Sunday, July 30, 2017
"ON HER MAJESTY'S SECRET SERVICE" (1969) Review
"ON HER MAJESTY’S SECRET SERVICE" (1969) Review
At least ten years or more must have passed since I last saw the 1969 Bond movie, “ON HER MAJESTY’S SECRET SERVICE (OHMSS)”. EON Production’s sixth entry in the Bond franchise has the distinction of being the only movie that starred Australian male model-turned-actor, George Lazenby. It was the first EON movie that did not star Sean Connery – already fixed in the public’s mind as the only actor who can portray James Bond. And it was the only movie that was directed by former film editor, Peter Hunt.
I first became aware of “OHMSS” back in the mid-1980s. I had seen it on television once, when I was a child. But ABC Television’s botched editing had turned me off from the movie. I eventually became a fan during repeated viewings of the movie during the mid and late 1980s. By the beginning of the 1990s, “OHMSS” had been fixed as my favorite Bond movie. For years, it remained in this position, despite repeating viewings of other Bond movies, the release of the Brosnan films and my own mysterious reluctance to watch “OHMSS”. It seemed as if I was afraid to watch it again, fearful that my earlier adulation of the film might prove to be misguided. And then EON Productions released “CASINO ROYALE” in the theaters back in 2006. "CASINO ROYALE" had impressed me so much that my doubts about “OHMSS” increased even further. After seeing “CASINO ROYALE” for the third time and 2008's "QUANTUM OF SOLACE", I finally decided to watch “OHMSS” for the first time in years.
In the end, my fears seemed groundless. My latest viewing of “OHMSS” proved that I had every right to view it as one of my all time favorite Bond movies. After 41 years, the movie still holds up as one of the finest Bond movies in the entire franchise, if not the finest. And it also one of the few Bond films to closely follow its source, namely the 1963 novel penned by Ian Fleming. What makes the latter remarkable is that the previous Bond entry, “YOU ONLY LIVE TWICE” barely resembled its literary source, aside from a few characters and the setting.
“OHMSS” picks up with Bond searching for Blofeld, now wanted by various governments for his past forays into international terrorism and extortion. His search leads to meeting the most important woman in his life other than Vesper Lynd – Teresa (Tracy) Draco di Vicenzo. Not only will his meeting with Tracy lead to a serious change in his private life, it will also affect his professional life, thanks to Tracy’s father, Marc-Ange Draco when he provides Bond with information leading to Blofeld. Of course, Draco was only willing to provide this information, if Bond courts his daughter. In the end, Bond not only tracks down Blofeld, but destroy the latter’s latest attempt to extort the United Nations. But as many know, Bond’s latest professional conflict will result in tragedy for his private life.
I only have a few problems with “OHMSS”. One of them was the director Peter Hunt’s decision to have actor George Baker (portraying the real Sir Hilary Bray), dub Lazenby’s voice, while Bond is impersonating Sir Hilary at Piz Gloria. Why they had decided to do this confounds me. It seemed very unnecessary, unless the director was aiming for Sir Hilary to sound like a cliché of a British scholar. Another problem I had were some of the jokes that came out of Bond’s mouth. I consider this problem minor, since “OHMSS” – like many other Bond movies had its share of good and bad jokes. One particularly good joke was the St. Bernard who came to Bond’s “rescue” after the latter had survived his bobsled fight against Blofeld. And last, but not least, there were a few moments when the editing seemed a bit . . . questionable. A good example would be the scene that featured Bond’s first meeting with Draco. There is a moment when it seemed that Bond had asked Draco for Blofeld’s whereabouts. It seemed as if Lazenby had spoken too soon, cutting off actor Gabriele Ferzetti’s lines too soon. Another viewing seemed to reveal that poor editing might have been at fault and not Lazenby’s acting. And another review seemed to agree with my findings.
