Fan Reviews - On Her Majesty's Secret Service
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"On Her Majesty's Secret Service"
by zDBZ
With five films, three of which grossed over 100 million dollars,
producers Albert R. "Cubby" Broccoli and Harry Saltzman
along with actor Sean Connery firmly established the James Bond
film franchise and launched the spymania of the 60s. However,
during the filming of You Only Live Twice, times began to chance.
Spy films lost their box-office appeal and Sean Connery resigned
from the series. Following the film's release, as James Bond took
a backseat as Broccoli started work on Chitty-Chitty Bang-Bang,
the question emerged; could James Bond survive the fall of the
spymania it had created?
The answer is a definite"yes," as all have seen, but
did it appear that way back in 1969?
On Her Majesty's Secret Service was the first film that former
editor Peter Hunt directed. Having been associated with the Bond
films since Dr. No, and being a second-unit director on You Only
Live Twice and Chitty-Chitty Bang-Bang, Hunt began work on the
screenplay with Richard Maibaum, who with the exception of the
last film, had written or co-written every James Bond story up
to that point in time. Hunt brought in much of his second-unit
from Chitty-Chitty Bang-Bang. Every decision was made with one
idea in mind; to move away from the fantasy world of the last
Bond film and return to the more realistic world of From Russia
With Love. The film was shot so that it had the appearance of
old classic films of the 40s and 50s and Simon Raven was brought
in to make the script more sophisticated and intellectual by polishing
the dialogue. For the final decision - who would succeed Sean
Connery as James Bond - the producers went with the Australian
model George Lazenby, who had never before been an actor, save
in some television commercials.
Ultimately, at the 1969 box-office, the film did make money.
It received positive reviews. The changes in the Bond formula
of the Connery era were viewed as palatable to most. But the film
suffered from rumours about George Lazenby's behaviour during
filming and the running time - almost 2 1/2 hours - limited the
amount of screenings per day. The result; the film grossed 64
million dollars, a steep drop from the profits made on You Only
Live Twice, Thunderball, and Goldfinger, and a terrible disappointment
for United Artists. This led to the decision to move Bond into
the campy, overly humorous films that would continue up until
The Spy Who Loved Me rescued the series. During that time, however,
the overdose of humour would lead many fans back to On Her Majesty's
Secret Service, eventually leading it to be recognized as one
of the best films in the series.
I've made it no secret that I consider OHMSS the greatest of
the Bond films. The film's story was in some ways an improvement
over that of the book. Richard Maibaum and Simon Raven's screenplay
was the best-written screenplay in the series, containing everything
from humorous scenes to love scenes, action scenes to suspense
scenes, and dramatic scenes to tragic scenes. Blofeld's plot;
one of the more interesting, if not ambitious; is moved from a
small-scale target (London) to a large-scale target (the entire
world) for the cinematic aspect of Bond, yet that makes little
difference. The story is advanced through the character of James
Bond and his romance with Contessa Teresa "Tracy" di
Vicenzo (Diana Rigg).
Looking at the actors, this film boasts one of the strongest
supporting casts in the series. Diana Rigg plays Tracy to perfection,
and I cannot even begin to imagine anyone else in that role. Telly
Savalas as the S.P.E.C.T.R.E. chief Ernst Stavro Blofeld is no
Donald Pleasance. His performance likes genuine sadistic menace.
However, this is mainly due to the fact that the screenplay has
made Blofeld more charming, snobbish, and at ease. While I prefer
the menace of Pleasance, Savalas's Blofeld is quite satisfying
and more believable in several scenes than the Blofeld of the
previous film would have been. Gabriele Ferzetti's presence and
his dubbed voice (provided by David de Keyser) work together to
create one of Bond's most likeable and charming allies. Ilse Steppat
plays Irma Bunt to the same level of perfection as Diana Rigg
does Tracy. And Bernard Lee, Lois Maxwell, and (in two brief scenes)
Desmond Llewelyn all do their usually fantastic jobs, in particular
Maxwell dealing with Bond's marriage.
What about Bond? George Lazenby has always been the most heavily
criticised of all the Bond actors. Back in 1969 it was because
he was replacing Sean Connery; now it seems to be that he only
did one. From an acting standpoint he was certainly the worst
actor of the five, but that does not mean he was terrible. For
someone with no real acting experience before, Lazenby delivered
a very strong performance. At certain times it is a bit wooden.
