Wonderful defense of OHMSS and Lazenby - Part 1
Jaelle
Posts: 19MI6 Agent
Over the years I've been collecting certain issues of the quarterly magazine Films in Review, published by the National Board of Review of Motion Pictures and based in NY. It was founded in 1909. They have their own website: www.filmsinreview.com
In 1992-3, they did a terrific multiple part article tracing the history of the James Bond films, written by Nicholas Anez. I've been trying to track down all the issues that contained this article (so far I have only two). I was re-reading part 2 of the article and was really struck by its vigorous defense of OHMSS and Lazenby's performance. Since both the film and Lazenby are routinely dismissed and ignored in the entertainment press, it's nice to see that both have their staunch defenders among professional, serious film critics. I share it here with you now, starting from the point at which Anez begins discussing OHMSS (he starts off by discussing Casino Royale and YOLT). I hope this isn't old news to you. And it is quite long.
Intro: "Squaring off against the many critics of On Her Majesty's Secret Service, Anez feels it is the crowning achievement of the series and George Lazenby, critics de damned, gave a compelling performance as 007."
By 1969, the spy boom appeared to be over with even Bondmania on the wane. Anti-war movies were popular, making a government agent with a license to kill passé to many. And in a move that seemed sacrilegious, another actor was playing James Bond.
In any film series, it is always the second actor in the lead role that has the most difficulty gaining popular acceptance, subsequent actors having it easier since resistance to change lessens with each successive replacement. In this case, making it even more difficult for the second actor was Sean Connery's immense popularity as Bond and as a personality. To make matters even worse, publicity for the new actor was noticeably deficient as the movie's premiere approached. In the advertisements for the film, the name James Bond was prominently displayed but the name of the new actor was not highlighted. Australian model George Lazenby had already had some highly publicized differences with the producers who were making it clear that Lazenby would not be making a second Bond movie. And Lazenby apparently felt the same way because on The Tonight Show he appeared with a full beard looking more like a college professor than 007 and publicly expressed dissatisfaction with his first film experience. Thus, just before the film's release, it seemed to have all the markings of a spectacular bomb.
However, when On Her Majesty's Secret Service premiered in December 1969, it emerged as a perfect movie and the crowning achievement of the series. It is filled with breathtaking action scenes, terrific villains, suspense, humor and the added element of romance. It is totally entertaining and thrills, delights, amuses and eventually stuns audiences with its unexpectedly tragic ending.
Richard Maibaum's screenplay follows the novel very faithfully. James Bond is more human in this film, displaying character change and vulnerability. Gadgets are noticeably absent in a plot which involves Blofeld's development of a bacteriological virus with which he plans to contaminate the world's food supply if not granted pardon for past crimes and a respectable title. This demand, instead of asking for his usual millions of dollars, makes Blofeld more human as well, adding immeasurably to his character and to the plot's believability, despite the fantastic trappings. Simultaneous with Bond's pursuit of his archenemy, he meets and falls in love with Comtesse Teresa (Tracy) diVicenzo. The careful delineation of her character and development of the relationship brings credibility to the romance. Major supporting characters such as Tracy's father, Marc Ange Draco, and Blofeld's assistant, Irma Bunt, are also very well conceived.
Lazenby is introduced as the new Bond in the pre-credits sequence, though his face is not shown until after he rescues the suicidal Tracy. A well staged fight against two gunmen then shows Lazenby's capability as an action hero. After Tracy runs away, Lazenby looks directly at the camera and says with a smile, "This never happened to the other fellow." This is an ideal way to tell audiences that another actor playing 007 isn't the end of the world. It reminds moviegoers that, as Hitchcock used to say, "it's only a movie."
During the main titles, various clocks and timepieces drift across the screen, the first sign of the time motif that will pervade the film. Tracy feels that her time for living is over until she falls in love with Bond. Blofeld is insistent on gaining respectability as soon as possible and has no time to waste. Time suspensefully encloses Bond during the safecracking scene. The time bomb that will destroy Blofeld's headquarters ticks away swiftly. And when Bond tells Tracy that they have all the time in the world, neither of them has any premonition that for them, time will soon run out.
In the first part of the movie, romance alternates with suspense as Bond gradually falls in love while closing in on Blofeld. In the second part, humor and tension coexist as 007 poses as a genealogist to infiltrate Blofeld's eyrie in the Swiss Alps. Bond's meeting with his perennial antagonist is a dramatic highpoint of the series (thankfully, Maibaum's script ignores their meeting in You Only Live Twice and proceeds as if that film never existed). The final part of the film begins with Bond's escape from captivity and leads to a series of increasingly exciting chase scenes. During a lull in the action, Bond proposes to Tracy and offers to leave the Service. The scene is believable because Tracy has just reunited with Bond when he is at rope's end, trapped by Blofeld's men and displaying actual fear. At this point in his life, it is understandable that he might want to settle down, especially since he is genuinely in love.
