Au service secret de Sa Majesté

Admittedly, I did not like this film at first and I can't adequately explain the reasons why. Was it because I didn't like George Lazenby, or that it distanced itself from the Sean Connery outings? On second viewing though, I was surprised at how wrong I initially was. It is not the best Bond but it is light years away from the worst. George Lazenby may be a tad inexperienced and the least charismatic of the Bonds, but he is still likable and does try hard, that I can see. And it does tone down some of the gadgetry and spectacle, however in doing that the film does boast some of the best and slickest sequences in a Bond film. The story is believable and sticks closely to the book, and the script goes into a greater psychological depth. Consequently both Bond's pursuit of Blofeld and romance with the feisty Tracy are wholly believable. Terry Savalas is great as Blofeld, and Diana Rigg is splendid as Tracy. The cinematography and scenery are beautiful, and John Barry's score and Louis Armstrong's theme song are simply terrific. In conclusion, better than I thought and dare I say underrated. 8/10 Bethany Cox

After viewing "Die Another Day" recently, one thing I noticed was that the filmmakers were trying to do things a little differently. In the latest Bond, the producers and director Lee Tamahori give hit and miss results. Bond is tortured, held captive, and made to seem much more falliable than before. Halle Berry's Jinx is certainly the most active female in the series to date (save maybe Michelle Yeoh). I think the latest Bond film was overall good, and while the film scores points for trying to mix the serie s up a bit, ultimately the experiment is a hit or miss affair.

What "Die Another Day" should have modeled on was the vastly superior "On Her Majesty's Secret Service", the only Bond movie to really stray from the formula (babes, bombs, gadgets)effectively. Both "OHMSS" and "DAD" are Bond films about Bond maturing. Here, in "OHMSS", Bond matures enough to actually settle down with a woman and marry her. Diana Rigg's Tracy is that woman--probably running neck and neck with Honor Blackman (who also played Emma Peel) as Pussy Galore for the title of Best Bond Girl ever. Blofeld (played here by Telly Savalas, and not nearly as good as Donald Pleasance's Blofeld but superior in every way to the guy who played Blofeld in the awful "Diamonds Are Forever")--Bond's archnemesis--is Bond's equal in ruthlessness, as demonstrated in the shock ending. This is a key difference, for most bond villains are total buffoons.

Lastly, the key and unignorable difference in "OHMSS" is George Lazenby as Bond. He's not the best Bond ever, but after the rollicking and brutal beach fight ("This never happened to that other fella") in the opener, I accept him as Bond. Really, I only need to accept the actor as Bond, not have him be the best ever (or live up to Connery--an impossible task). In this manner, Lazenby passes.

Lazenby's performance is unique. Another post mentions that Lazenby's modeling background gave him a looser, more slinky demeanor. I wholeheartedly agree. If Connery is the Bond who is fierce and macho, Moore is Bond The Old Man, Dalton playing Bond as Shakespeare, and Brosnan's Bond as a modern Connery, then Lazenby is the only actor to really convince me that Bond is a SPY. His nimble movements are nicely balanced with blasts of ferocity, and the sublime, Hitchcockian safecracking scene really reflects this superbly. Several times in the film, Bond is forced to don disguises, something we rarely see him do. In fact, I can't think of a Bond film where the quieter "spy" moments outshine the action.

The romance is quiet too, and when Bond finally beds Tracy, it is earned rather than conquered. The score, and especially Louis Armstong's "We Have All the Time In the World" (so delightfully ironic)highlight these themes beautifully.

"Die Another Day" could have exploited differences in the Bond formula to fabulous effect, but the film really just is a string of sex, quips, gadgets and explosions (albeit above average ones). For those seeking a truly different James Bond film seek out "On Her Majesty's Secret Service". The purists should love it as well, for gadgets aside (radioactive pocket lint? c'mon Q, you can do better), the film has a great opener, a great villain, a superlative female lead (as well as a bevy of babes for Bond to be tempted by--in a Swiss chalet no less), plenty of hard hitting action (bobsled chase!), and globetrotting. "OHMSS" is easily the most effectively well rounded Bond film, second only to "Goldfinger".

P.S. For posterity, here is how I rank my top five Bond films: 1. "Goldfinger" 2. "On Her Majesty's Secret Service" 3. "GoldenEye" 4. "From Russia With Love" 5. "You Only Live Twice"

I am a James Bond fanatic. I own all the films on video. During my film school days, I sponsored a "James Bond" film fest. I told my wife she MUST be a James Bond fan before we could marry. I introduced her to the films and she is now a Bond fan.

My favorite Bond will always be Sean Connery.

My favorite film will always be "On Her Majesty's Secret Service".

"That film with that Australian actor as Bond? Telly Savalas as Blofeld?"

That's the usual reaction I get when I mention that. But this film has a lot going for it. When Connery left the series before this film began production, the film's producer, Albert Broccoli, knew he was in trouble. The next film could make or break the future of the Bond films.

He knew he couldn't get anyone remotely close to Connery as a new Bond. So he found an unknown, George Lazenby, to play the role. Broccoli knew this film would sink or swim on its assets: the plot, special effects, gadgets, the Bond girls, the music, battle scenes, and the locations.

Boy did he succeed! This film has the BEST of all of the above! The plot is the standout. While James Bond, master spy and savior of the world, battles the forces of evil, he also shows us he is human by falling in love with Diana Rigg (a great choice for a Bond film!).

Many people have passed over this film because it doesn't have a Bond named Connery, Moore, or Brosnan. Lazenby does a decent job as Bond but lacks the refinement and polish of the others. Still, watch this film and imagine what Sean, Roger, or Pierce could have done with the role. It ranks with any of their best Bond roles and stands as the best film of the whole lot.

