, the powers that be seem to have decided that Bond needed to be a bit more serious, but in trying to cut down on the nonsense they seem to also be cutting down on what makes these movies what they are. Most significant to my mind is the lack of a song during…
ON HER MAJESTY'S SECRET SERVICE is a top shelf Bond movie. Beautiful cinematography & setting, it's actually one of the best shot Bond movies. The setpieces are breathtaking, the movie is kinda ahead of it's time in terms of action filmmaking. The theme slaps. Telly Savalas as Blofeld is a cracking villain. George Lazenby is not bad, but the movie would have been even better with Sean Connery. And Diana Rigg is Diana Rigg.
That ending, absolutely devastating and emotionally powerful!!
Fuera de Serie: Bond, James Bond - The International Spy, The Icon & The Once Serial Women Beater
There are movies that don't show off their colors right away, but this latest Bond film featuring a new actor in the role immediately tells you this is a completely different Bond film and a completely different movie with some fabulous quick cuts, zooms in and out and pans that provide the entire film with a fantastic flow that enhances the brutal and cool action sequences in the process. It's even more astonishing when you consider that this was not only Lazenby's first role as an actor, but it also marked the directorial debut of Peter Hunt, the previous second unit director and…
Part of:
Dr. No-vember or: How I Learned to Stop Worrying and Love the Bond Films
This never happened to the other fellow.
-James Bond
This film proves that the villain's master plan has no correlation with the quality of a James Bond film. Without a doubt Blofeld's conquest for world domination this time around might be the dumbest idea yet, but it doesn't matter. The fact that he has a plan that needs to be stopped is all that really matters because the real story is the chase this time around.
It's also the first James Bond film without Sean Connery, and I must say I love the opening sequence where they introduce George Lazenby. His face is obscured…
The George Lazenby one, and the one that all true fans know is Actually Really Good, A Lot Better Than You'd Expect. If you can get past the boring first half, the second half is action-packed and full of artful shots of people skiing down vast snowy hills. Lazenby doesn't have Connery's charisma, but on the other hand comes across less like a sex pest. Had he a few more opportunities to make the character his own he definitely would have been better than Roger Moore, c'mon.
Such a special gem of a film with SO MUCH going on to reward repeated viewings. The whole thing has such a remarkable energy to it.
Some of the series best acting work with Bernard Lee and Lois Maxwell given moments to really shine. Ilse Steppart is remarkable and Telly Savalas is suitably menacing.
Diana Rigg totally steals the show in the best possible way. She commands the screen in every scene she’s in. True movie-star stuff. Just can’t take my eyes off her.
I’m sorry that I don’t have some post-modern appreciation of Lazenby. I find him very wooden and unconvincing in a lot of place but there are moments where he shines, the final scene in particular.
Seeing…