But Blofeld is not about to let the man who has so often foiled his plans to escape easily. A thrilling mountain pursuit on skiis follows and precedes Blofeld's capture of Tracy, a helicopter assault on Blofeld's eyrie and the climactic duel between Bond and Blofeld on speeding bobsleds which alone must rank as one of the screen's all time great action sequences.
Maibaum's excellent screenplay is perfectly realized by the direction of Peter Hunt, editor of the previous films and second unit director of the preceding one. Though the movie is almost two and a half hours long, it moves very quickly and leaves audiences wanting more. Hunt deserves more than his share of the credit for the movie's success not only because of his inspired direction but also because of his obvious respect for Fleming and his insight into the character of Bond.
Also of tremendous value is the quintessential Bond score by John Barry which includes a pulsating main title theme, variations of which enhance the excitement of the action scenes. The score also includes a pleasant Christmas song which serves as an ironic background for the scene in which Bond is ensnared by his foes. But lingering in the memory is the romantic ballad, "We Have All the Time in the World," sung by Louis Armstrong, which conveys the optimism of the doomed romance and the poignancy of Bond's last line to his murdered bride. Barry's exceptional score perfectly integrates music and visual imagery to enhance the film's achievements.
[to be continued]
In 1992-3, they did a terrific multiple part article tracing the history of the James Bond films, written by Nicholas Anez. I've been trying to track down all the issues that contained this article (so far I have only two). I was re-reading part 2 of the article and was really struck by its vigorous defense of OHMSS and Lazenby's performance. Since both the film and Lazenby are routinely dismissed and ignored in the entertainment press, it's nice to see that both have their staunch defenders among professional, serious film critics. I share it here with you now, starting from the point at which Anez begins discussing OHMSS (he starts off by discussing Casino Royale and YOLT). I hope this isn't old news to you. And it is quite long.
Intro: "Squaring off against the many critics of On Her Majesty's Secret Service, Anez feels it is the crowning achievement of the series and George Lazenby, critics de damned, gave a compelling performance as 007."
By 1969, the spy boom appeared to be over with even Bondmania on the wane. Anti-war movies were popular, making a government agent with a license to kill passé to many. And in a move that seemed sacrilegious, another actor was playing James Bond.
In any film series, it is always the second actor in the lead role that has the most difficulty gaining popular acceptance, subsequent actors having it easier since resistance to change lessens with each successive replacement. In this case, making it even more difficult for the second actor was Sean Connery's immense popularity as Bond and as a personality. To make matters even worse, publicity for the new actor was noticeably deficient as the movie's premiere approached. In the advertisements for the film, the name James Bond was prominently displayed but the name of the new actor was not highlighted. Australian model George Lazenby had already had some highly publicized differences with the producers who were making it clear that Lazenby would not be making a second Bond movie. And Lazenby apparently felt the same way because on The Tonight Show he appeared with a full beard looking more like a college professor than 007 and publicly expressed dissatisfaction with his first film experience. Thus, just before the film's release, it seemed to have all the markings of a spectacular bomb.
However, when On Her Majesty's Secret Service premiered in December 1969, it emerged as a perfect movie and the crowning achievement of the series. It is filled with breathtaking action scenes, terrific villains, suspense, humor and the added element of romance. It is totally entertaining and thrills, delights, amuses and eventually stuns audiences with its unexpectedly tragic ending.
Richard Maibaum's screenplay follows the novel very faithfully. James Bond is more human in this film, displaying character change and vulnerability. Gadgets are noticeably absent in a plot which involves Blofeld's development of a bacteriological virus with which he plans to contaminate the world's food supply if not granted pardon for past crimes and a respectable title. This demand, instead of asking for his usual millions of dollars, makes Blofeld more human as well, adding immeasurably to his character and to the plot's believability, despite the fantastic trappings. Simultaneous with Bond's pursuit of his archenemy, he meets and falls in love with Comtesse Teresa (Tracy) diVicenzo. The careful delineation of her character and development of the relationship brings credibility to the romance. Major supporting characters such as Tracy's father, Marc Ange Draco, and Blofeld's assistant, Irma Bunt, are also very well conceived.
