The Draco/Bond raid of Piz Gloria at the end of On Her Majesty’s Secret Service (1969) is definitely a highlight of the movie. Lazenby’s Bond is dressed in a tactical navy jumpsuit in what many would say is his best outfit (no puffy shirts or kilts here) and the surprising use of the original Monty Norman James Bond theme sets the tone of the action sequence. Yes, you can enhance any James Bond movie scene by playing the original theme, but the addition of it here was a pleasant surprise and added just enough nostalgia to, in my opinion, truly cement George Lazenby as the character James Bond in his first and only appearance as 007.
Over the last 30 years, I’d also say that OHMSS has made the most stunning turnaround (at least for fans in my generation – I’m a late 90’s James Bond) in best-of lists – from a forgotten write-off of a James Bond movie to one of the most revered. It only gets better with each viewing.
This all=time one-liner at the end of The Spy Who Loved Me (1977) gets me every time. As Bond (Roger Moore) and Triple X (Barbara Bach) are caught in the act in an escape pod, a stunned General Gogol (Triple X’s boss), M (Bond’s boss) and Sir Frederick Gray (Bond’s boss’s boss) can’t believe their eyes.
The exchange is legendary: “Bond!” “Tri-PULL X!” “Bond! What do you think you’re doing?” make the men sound more like disappointed parental figures rather than government intelligence. A speechless Q can only watch in awe, almost jaw-dropped.
And then 007 quickly quips a legendary James Bond line of lore. It ends with a celebratory-sounding chorus line version of the movie’s theme, declaring “nobody does it better” in a hilarious double entendre. HA! So awesome!
I hear Max the Parrot’s stupid line in my sleep after watching For Your Eyes Only (1981). Why even have the bird in the movie? Was it *really* that important to have this kind of slapstick comic relief in a James Bond movie? Let alone animal slapstick comedy? It’s one of the questionable scenes in FYEO that puzzle me to this day alongside the “hockey” scene that holds its own in the eye-rolling department.
Sure – like all James Bond movies – FYEO has some good parts, but overall I’m not its biggest fan.
At the start of For Your Eyes Only (1981), we see James Bond (Roger Moore) visit the grave of his late wife, Teresa Bond:
The inscription reads:
TERESA BOND
1943 – 1969
Beloved wife of
JAMES BONDWe have all the
time in the World
Although I like the fact that they finally acknowledged the death of Bond’s wife, it’s puzzling that it took a full 12 years (an entire six Bond movies) since On Her Majesty’s Secret Service (1969) when she was murdered, to do so. Surely such a traumatic death would have affected Bond greatly, and I’d say Diamonds Are Forever (1971) (the follow-up to OHMSS) is flawed at the outset for at least not referencing it while Bond traipse around Las Vegas.
Maybe they decided to put it on the backburner because it’s obviously a sad event, and nobody wants to be sad watching a James Bond movie (ahem, NTTD). Or maybe the death was such a big event in the series they decided to avoid acknowledging (or forgot?) it until a lot of time had passed…was this Bond’s first visit to the grave?
Kind of a missed opportunity in my eyes, regardless. They could’ve worked a graveside visit later into the movie (who wants to see Bond graveside visit in a movie’s opening sequence anyway? ahem, again, NTTD!) or weaved it into a joint revenge plot with Melina Havelock’s revenge of her parents’ death. All in all, I’m glad they made the reference to Tracy’s death but the method could’ve been better. And a pity it was rather forgotten after this scene until NTTD really.
There isn’t a more brutal James Bond villain than Franz Sanchez (Robert Davi) from Licence To Kill (1989). In this scene alone, Sanchez shows his true self: a murderer, torturer and abuser.
Unlike other Bond villains, Sanchez is intimately involved in the cruel ways he shows his power. He doesn’t sit on a throne and stroking a white cat or avoid conflict by pushing a button in an escape pod. No – without hesitation, Sanchez orders a murder and tortures a defenseless woman.
Lupe’s somber “por favor, Franz” and the unsettlingly compliant way she bows to him for punishment is just awful and an obviously regular occurrence. And it’s telling that Sanchez comes with the small whip on his person – he knew Lupe’s fate before listening to any explanation.
