On Her Majesty's Secret Service

It’s good if you want to watch the same movie as previous Bonds. So my plan is to watch the Bond movies in order from the first Bond movie to the last bond. I'm currently on “On Her Majesty's Secret Service”. One of the main things I noticed from Her Majesty's Secret Service is the fact that the new Bond doesn't seem to be as sexually assaulting as the previous bond ( Sean Connery). It did seem like the first Bond would like to force himself upon women which seemed a bit off, and was really off putting. For most of the previous Bond films this new Bond didn't seem as bad, but there was still a lot of this bond having his way with the women he wanted to have his way with. which I'm still not in total agreement with. I think the biggest problem I have with most of the Bond movies is really that they all follow a very very specific formula. the formula itself seems to always be James Bond shows it up at some place. He assumes a new identity. He then starts snooping around. He finds the villain, has contact with the villain. The villain finds out who he is. They then put him in a room or put him in some place that easily escapable. Miraculously, James Bond figures out a way to get out of said room which no one decided to guard and no one decided to put any additional reinforcements on. specifically they put him in a room for the gondola cables. If I was a super villain I wouldn't put somebody in the room which houses the gears which are kind of the only way to get up to said Superfortress. Well the movie is an overall bad. it's starting to really feel like I'm watching the same movie over and over again. which, if you like this same movie over and over again I could see how you would like this movie. However, I don't really like watching this same movie over and over and over again.

Even if we have all the time in the world, the world is not enough. On Her Majesty's Secret Service is directed by Peter Hunt and adapted to screenplay by Richard Maibaum from the novel written by Ian Fleming. It stars George Lazenby, Diana Rigg, Telly Savalas, Ilse Steppat, Yuri Borienko and Gabriele Ferzetti. Music is by John Barry and cinematography by Michael Reed. Bond 6 and 007 is obsessed with locating SPECTRE supremo Ernst Stavro Blofeld. After rescuing beautiful Countess Tracy di Vincenzo from suicide, this brings Bond into contact with her father, Marc Ange Draco, who agrees to help Bond find Blofeld in exchange for 007 courting Tracy. Blofeld is located in the Switzerland Alps at Piz Gloria, where he is masterminding a fiendish plot involving biological extinction of food group species'. Bond will need to use all his wits to stop the plan from being executed, he also has big matters of the heart to contend to as well... Connery gone, but not for good as it turned out, so into the tuxedo came George Lazenby, an Australian model with no previous acting experience of note. It would be Lazenby's only stint as 007, badly advised by those around him that Bond had no future in the upcoming 70s, his head swelling with ego by the day (something he readily admits and regrets), Lazenby announced he would only be doing the one James Bond film. The legacy of OHMSS is the most interesting in the whole Bond franchise, for where once it was reviled and wrongly accused of being a flop, it now, over 40 years later, is regarded as being one of the finest entries in the whole series. Yes it is still divisive, I have seen some fearful arguments about its worth, but generations of critics and film makers have come along to laud it as essential Bond and essential Fleming's Bond at that. Everything about OHMSS is different to what Connery's Bond had become, the gadgets are gone and heaven forbid, Bond got a heart and fell in love. He was a man, with real aggression, real emotions and forced to use brain and brawn instead of mechanical trickery. Changes in the production department, too, wasn't just about Lazenby's appearance. Peter Hunt, previously the Bond film's editor, directed his one and only Bond film, and Michael Reed on cinematography also appears for the one and only time. New Bond, new era, but reviews were mixed and in spite of making a profit of over $73 million Worldwide, this was considerably down on previous films. The reviews didn't help, with much scorn poured on Lazenby for not being Connery, but really it's hard to imagine anyone coming in and not getting beat with that particular stick! Box office take wasn't helped by the film's length, at over 2 hours 10 minutes, this restricted the number of showings in theatres, something that should be greatly noted. Away from Bond anyway, OHMSS is a stunning action thriller in its own right. From the opening beach side fist fight, where uppercuts lift men off their feet and drop kicks propel them backwards, to helicopter attacks, bobsleigh pursuits (resplendent with punches and flinging bodies), ski chases and a car chase in the middle of a stock car race: on ice! There's enough pulse pumping action here to fill out two Bond movies. But the Bond aspects are magnificent as well. Lazenby has wonderful physicality and throws a mean punch, he cuts a fine figure of a man and he's acting inexperience isn't a problem in the hands of the astute Hunt. Lazenby is matched by Rigg as Tracy, the best Bond girl of them all, she's no bimbo, she's tough (fighting off a guy with a broken bottle), smart yet vulnerable, funny and heart achingly beautiful, her interplay with Lazenby is brilliantly executed, so much so that when the devastating finale arrives it has extra poignancy. A scene that closes the film on a downbeat note and remains the most emotional scene ever put into a Bond movie. Savalas finally gives us a villain who can compete with Bond on a physical level, making the fight between them an evenly matched and believable one. He lacks Pleasance's sinister fizzog, though the bald pate and Grecian looks marks Savalas out as an imposing foe as well. The Swiss Alps setting is gorgeous, with Reed capturing the scope magnificently, while some of his colour lensing in the interiors soothe the eyes considerably. Barry's score is one of his best, lush romantic strains accompany Tracy and James, operatic overtures dart in and out of the Swiss scenery and the James Bond theme is deftly woven into the action sequences. Louis Armstrong's beautiful "We Have All The Time In The World" features prominently, perfectly romantic and forever to be thought of as part of the Bond Universe. Finally it's the great writing that gives us the best sequence involving the trifecta of Bond, Moneypenny (Lois Maxwell) and M (Bernard Lee). 5 minutes of class that gives Moneypenny an acknowledged importance in the relationship between the two men in her life. It's just one of a number of truly excellent scenes in the greatest Bond film of them all. 10/10