But in the key scenes - those in the office, the proposal, the
wedding, the ending, and others, Lazenby is as effective as Sean
Connery was at being macho and Roger Moore was at being light.
Connery would not have worked in this film, and neither would
Moore. Timothy Dalton is the only actor who could have been more
effective in this film. Lazenby was also great at the action.
From the interviews that I've seen of him, he's matured a great
deal from when he became the victim of the press - which highly
exaggerated their stories but had them founded in fact - and is
sorry for it.
The action in this film does not disappoint. The first half of
the film has a few brief fights, but come the second half of the
film, action becomes frequent, with ski and car chases and a dramatic
raid on Piz Gloria. The nice thing about the action in this film
is that it takes up what time is needed but the film is still
moved on by the story. I can see why some have a problem with
Bond falling in love, but I don't. I prefer true romance to sex
in films anyway. This film having a somewhat unique ending; Bond's
woman (now his wife) being killed; was one of the most depressing
and somber moments in the entire series, wonderfully played by
George Lazenby. In the original take, he burst into tears. In
the final cut, the scene is underplayed as it was in the novel,
but if you listen, you'll hear a slight sob from Bond when he
buries his head.
As mentioned before, the film's look and direction gives it the
appearance of an old classic drama from the 40s and 50s. Even
back in 1969 this was an old-fashioned look, but it's far more
effective than high-key cinematography would have been. Peter
Hunt's glamorous style for the film is far more effective than
Guy Hamilton's brassy approach. The film's length feels cut in
half due to the fast but not rushed pace. Hunt and second-unit
director John Glen (the future director of five Bond films) were
absolutely brilliant at their work. This is what is needed in
action films today.
The film's score is the best score in the entire series. John
Barry's mix of the big, brassy orchestra of previous films, alpine
horns, and synthesizers was a perfect mix. The opening music -
the only orchestral opening following From Russia With Love -
was exciting, dark, and fun all at once, and its use in the action
scenes greatly enhanced the moments. The song that is played in
the film is called We Have All The Time In The World, sung by
Louis Armstrong. David Arnold called it one of the most beautiful
songs ever written. John Barry said it was his favourite of all
the Bond songs. I agree on both accounts.
This is one of a handful of films I find very little to criticise
it for. If I have any complaints at all, it's that the editing
on one or two of the fights was a bit fast and confusing. That
would be it.
This film has gone from being considered the biggest failure
in the Bond series to one of it's classics. I feel there are two
classics in the Bond films, each representing a different type
of Bond. Goldfinger was the classic of the action-hero Bond; On
Her Majesty's Secret Service was the classic of those driven by
character and story. I think I've established which I prefer.
Rating
"On Her Majesty's Secret Service"
by Amandeep Puni
The year is 1969, Connery has departed from the world of 007
after 5 films leaving the producers with the huge problem of finding
a new James Bond.
The search is called off when a young Australian model strolls
into Harry Saltzman's office. Soon after the man is given a licence
to kill as well as a contract to star in the latest Bond epic,
"On Her Majesty's Secret Service". The man is George
Lazenby.
With the cast in place the movie goes ahead hosting one of the
best Bond plots ever. For the first time the Bond character is
given a new depth. The movie is a masterpiece even though slightly
let down by Lazenby. Telly Savalas gives a great performance as
Blofeld #2 also another job well done is given to Bond's ill fated
wife Tracy played by Diana Rigg.
The movie is a little on the long side and in parts can appear
dull and boring but scenes like the ski chase make up for it.
Though many are against Lazenby's portrayal of 007. I have nothing
against it to me he brings something new to Bond including a tougher
edge, this can be seen through out the film, as he relies more
on his fists then his walther, despite this he also let down the
film slightly, his acting wasn't really 100% at the time.
Finally, this may be seen as an outcast to the series but will
live on in my eyes as a classic and also what would Diamonds are
forever be if George came back?
Rating
"On Her Majesty's Secret Service"
by TimDalton007
OHMSS was the first, last and only film to star Australian George
Lazenby as James Bond. Despite this, the film remains one of the
best in the whole film series and is the most faithful adaptation
of any of Ian Fleming’s original novels.
Lazenby is nearly perfect as 007. His fight scenes are a showcase
of his physical talent and his acting with Tracy (especially in
the scene where the two meet in Bond’s hotel room and her
death at the film’s end) and the scene where Bond nearly
resigns from the service are proof that indeed Lazenby can act.