Although disturbing, it’s scenes like this that define a Bond villain. It distinguishes Sanchez’s darker persona from other villains that take a more hands-off approach to evil.
Franz Sanchez (Robert Davi) in Licence To Kill (1989)
You’ve gotta love Baron Samedi’s (Geoffrey Holder) menacing laugh at the end of Live and Let Die (1973). This along with a few other Baron Samedi scenes add a feeling of mystique and almost introspection to the movie, which really isn’t present in any other James Bond movie. The ever-present voodoo references in the movie also contributes to this feeling, in my opinion, and add to its overall creepy/scary vibe.
I also think this end scene also technically breaks the fourth wall of the movie, which is a rare occurrence that has only happened a few other times in the series.
Skyfall (2012) is easily the most beautiful James Bond movie. Of course, we have cinematographer Roger Deakins to thank for that. He was nominated for an Oscar for Best Cinematography after all, and as most of us know, Oscar talk for James Bond movies is rare. There are several scenes in the movie that are some of the most visually appealing in all of the James Bond movies ever, but the Shangai scene takes the cake.
At over 9 minutes long with barely any dialogue, the focus is truly on the visuals for the entire sequence. From the blue-hued rooftop Bond swimming session to the seemingly “dance” of a fight set against a fluid neon advertisement in the skyscraper, it’s so easy to just sit back and enjoy this part of what many consider Daniel Craig’s best James Bond movie.
A visually stunning fight sequence from Skyfall (2012)
In Goldfinger (1964), Sean Connery’s Bond wakes up airborne and in a tranquillizer dart-induced haze. I love how an out-of-focus woman’s face comes into focus as if the movie audience recovers from Bond’s point of view.
Pussy Galore’s named introduction still elicits a guffaw reaction in me even to this day, and I’d imagine a theater-going audience would have audibly laughed at Bond’s “I must be dreaming” quip. Short scenes and exchanges like this from early Bond movies stand the test of time and fans can only hope future Bond movies are filled with gems like these.
This polarizing scene from Octopussy (1983) starts out lighthearted but ends with high tension as an undercover James Bond disguises himself as a circus clown to defuse a nuclear bomb. All in all, it is by far the dorkiest look of Roger Moore’s Bond, but looking past his costume and apparent masterful makeup artistry, I’m not sure there is a more defining “James Bond saves the world” scene in all of the movies.
Sure, Bond has defused many a bomb in his time, and even another nuclear one in Goldfinger (1964) albeit without a large audience like Bond has here. And yes, maybe they could’ve dressed Bond in something more flattering (a ringmaster with a top-hat, perhaps?), but the buildup for this scene and how an obstinate American general eventually tells everyone in the audience to shut up and let the absurdly dressed clown Bond defuse the bomb makes it all the more climactic. You can feel the tension! And I also think (to a degree) Bond’s look of desperation is made even more urgent because of his clownface makeup!
I won’t get over Bond’s look in this scene any time soon (and I wish at the end of the scene he would’ve just kept his red nose on for the full effect or took it off entirely, rather than having it hang awkwardly on his neck), but I also won’t let it take away from it significance amongst other times in the series when Bond heroically saves the world. Not many other scenes can top this one in that regard!
1. Roger Moore’s clown costume in Octopussy (1983) takes the cake…the ultimate dorkiest Bond moment!
One of the, if not *the*, most out of place sounds/music in any James Bond movie has to go to the use of the song “California Girls” from the “snowboard” scene from the opening sequence of A View To A Kill (1985). Yes, I get that Bond eventually travels to California (and meets girls there I guess?) in the movie and he is technically snowboarding with the snowmobile blade (which is like “California surfing” I guess?), but I’m still going to give the song choice a thumbs down.
I may have approved if the song chosen was the original version by the Beach Boys, but a quick Google also shows this is a cover by Gidea Park, and it sounds like an average one at that. They should have scrapped the idea. How Bond maintains his feet on the blade and gains enough momentum to surprise the skiing bad guys was puzzling enough for the chase, let alone the song choice. It’s fun for sure, but not particularly great.
I was also unfortunately reminded of this scene after watching Pierce Brosnan’s Bond’s absurd snowboarding/gliding scene from Die Another Day (2002):
*shudders*