Lazenby is introduced as the new Bond in the pre-credits sequence, though his face is not shown until after he rescues the suicidal Tracy. A well staged fight against two gunmen then shows Lazenby's capability as an action hero. After Tracy runs away, Lazenby looks directly at the camera and says with a smile, "This never happened to the other fellow." This is an ideal way to tell audiences that another actor playing 007 isn't the end of the world. It reminds moviegoers that, as Hitchcock used to say, "it's only a movie."
During the main titles, various clocks and timepieces drift across the screen, the first sign of the time motif that will pervade the film. Tracy feels that her time for living is over until she falls in love with Bond. Blofeld is insistent on gaining respectability as soon as possible and has no time to waste. Time suspensefully encloses Bond during the safecracking scene. The time bomb that will destroy Blofeld's headquarters ticks away swiftly. And when Bond tells Tracy that they have all the time in the world, neither of them has any premonition that for them, time will soon run out.
In the first part of the movie, romance alternates with suspense as Bond gradually falls in love while closing in on Blofeld. In the second part, humor and tension coexist as 007 poses as a genealogist to infiltrate Blofeld's eyrie in the Swiss Alps. Bond's meeting with his perennial antagonist is a dramatic highpoint of the series (thankfully, Maibaum's script ignores their meeting in You Only Live Twice and proceeds as if that film never existed). The final part of the film begins with Bond's escape from captivity and leads to a series of increasingly exciting chase scenes. During a lull in the action, Bond proposes to Tracy and offers to leave the Service. The scene is believable because Tracy has just reunited with Bond when he is at rope's end, trapped by Blofeld's men and displaying actual fear. At this point in his life, it is understandable that he might want to settle down, especially since he is genuinely in love.
But Blofeld is not about to let the man who has so often foiled his plans to escape easily. A thrilling mountain pursuit on skiis follows and precedes Blofeld's capture of Tracy, a helicopter assault on Blofeld's eyrie and the climactic duel between Bond and Blofeld on speeding bobsleds which alone must rank as one of the screen's all time great action sequences.
Maibaum's excellent screenplay is perfectly realized by the direction of Peter Hunt, editor of the previous films and second unit director of the preceding one. Though the movie is almost two and a half hours long, it moves very quickly and leaves audiences wanting more. Hunt deserves more than his share of the credit for the movie's success not only because of his inspired direction but also because of his obvious respect for Fleming and his insight into the character of Bond.
Also of tremendous value is the quintessential Bond score by John Barry which includes a pulsating main title theme, variations of which enhance the excitement of the action scenes. The score also includes a pleasant Christmas song which serves as an ironic background for the scene in which Bond is ensnared by his foes. But lingering in the memory is the romantic ballad, "We Have All the Time in the World," sung by Louis Armstrong, which conveys the optimism of the doomed romance and the poignancy of Bond's last line to his murdered bride. Barry's exceptional score perfectly integrates music and visual imagery to enhance the film's achievements.
[to be continued]
Comments
As Jaelle probably was I am quite (pleasantly) surprised to read this from those who review films and actors as a profession since the best review I've seen of Lazenby as Bond is either, "not bad" or negatively comparing him to his predecessor rather on his own merits as an actor. It is also excellent to see OHMSS get a positive and intersting review as again this is generally dismissed as the outcast of the series.
Still, looking forward to the next installment.
I am looking for different film-reviews for OHMSS and George Lazenby. Do you know where I can get these?
I was a baby when OHMSS came out but my father surprised me recently.I asked for OHMSS on dvd for Christmas and his reply was ' Oh,the Lazenby one.Thats not very good is it' I had to put him right obviously.But the problem is he still remembers way back to '69 and GL.
If OHMSS was shown more now,maybe there would be a few more people who could appreciate OHMSS.Lazenby wasn't a great Bond,but the film was good.Looking forward to my dvd....
I agree with you Rose--OHMSS is an excellent motion picture.And considering the circumstances, George Lazenby gives a fine and nuanced performance.GL's not as experienced an actor as Connery or Dalton or Brosnan or Moore,but his performance is certainly nothing for him to be ashamed of.
Unfortunately,in 1969 even the greatest actor in the world would've had a hard time following in the footsteps of Sean Connery, who'd truly made 007 his own.I was a teenager when OHMSS came out, and it seemed as if many of the critics had decided in advance that they weren't going to be pleased by anyone other than Connery in the role of James Bond.Many of them were needlessly rough on Lazenby's performance.Of course,no one else had ever played 007 on the movie screen before Connery, so it's understandable that some comparisons would be made.However...