Aside from the previously mentioned quibbles, I had no problems with “OHMSS”. In fact there is so much to enjoy about this movie – including the main star, George Lazenby. Many critics and fans either tend to dismiss his performance as wooden or give him minor credit for his valiant attempt at a decent performance. Frankly, I think that he was a lot better than many give him credit for. I must admit that he has a rather odd voice (which I suspect has been influenced by his Australian accent), but so did most of the other Bonds – including Connery’s tendency to indulge in pre-adolescent diction, Moore’s drawl, Dalton’s Welsh accent and Brosnan’s . . . well, I cannot really describe Brosnan’s voice. I just find it odd. But despite Lazenby’s odd voice, his acting comes off very natural and he seems to project Bond’s emotions with an ease that should not have come easy to him. But he does. And instead of portraying Bond as some kind of action/sexual icon, he portrays the character as very human. This is very obvious in the following scenes:
-Bond’s growing impatience with Tracy’s antics
-Bond’s surprise that M had given him leave instead of accepting his resignation
-Bond’s breakthrough with Tracy
-the Piz Gloria dinner sequence
-Bond’s fear of capture during his escape from Piz Gloria
-Bond’s proposal of marriage to Tracy
-Bond’s quarrel with M over Tracy and Blofeld
Personally, I thought that Lazenby really shined in the marriage proposal scene, those scenes that featured Bond’s quarrels with M and the Piz Gloria dinner sequence. Despite having his voice dubbed by George Baker in the latter, Lazenby managed to express Bond’s emotions during that scene effortlessly without having to say a word.
The movie also benefited from the presence of Diana Rigg, who had recently left “THE AVENGERS” to begin a movie career. What can one say about the great Diana? Not only did she effortlessly combine all the complex personality traits of Tracy di Vicenzo – witty, emotional, sad, brave, determined, etc. Is it any wonder that Tracy is viewed by many actresses as the ultimate Bond woman? Even better, both Rigg and Lazenby managed to create great chemistry together as the romantically doomed pair.
Not only did “OHMSS” benefited from both Lazenby and Rigg’s performances, the pair was ably supported by a fine cast that included the warm and charismatic Gabriele Ferzetti as Tracy’s father, the talented Ilse Steppat who portrayed the intimidating Irma Bunt shortly before her death (she never lived to experience the movie’s release), the always dependable Bernard Lee as M – giving one of his better performances, and the charming and fun Angela Scoular as Blofeld’s English patient, Ruby. Of course one cannot forget the legendary Telly Savalas, who became the second actor to portray Ernst Blofeld on-screen. And as far as I’m concerned, he was the best. He was not impeded by Donald Pleasance’s ridiculous scar and questionable accent or Charles Gray’s foppish portrayal. Instead, he radiated intelligence and menace, making him the only Blofeld (in my opinion) worthy of being Bond’s nemesis.
I also have to commend Peter Hunt’s direction. “OHMSS” was his first time at bat as a director. Any other inexperienced director could have turned one of Ian Fleming’s best novels into a hash job. Fortunately, Hunt proved to be a talented director and did justice to the novel – although I did have a problem with the editing of a few of his scenes. Hunt was not only ably supported by a fine cast, but by screenwriter Richard Maibaum, editor and future director John Glen, and John Barry’s marvelous score and Hal David’s haunting lyrics to the song, “We Have All the Time In the World”. Cinematographer Michael Reed superbly recaptured the majesty of the Swiss Alps and the exotic elegance of Portugal with his photography. And one cannot forget skier Willy Bogner Jr. and Alex Barbey for creating the first and probably best ski chase in the Bond franchise.
I could probably go on about how much I love “OHMSS”, but I do not want to sound repetitive. What can I say? After 38 years, I consider to still be one of the best Bond movies in the franchise . . . and definitely one of my favorites. And I am happy to see that “OHMSS” is finally being recognized by many as the fine film it is. If you have not seen this film, I suggest that you rent or buy it as soon as possible. Or else you will be missing something special.