His only weakness is the one-liners, where Lazenby is very wooden
in his performance, with the exception of “this never happened
to the other fellow”, hurting his performance quiet a bit.
Lazenby’s performance, despite his wooden one-liner delivery,
outshines the two Connery films that both proceed and follow OHMSS.
Diana Rigg is the best Bond girl of the series as Tracy. Rigg,
a classically trained actress and the co-star of the then popular
Avengers television series, shines in the very emotional role.
Tracy is not only an emotional character, she is also a tough
one, as displayed in the various chase scenes, the ski chase,
and the fight between her and henchman Grunther during the battle
at Piz Gloria.
Telly Savalas does ok as the villain Blofeld. Savalas does well
in the action sequences, especially the fight between him and
Bond on the bobsled run and does very well in the scenes with
Tracy leading up to the battle at Piz Gloria. However, Savalas
is not good at the sophisticated side of the villain that takes
up the majority of his time in the film and comes off as boring
in those scenes.
The films action sequences are nothing short of stunning. Starting
with the beach fight in the teaser and ending with the fight on
the bobsled run, the films action sequences stand out as original
and exciting, something most action sequences lose as the film
ages. The amazing ski chases are well executed and don’t
waste time as most action sequences do. The effect of the chases
and fights are driven in by the excellent music of John Barry.
Barry produces his best work for the series with the main titles
and the chase music.
All around, the performances, the action, the script, the direction,
the editing, and the music come to make one of the very best 007
adventures that is a lot better than the two films that it is
sandwiched between.
Rating
"On Her Majesty's Secret Service"
by Matt Cook
With the absence of Sean Connery, would James Bond survive?
Many asked this question. For seven years, audiences had only
known one Bond and that was the charming, debonair Connery. Could
the producers introduce a new Bond to the public? Albert "Cubby"
Broccoli and Harry Saltzman, the fathers of the movie franchise,
would try and they were going to use the most unexpected book
of the series to do it.
On Her Majesty's Secret Service would surprise audiences with
an event that many would not understand, let alone accept, and
at the same time bring in a new actor to try and live up to Connery's
performance was startling. Producers decided to cast another unknown,
like Connery in 1962, as Bond. Australian-born George Lazenby
had performed in a few commercials, yet had never undertaken something
as big as a movie, let alone the most popular movie series at
the time.
Lazenby, however, would have some help from long time Bond editor,
newly appointed director Peter Hunt and small screen beauty Diana
Rigg. Rigg was cast to play Bond girl Tracy de Vicenzo and rumours
around the set were Lazenby and Rigg weren't getting along. The
press even blew comments made between the two out of proportion
to make it seem Lazenby and Rigg hated each other.
Ernst Stavro Blofeld returns in this tale about biological warfare.
Bond, after searching for Blofeld for two years, finally finds
a clue to his whereabouts. He tracks Blofeld to a medical research
facility atop the Swiss Alps. Along the way he meets Tracy and
begins to fall in love with the beautiful, tenacious woman.
Other than Lazenby's weak performance, the movie is acted very
well. Rigg does an excellent job of playing the unpredictable
and carefree spirit. Telly Savalas portrays Blofeld in a physically
powerful way while still exuding a menacing manner. Audiences
are settled by the remaining cast staying over from the Connery
days. Bernard Lee, Lois Maxwell and Desmond Llewelyn return to
play M, Moneypenny and Q.
Other veterans of the series were composer John Barry and main
title designer Maurice Binder. Barry delivers an amazing and captivating
score which includes a theme song performed by the talented Louis
Armstrong. Binder also returns to oversee the creation of another
amazing main title design, an accomplishment he would do for fourteen
films of the series.
Although the film uses less gimmicks and gadgets and sticks to
a well written story, audiences didn't enjoy the outing. By the
end of production, Hunt had a film with a new Bond, the longest
running time of any Bond movie and a wedding between playboy Bond
and unpredictable Tracy. Did the film even have a chance? It was
a success financially, yet it failed in almost everyone's eyes.
Looking back, fans can appreciate the film and many rank it as
the best in the series, despite a poor performance by one-Bond-film
Lazenby. Yet at the time no one understood how Bond would get
married. He was a spy and a bachelor at heart. It wouldn't matter
though because at the end of the film audiences still read the
same words they had read in the past. Those words were: James
Bond will return.
