The Bond Project: For Your Eyes Only. This is the perfect example of a film which takes itself seriously, yet hasn't lost its sense of humor. It takes itself seriously in the sense that it has strong characters, a compelling story, and a solid script. Clearly, plenty of effort went into to making this film into a quality product, which can't be said for too many entries in the franchise. That having been said, this movie still finds time to have a quick lagh at its own expense, such as the priceless chase sequence in Melina's car.
This is a very rare Bond movie in the sense that the audience doesn't know who the villain is until fairly late in the game. Even better, the audience meets the villain before it knows he's the villain. Of course, given the number of villainous roles Julian Glover has played, it wouldn't have been much of a surprise to anyone familiar with his work. Nevertheless, this simple plot-twist is devastatingly effective in a franchise which isn't known for misdirections of this sort. Think about it... even excepting the movie's that are named after the villain, think about how often the story telegraphs the identity of the heavy early in the first act. The previous film in the series is a perfect example. It's very rare that there's even more than one suspect.
Despie being such a simple plot-twist, the script milks it for all its worth, and it turns out to have a pretty good pay-off. The guy who is set up as the villain, Columbo, becomes a crucial ally for Bond, and gets a terrific scene where he gains Bond's confidence. Columbo's dialogue, not to mention a strong portrayal by Topol, makes him easily one of the most effective supporting characters in the history of the series. Sadly, the same can't be said for Melina Havelock, Bond's leading lady. She's stunningly beautiful, and the script gives her a marvellous motivation and a memorable modus operandi, but the performance is flat, which undermines the character tremendously. Far more memorable is Bibi, the young and not-so-innocent figure skater who throws herself at Bond, only to be rejected. That's a nice touch, actually. It's nice to see that Bond will draw the line somewhere. But Bibi is a thoroughly annoying character who doesn't really serve any necessary plot function. Her presence also undermines the story a bit, as it seems unlikely that a character like Kristatos would be so concerned about sponsoring an Olympic figure-skater. In that sense, it's reminiscent of Blofeld's bizarre interest in heraldry from On Her Majesty's Secret Service.
This film also uses the character of Gogol very nicely. The brief but memorable exchange between Gogol and Bond at the end, outside Kristatos's hide-out, is a marvellous moment, and a good reminder that the Soviets still are the bad guys, even if the Bond series rarely uses them as such. The fact that we've already seen Gogol as a sympathetic character in previous films makes his minor involvement in this entry that much more interesting. You know, I actually miss the Commie bastard.
Of course, what is a Bond movie without spectacular stunts and action sequences? There's plenty of those. The "dragging over coral in shark-infested waters" sequence is pretty cool, I must admit, although it doesn't seem to fit the style and tenor of this particular movie. I know it was taken from the novel Live and Let Die, but that's not what I mean. This movie presents a much more realistic Bond. Sure, he's damn near superhuman in his talents, but everything happening here is basically grounded in reality. The shark sequence, on the other hand, seems a little overcomplicated. To be fair, this is a quibble, and it's still a fun scene. [Though, one wonders why the sharks are immediately drawn to the nameless henchmen rather than the bleeding heroes.]
The bottom line: Easily the best Moore-film yet, and the perfect palate-cleanser after the sci-fi camp of Moonraker. The Bond Project will continue with Octopussy.
This is a very rare Bond movie in the sense that the audience doesn't know who the villain is until fairly late in the game. Even better, the audience meets the villain before it knows he's the villain. Of course, given the number of villainous roles Julian Glover has played, it wouldn't have been much of a surprise to anyone familiar with his work. Nevertheless, this simple plot-twist is devastatingly effective in a franchise which isn't known for misdirections of this sort. Think about it... even excepting the movie's that are named after the villain, think about how often the story telegraphs the identity of the heavy early in the first act. The previous film in the series is a perfect example. It's very rare that there's even more than one suspect.
Despie being such a simple plot-twist, the script milks it for all its worth, and it turns out to have a pretty good pay-off. The guy who is set up as the villain, Columbo, becomes a crucial ally for Bond, and gets a terrific scene where he gains Bond's confidence. Columbo's dialogue, not to mention a strong portrayal by Topol, makes him easily one of the most effective supporting characters in the history of the series. Sadly, the same can't be said for Melina Havelock, Bond's leading lady. She's stunningly beautiful, and the script gives her a marvellous motivation and a memorable modus operandi, but the performance is flat, which undermines the character tremendously. Far more memorable is Bibi, the young and not-so-innocent figure skater who throws herself at Bond, only to be rejected. That's a nice touch, actually. It's nice to see that Bond will draw the line somewhere. But Bibi is a thoroughly annoying character who doesn't really serve any necessary plot function. Her presence also undermines the story a bit, as it seems unlikely that a character like Kristatos would be so concerned about sponsoring an Olympic figure-skater. In that sense, it's reminiscent of Blofeld's bizarre interest in heraldry from On Her Majesty's Secret Service.
This film also uses the character of Gogol very nicely. The brief but memorable exchange between Gogol and Bond at the end, outside Kristatos's hide-out, is a marvellous moment, and a good reminder that the Soviets still are the bad guys, even if the Bond series rarely uses them as such. The fact that we've already seen Gogol as a sympathetic character in previous films makes his minor involvement in this entry that much more interesting. You know, I actually miss the Commie bastard.
Of course, what is a Bond movie without spectacular stunts and action sequences? There's plenty of those. The "dragging over coral in shark-infested waters" sequence is pretty cool, I must admit, although it doesn't seem to fit the style and tenor of this particular movie. I know it was taken from the novel Live and Let Die, but that's not what I mean. This movie presents a much more realistic Bond. Sure, he's damn near superhuman in his talents, but everything happening here is basically grounded in reality. The shark sequence, on the other hand, seems a little overcomplicated. To be fair, this is a quibble, and it's still a fun scene. [Though, one wonders why the sharks are immediately drawn to the nameless henchmen rather than the bleeding heroes.]
The bottom line: Easily the best Moore-film yet, and the perfect palate-cleanser after the sci-fi camp of Moonraker. The Bond Project will continue with Octopussy.