Decent enough entry, a little slow at times and while some effects weren't bad for its time, others were a bit iffy (not to mention some shoddy editing a time or two). I did like George Lazenby in the role (and at certain angles, kind of did look like Connery), as he did have some charm (although his quips didn't quite work for me), just a shame this was a one and done for him. The movie is on the lengthy side, probably 15 minutes could've been trimmed, though Lazenby and Diana Rigg shared great chemistry which does make the ending work so well. **3.5/5**

_**George Lazenby plays James Bond in the Swiss Alps**_ Agent 007 falls for a mob boss's daughter (Diana Rigg) and investigates a Swiss mountain-top lair where Blofeld (Telly Savalas) schemes to brainwash an assortment of women from around the world for his nefarious purposes. "On Her Majesty's Secret Service" (1969) was the sixth James Bond film and the first without Sean Connery in the starring role. Australian George Lazenby took over the part for this ONE AND ONLY time. Many Bond fans point out that this picture is the most faithful to Ian Fleming's character and book series. The story is taken from the novel of the same name. People usually have two problems with this episode in the Bond series: (1) Lazenby as Bond and (2) After the first 20 minutes the story lacks any real action for the next hour or so wherein Bond goes undercover to investigate Blofeld's lair. Concerning the second issue: Because the story involves at least one full hour (probably longer) of action-less spy investigation, those with ADD probably won't like this film. Personally, I enjoyed it; I can't stand when films have an explosion every two minutes to supposedly keep things "happening" and maintain the interest of the audience. Bond masquerading as Sir Hillary at the "allergy clinic" is both interesting and amusing. Besides, the last 40 minutes or so feature numerous thrilling action sequences: ski chases, a car chase, a bobsled chase and the final assault on Blofeld's mountain stronghold. Needless to say, if you're a fan of winter sports, you'll want to see this film. By the way, George Lazenby was a very accomplished skier and had won two contests in Australia before taking on the role of Bond at the age of 29, the youngest Bond as of this writing. Speaking of Lazenby as 007, he looks and acts like James Bond to me. Maybe he doesn't have the same charismatic flare as Connery in the 60s (Who does?), but he certainly has his own unique appeal. Lazenby, incidentally, was a martial arts expert, which he taught during his stint in the Australian army. He even studied under Bruce Lee and later stated that it was Lee's philosophical teachings that enabled him to go on to have such a successful business career and personal life. In fact, George was actually going to have dinner with Bruce the night he died (!) and even replaced him in what was supposed to be Lee's next film "The Shrine of Ultimate Bliss" (1974). He amusingly commented on Pierce Brosnan as the new Bond in 1995's "Goldeneye": "... this is the 90s and women want a different man, a man who shows his feminine side. Pierce definitely has that." He also reflected on the character of Bond himself: "He's a ruthless bastard, really." As for the women in this movie, Diana Rigg is undeniably good-looking but she doesn't do anything for me personally (too tall and thin), but there are numerous other beauties to behold throughout the picture. Because of Lazenby and the film's literary faithfulness, this is a very unique and worthwhile Bond adventure. It's also a must for those who love winter sports and spectacular Swiss winter locales. It is the longest Bond film at 2 hours, 22 minutes, up until Daniel Craig era; and was filmed in Portugal, Switzerland and Pinewood Studios, England. GRADE: B+