Rating
"On Her Majesty's Secret Service"
by Overkill
OHMSS is probably one of the most misunderstood movies of all
time. Bond fans may continue to argue its merits and squabble
about the cast, or the editing, but to the public at large none
of this means anything. Even the most casual of Bond viewers can
tell you Oddjob had a killer bowler hat, or that Halle Berry stinks
in Die Another Day. But ask them about OHMSS and you’ll
generally draw a look similar to if you asked them to tell you
pi to 10 decimal places. At a push you might get some comment
like “Oh, that was the really rubbish one” or “That’s
the one, with that guy, whatsisname, George Something.”
This is a tragedy. In my opinion OHMSS is not simply the greatest
Bond movie, but possibly one of the greatest action-adventure
movies of all time.
Imagine the scene today if Spielberg walks into the offices at
Paramount with his new Indiana Jones idea. The story is set: Indy
battles evil blah blah blah. The suits seem happy. The Spielberg
announces Harrison Ford is not interested. He’s bored with
it and wants to concentrate on more serious movies about hi-tech
heists and running up and down sand dunes. But, don’t worry,
he’s got just the man to fill those shoes: a non-acting
model whose most famous role is a chocolate commercial. The suits
look uneasy. And then, Spielberg announces he doesn’t want
to direct it. Oh no, he wants to hand over a $200million movie
to his editor who has never directed a movie before. And Indy
falls in love and decides to give up this adventure malarkey.
And the whole thing will end with Indy in tears.
I imagine even the God-like Spielberg would find himself being
given a tour of the exit facilities. But that’s what happened
in 1969 when Broccoli and Saltzman decided that, finally, the
time had come to film Fleming’s most interesting novel.
The background of the movie has been well documented elsewhere.
The press had the knives out for Lazenby from day one. As far
as they were concerned Connery WAS Bond (ironically, one of the
reasons Connery left was because the public couldn’t separate
the two either). There were rumours of Diana Rigg eating garlic
before their love scenes, rumours of Lazenby’s obnoxiousness
and arrogance and rumours that this was, in fact, going to be
the end of the Bond series.
But as bolshy and brash as journalists are, they just don’t
have the cojones of Broccoli and Saltzman. They, bravely, stood
by their man, backed débutante director Peter Hunt to the
hilt (including retaining as much of the novel as possible, and
allowing a running time of well over two hours) and finally delivered
the Bond film many fans of the novels feared they would never
get.
As became common in the series, an effects filled spectacular
(YOLT) was followed by a much more low-key affair. OHMSS has action
to enough action to spare, but it never feels gratuitous. And
some of the quieter scenes are actually among the more exciting
(the lawyer’s office, Bond escaping from the cable car control
room). The cast is excellent too. Maybe as a sop to Lazenby’s
inexperience, the supporting cast was filled with top draw talent.
Diana Rigg proved herself as a fine leading lady as well as an
accomplished actress. Telly Savalas (often criticised) is, I feel,
the definitive Blofeld, a charming, witty adversary, with a penchant
for extreme nastiness without ever becoming a pantomime villain
(and he never wears that awful Blofeld /Mao tunic either. Gabriele
Ferzetti and Ilse Steppat are also superb despite some questionable
dubbing.
Ah yes, dubbing. A major bone of contention with this movie,
and one I feel must be addressed. When people criticise Lazenby’s
performance, many forget that another actor dubbed him for almost
half the movie. This is a very strange and distracting choice.
In almost every Bond film, he impersonates someone else but he
has never attempted to do their voice or, for that matter, has
another actor dubbed Bond’s voice. So why here? It only
serves to undermine Lazenby and creates an annoying distance between
audience and character. (Though trivia fans can at least impress
your friends by telling them that George Baker played James Bond,
if only for an hour).
What more can you say? The film has everything: great action,
superb cast, beautiful locations, fantastic sets and A PLOT (always
helps). Bond gets to show some emotion for a change (as Dalton
once said, “He’s not a superman. You can’t relate
to a superman”). John Barry provides possibly the best score
in the series and Louis Armstrong sings one of the most tear-jerkingly
wonderful ballads of all time.
It takes a cold heart not to find SOMETHING to like in this film.
I consider myself very lucky that I find it ALL wonderful.
Rating
