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Attempting to track down SPECTRE leader Ernst Stavro Blofeld,
James Bond encounters the intriguing Tracy Di Vicenzo. Can
it be that 007 has found a woman he would like to settle down
with? First the agent must go undercover in the treacherous
Swiss Alps to prevent Blofeld from realising a germ warfare
plot that could kill millions...
Everyone
remembers this movie as "the one with George Lazenby". The
fact that the actor only played Bond once is usually taken
to be an indication that he wasn't very good. Setting aside
such prejudice, however, Lazenby proves that he can handle
both the action (including some pretty visceral fight sequences,
captured by editor John Glen) and the acting. Though he cannot
quite shake off his Australian accent, he brings sufficient
depth and range to the role to pull off that crucial final
moment of grief. Can you imagine Roger Moore or even Sean
Connery playing that scene with such conviction? I don't think
so.
However,
the trailers on disc 2, which describe Lazenby as "the different
Bond from the same stable", hint at a lack of confidence on
the part of the studio back in 1969. There was evidently a
fear that the movie-going public might not accept any actor
but Connery. Perhaps this very lack of confidence in turn
influenced the audience, creating a kind of self-fulfilling
prophecy. In any event, the punters were indeed not ready
to countenance a new Bond, and Lazenby was sacrificed to the
swingometer that is public opinion. A similar thing happened
to Timothy Dalton during the '80s and the phenomenon is already
making life difficult for the next even-numbered Bond actor,
Daniel Craig. Nevertheless, Lazenby allowed Roger Moore the
opportunity for acceptance by setting a precedent.
So
much attention has been devoted over the years to the relative
merits of Lazenby that few have commented upon the disappointment
that is Telly Savalas's Blofeld. Savalas conveys neither the
sinister menace of Donald Pleasence (in You Only Live Twice)
or the sophistication of Charles Gray (in Diamonds Are
Forever). It is left to Ilse Steppat, as the creepy Irma
Bunt, to provide most of the real villainy.
In
other areas, however, this movie delivers in spades. Just
as Thunderball gave us the first underwater Bond action,
OHMSS is the pioneer of snow stunts. Ski expert Willy
Bogner, acting as both choreographer and cameraman, sets the
standard that would be followed in films such as The Spy
Who Loved Me, For Your Eyes Only and The World
is Not Enough. The secrets behind the stunning aerial
photography of OHMSS's alpine action sequences are
revealed in a contemporary documentary, Above it All,
which is also included on disc 2.
Connecting
all the spectacular set pieces is one of the stronger Bond
movie plots. This was the last film (until perhaps 2006's
Casino Royale) to closely resemble the Fleming novel
upon which it is based. It is also one of the least fantastical,
with very few gadgets in evidence. Subsequent movies would
continue the process started in You Only Live Twice,
of retaining only a few character names and situations from
the Fleming novel in question.
Another
pinnacle attained here is one of John Barry's finest musical
scores. This includes the memorable instrumental main theme.
There's a good reason why the Propellerheads remix of this
tune was chosen as the single from David Arnold's Shaken
and Stirred album - and that's because the original is
so good!
Further
aural pleasure can be found in four vintage "open-ended" radio
interviews. We get to hear from Lazenby, his leading lady
Diana Rigg, Savalas and director Peter Hunt, though most of
what they have to say is, understandably, for the purpose
of promoting the movie. New to DVD are the 1969 promotional
films Shot on Ice and Swiss Movement, and footage
from casting sessions and the movie's press launch in Portugal
(though these were not available for review).
All
in all, sterling service from those awfully nice Sony people.
  
Richard
McGinlay
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