**Despite receiving disappointing reviews, OHMSS takes the franchise into new territory and is essential viewing for any true Bond fan.** On Her Majesty’s Secret Service doesn’t tend to get the same love as many of the older Bond films, and that’s a shame because it boasts some significant firsts for the Bond franchise, some striking set pieces, and bold choices. Some of the friction faced by OHMSS is due to this being the first time James Bond was officially played by someone other than Sean Connery. George Lazenby played the part well but did little to make the character his own other than maybe being a little cheesier. But that wasn’t the only first in this film. James Bond fell in love and got married for the first time, broke the fourth wall for the first time, and faced a villain who escaped him from a previous film for the first time. OHMSS broke a lot of ground and had one of the best climactic finale battles of the early Bond films. And to top it all off, it’s technically a Christmas movie!

OHMSS, the Bond that everyone forgot.... and it's really a shame. It was also made in 1969 and I hate having to press the spoilers button... so the review is going to be hard and... really? It came out in 69, everyone had a chance to see it already... but whatever. Lazenby, had he continued, could have carried on the Connery Era Bond into the 70s. He still had a few Moore Era tropes, a joke or two that was clearly very Roger Moore, but his delivery, his persona, his very being were far more Connery and the cold blooded assassin would have continued, with only a momentary glimpse of heart that, we know, hardened him in some ways. It certainly sets a gold standard among 007 films and lays out some VERY important background that disproves the new "James Bond is only a title and not one person" argument that some people are making in order to rewrite the character entirely. Background that is revisited in Dalton's Era, thus cementing 007 as one person. Connery is not 007 anymore (and they address it in a 4th wall breaking joke from the start) but his persona lives on in OHMSS. This is probably the last of the Classic Connery Era Bonds, discounted because Lazenby is in the title role. But the mood, the character, they are all still there. This is truly the last Bond before the Era of Silly Bond started.

This was the worst Bond movie of the early era. It has nothing to do with Lazenby being Bond. It's just that it was written to be just a depressing piece of trash for the Hollywood formula of the late sixties than went into the eighties. There is little scenery, little action, little to see of the bad guys. Bond is pretty much on his own in a "spy movie" instead of a "Bond movie". Bond is in a complex in a mountain surrounded by snow. If this wasn't the lowest budget ever for a Bond movie, someone was robbed. It is written with "hate", which was the standard of the late sixties through the eighties. As someone born in 1956, this was about all I was exposed to in art, film, TV, theater, religion, everywhere. It was the Hollywood formula, and to see anything else, you literally had to sneak off while everyone else was asleep and see something "not depressing" on your own. There's just too much of this hate in Art. It isn't Art. It's trash. It's also boring.

George Lazenby took on the mantle from Sean Connery for this "007" outing and I think he did quite a decent job with this, more convoluted story. He takes on the guise of an heraldry expert sent to Switzerland to investigate and validate the claims of lineage of Telly Savalas, purporting to be the "Count de Beauchamps" - defined by lack of ear lobes, don't you know - but who really has plans to use a form of hypnosis to achieve world domination. This film has a bit more class and less innuendo that it's earlier iterations - and Diana Rigg adds a bit of mischief and panache as the boisterous, independently-minded "Tracy" with whom poor old "James" has a pretty torrid time. This story isn't so good, but that isn't Lazenby's fault - indeed I felt that he, Rigg and Savalas tried hard to create a sense of suspense and menace; as did Ilse Steppat as the no-nonsense "Irma Bunt" (is that an anagram?). A great Louis Armstrong song, too - what's not to like - it's a shame that Messrs Broccoli and Saltzman didn't give George another kick at the ball with a better screenplay.

Not my type of Bond film, quite boring and way too long.