This is the first and only film starring George Lazenby as James Bond 007, where he helps mobster Draco (Gabriele Ferzetti) track down arch nemesis Ernst Stavro Blofeld (Telly Savalas), where takes him to Switzerland and poses as Sir Hilary Bray to find out Blofeld's secret plan. Along the way, Bond woos Draco's daughter, Tracy (Diana Rigg).

This movie goes at a steady pace with some intriguing scenes that I've found appealing including 007 attempting to escape from Blofeld's pursuing henchman and the romantic chemistry between Bond and Tracy. Lazenby proves he is a formidable Bond that can could some serious butt, using his own moves and stunts when grappling with the henchman. This makes Bond an even more serious force to be reckoned with and an agent to fear more, in addition to his already famous license to kill.

Lazenby as Bond is a women charmer and equipped with a few one-liners and somewhat suaveness. However, his Bond has a serious and sensitive tone as evident in his emotional interaction with Tracy, who becomes one of the more unique Bond Girls, stealing Bond's heart and coming to rescue his life a few times. This makes this one of the more touching Bond movies.

The plot itself picks up speed right from the start, drags towards the middle and abruptly comes to an action-packed climax. As with many of the Bond movies, there are a lot of talk and less action, but this one lacks some suspense and humor as well. The good acting, though, counterbalances it. It's not one of the best Bonds, but overall, it's a pretty movie.

Grade B-

On Her Majesty's Secret Service will probably always remain the most controversial entry in the Bond series, thanks both to its unusually human and romantic story, and the notorious casting of novice actor George Lazenby as OO7. Some think these elements ruin the film, while others hail OHMSS as the best Bond ever. I wouldn't go that far in my praise, but for me this is still one of the classic Bond films, true to Ian Fleming's original vision and arguably showing OO7 in a more realistic light than any other film in the franchise.

To get the Lazenby issue out of the way first, it is certainly true to say that he lacks the charisma of the man he (temporarily) replaced, Sean Connery, and his impossibly chiselled jaw is somewhat irritating. However, he does look the part, and for a first-time actor he turns in a remarkably assured performance, particularly in the fight scenes but also in Bond's more tender moments, most notably in the highly emotional finale. If Lazenby had gone on to make more Bond films (and it was his own decision not to do so) he could well have developed into a very fine OO7, but as it is I still find his performance in OHMSS perfectly acceptable, and not damaging to the film in any way.

The film itself represented a conscious attempt to get back to Fleming after the increasingly extravagant antics of Thunderball and You Only Live Twice. Director Peter Hunt, who had edited the classic early Connery films, was very keen to remain faithful to Fleming's original story, and as a result OHMSS has an unusually strong emphasis on character and plot, with the gadgetry and humour found in most Bond films largely jettisoned. Rather like From Russia with Love, OHMSS feels like a real spy adventure, as Bond tracks Blofeld down and even adopts a disguise as he infiltrates his arch-enemy's Alpine hideaway, Piz Gloria. Where this film is unique, however, is in the level of emotion it invests in OO7's relationships with others. We see this early in the film when Bond quarrels with M and submits his resignation, a sequence which really brings out the affection which both M and Moneypenny have for him, but which M especially prefers to keep concealed. This affection is brought out again near the end during Bond and Tracy's wedding, when Q sheds his normal exasperation and shows us his fondness and respect for OO7.

However, it is of course the relationship between Bond and Tracy which gives the film its emotional heart. OHMSS sees Bond fall genuinely in love for the first and only time, and personally I found the film's romantic scenes both tender and touching, particularly for being so unexpected in a Bond film. The casting of Diana Rigg as Tracy helps immeasurably in making us believe in this romance, as she is a rare example of a proper actress taking on the role of a Bond girl, and her dynamic, spirited performance makes it easy to see why Bond would fall for her and marry her. It also helps the film's tragic conclusion, itself unique in the Bond franchise, pack far more of an emotional punch than might otherwise have been the case.

Of course, the film has more going for it than just an unusually human Bond.

Hunt directs with great skill, and the Alpine scenery that dominates the film looks absolutely stunning. There is no shortage of great action either, the highlights being a tense and gripping ski chase and an equally thrilling bobsleigh pursuit. Telly Savalas makes for a very effective Blofeld, understated and sinister, and his Rosa Klebb-like henchwoman Irma Bunt is played with relish by Ilse Steppat. There are also echoes of FRWL in the character of Draco, Tracy's father, who is a charismatic Bond ally in the style of Kerim Bey. Special mention should be given to John Barry, who produced his greatest Bond soundtrack for OHMSS. The opening instrumental theme, with its sombre and foreboding tone, sets the serious mood of the film, while the classic We Have All the Time in the World, sung by Louis Armstrong, is the perfect soundtrack to Bond and Tracy's doomed love.

However, while OHMSS is undoubtedly a classic Bond film, it just falls short of my personal top five for two principal reasons. The first of these is that the film is too long, primarily because the central section, where Bond infiltrates Piz Gloria in disguise, is dragged out for far longer than was necessary. Blofeld's plan to use beautiful women as carriers of a devastating eco-virus is the other main weakness, because it is totally preposterous and does not fit into the film's serious nature. I must admit also that, good as Lazenby is, I do wish Connery had agreed to make this film, because with him on board, and a little more editing, I think it could have been the best Bond ever, even beating FRWL. As it is, OHMSS is still a very strong film, its bold deviations from the Bond formula paying off handsomely. It is just a crying shame that it did not perform better at the Box Office, because this would encourage the Bond producers to shift to the high-camp, comic style that would dominate the franchise during the 1970s; sadly, it would be more than a decade before a serious, Flemingesque Bond would reappear on the big screen.