Additionally,OHMSS is the only Bond film to have a tragic ending, and that didn't go over very well with general audiences who came to the theatres expecting to see a happy and upbeat final act.
In a later interview Lazenby(this may be in the "Making of.."documentary on the OHMSS DVD) pointed out that in retrospect, he probably should've appeared in a few traditional Bond films-complete with all the gadgets and the usual happy endings- before ever doing OHMSS.Of course,looking back, it's always easier to see what probably should have occured.
I quite agree.GL didn't stand a chance really,but thank God he gave it a go...at least it showed you could put another actor in and it would survive,they just needed to find the right one.OHMSS was a huge learning curve for Eon.I wish they would take the same chances these days.
Tha shame is,very few critics seem to be truely objective in their opions and as you say WG,George was doomed simply because he wasn't Connery.A very underestimated film.
========================
Indeed.OHMSS is a fine movie.George would've been better served had he only had the requisite acting experience before taking the part.For someone who had never acted before he's quite impressive.The Sean Connery circa FRWL or the Tim Dalton of TLD would've been much more effective,in OHMSS(I think)but that's only speculation.At any rate, George Lazenby showed considerable courage by following a performer who was at that time the popular actor in the world, and the man all the other Bond actors are compared to.The critics were harsher with GL than with any of the other Bonds--but of course,regardless of his talent that was inevitable.
One thing I find ridiculous is are the occasional assertion that no Australian actors can ever play Bond again because Lazenby wasn't accepted by the public.To them I ask,what if George Lazenby had been English rather than an Aussie?Would this argument still hold--that no Englishman can ever play Bond because Lazenby was considered a failure?
Anyway,I'd like to see Eon take a few more chances with the Bonds too,but I seriously doubt that'll happen.Certainly not today when the Bonds are so expensive to make.In 1969 Cubby learned that he couldn't create a star and that the public wanted happy endings.There won't be many(if any)breaks from the established formula.Even the occasionally derided Licence to Kill--one of my favorites--adheres to the formula while also taking a few chances.But only a few...:)
WG.
For me OHMSS is very near the top of my list and Lazenby is superb. What a shame that he decided not to do more as I'm sure he would only have got better. I love the physicality that he brought and think he played some of the softer scenes with real tenderness. A good villain, the best girl in the entire series, stunning locations, a standout score, and a tight script render OHMSS a real joy.
It must surely rank as the first re-boot coming after the hollowed out Volcanic excesses of YOLT & a below par performance and unworthy swansong from Sean.
http://www.thelostmovies.com/blog/on-her-majestys-secret-service-the-lost-bond/
I have just been contacted by the author of this piece and he wanted to pass on to everyone that the original article has been reproduced more recently in his book Celluloid Adventures (2007) [Amazon.co.uk] [Amazon.com], the book is 300 pages and the chapter on 007 is approximately 60 pages.
He also wanted to pass on his thanks for your interest and kind words about the original article.
I hope this extra information is useful for some of you.
Sticking closely to the book it brings Fleming alive, No Holloewd Out Volcanoes, Space Weapons or Steely-toothed Henchmen.Just well Written Charaters in an Involving Story.
The Folklore that has built up around it over the years is amazing,Like many I always believed it to of been a big flop, But looking at the adjusted box office it's plain to see it was a major success.
Lazenby was badly advised or mabey a little arrogant in walking away from the role,If he had stayed DAF Would have been a very diffrent movie ( after all he was reportedly offered a seven picture deal)
OHMSS Remains my Favourite out of the series and it's also my favourite Novel ( Bond alone on a mountain with Blofeld, Bunt etc, Simply Brilliant). Not Until Casino Royale (Daniel Craig) did they IMHO Combine all the Bond Elements again to produce another Near perfect, Stylish Bond Movie.
That said, this seems a rare case where the book is actually lighter than the film, partly because none of the jokes in the film work very well, making it heavy going. Whereas I believe OHMSS was the first to be written by Fleming after the films had got going, and was influenced accordingly (though these jokey influences don't get used in the movie...
Roger Moore 1927-2017
Plus, I may be the only person here, but I loved the sequence in which Bond pretended to be Sir Hillary Bray (the character, not the AJB member.)
No, I don't consider OHMSS to be heavy going. Rather, if any 60's Bond film was heavy going, I would argue that it was FRWL; which, although a masterpiece and my second favourite Bond film, is not quite as watchable IMO as DN, GF, TB or OHMSS. (YOLT is the only 60's Bond film which I regard as less watchable than FRWL due it it being IMO by far the weakest of the 60's Bond films.)