On Her Majesty’s Secret Service (First MGM DVD-Video Version)
Picture:
B+ Sound: B- Extras: B+ Film: A-
If Sean Connery
had played Bond in this sixth official
installment of the James Bond franchise as produced by Albert R. “Cubby”
Broccoli and Harry Saltzman – (this excludes Barry Nelson’s 1954 turn as Bond
in Casino Royale which aired on
American television, and Woody Allen’s 1967 spoof of the same title) --
undoubtedly this would have been the best Bond ever made, period. (Certainly, a memorable Bond moment was lost
when Lazenby and not Connery was chosen to impersonate Sir Hilary Bray by dawning a Scottish kilt!) But what is even more interesting is that
this was almost the case after Thunderball
(1965), due to winter scheduling conflicts however, Connery went on to shoot
the mediocre You Only Live Twice
(1967). This is not to say that George
Lazenby, the Australian model turned actor who was discovered by way of a “Big
Fry” commercial does a bad job as Bond in On
Her Majesty’s Secret Service (1969).
In fact, his subtle blend of rugged charm, cockiness, and brutality
signify a Bond unlike any other and all but make up for his minor deficits in
other areas. It is even likely that if
he had blue eyes, the facial scar, and had arranged his hair to fall in that
peculiar black comma as specified by Ian Fleming in the novels, he most
probably would have been exactly what Fleming had in mind. (Though it turns out, ironically, that George
Baker, the actor who plays Hilary Bray, was Fleming’s actual suggestion in the
franchise’s infancy.) Instead of Connery
or Baker, we get a Lazenby who relies more on the previous films and Connery’s
persona than the novels for his own interpretation of Bond.
In this
not-surprisingly packed DVD we find out in “Inside On Her Majesty’s Secret Service”, an intriguing behind-the-scenes
documentary, that Lazenby decided to have his hair arranged exactly like
Connery’s. . .by Connery’s very own barber!
This is just one of many nods to “the other fellow” that emerges
throughout shooting this film – and it is simultaneously this particular
production’s biggest strength. . .and, perhaps, its biggest weakness. It is admirable that they did not totally
dismiss Connery’s invaluable contribution to the series --especially since he
would return two years later in Diamonds
are Forever (1971), but from a Maurice Binder Title Sequence that
references all of Connery’s former missions to an office scene where Lazenby
reminisces over gadgets from previous films, accompanied by the appropriate
musical cues, On Her Majesty’s Secret
Service (OHMSS henceforth, as
fans refer to it) may have had one homage too many. It is unfortunate that even today only a Bond
aficionado can actually name him, while the casual dilettante, on the other hand,
hasn’t even heard of him – or thinks that he was an experimental Bond that even
pre-dated Connery.
But
amateurs aside, a true Bond fan will note that while Lazenby’s performance is
awkward in some parts -- mainly where he is required to be debonair, this is
almost to be expected; Pierce Brosnan suffered from a similar awkwardness at
certain moments in Goldeneye (1995),
and Timothy Dalton never quite got it right.
Only Connery – and to a lesser degree Roger Moore – ever pulled off
flawless performances their first time out in Dr. No (1962) and Live and
Let Die (1973), respectively. But
Lazenby’s own contradictory cocksureness and self-effacing insight into his own
naiveté on his first outing in subsequent interviews featured on this disc is
telling. Barbara Broccoli’s recollection
of a perturbed Lazenby sulking because he was not invited to an on-set party
fascinatingly reveals not only how playing Bond was already beginning to affect
Lazenby’s personality, but also the strong leadership of Cubby Broccoli, who
promptly rebukes his “star” for such self-absorbed behavior.
Still,
Lazenby’s unique, swashbuckling swagger is firmly established in the Pre-Title
Sequence where his Bond is first introduced merely as a dimpled-chin cigarette
smoker, immaculately tailored in a tuxedo, bowler, and shades before bolting
from his Jaguar-like Aston Martin to go fisticuffs with a pair of armed
bodyguards and rescue Diana Rigg’s Teresa Di Vicenzo,
or Tracy, from a suicide attempt.
Ironically, though director Peter Hunt began his career with the Bond
franchise as an editor on Dr. No
before landing the coveted director’s chair, Hunt, I think, missteps by
allowing editor John Glen to cut an opening fight scene which is choppy, and
obviously achieved by shooting at a lesser frame rate before projecting the
film back at regular speed. Though this
is the effect he went for, it might seem a bit primitive and jarring for an
audience of today. Eliminating frames has proven to be a much more effective
way to edit fight sequences, as one can observe when comparing the battle
scenes of Mel Gibson’s ambitious Braveheart
(1995) to Tony Scott‘s vainglorious Gladiator
(2000). Even Peter Jackson’s
brilliant Lord of the Rings: The Two
Towers (2002) suffers from this choppy editing style in the scene at Edoras
where Viggo Mortenson’s Aragorn admits to Eowyn that she has “some skill with a
blade”. (But then again, Carrie Thiel,
the combat choreographer there only had one day to prepare Miranda Otto for
that sequence.)
Still,
what Hunt manages to accomplish in this film through his stunt arranger George
Leech in terms of action is extraordinary.
Shot with real Panavision scope lenses, the anamorphically enhances
picture restored on this disc is very good, but not great; and the same could
be said about the sound. Yet, when
combined with John Barry’s pulsating theme (now on CD from the original masters
and with bonus tracks from Capitol Records), OHMSS is still a genuine thrill as Lazenby lashes, thrashes, and
crashes his way from Portugal to the Swiss Alps in a barrage of exceptional
action spectacles. From a slugfest with
Draco’s (Gabriele Ferzetti) henchmen; to a highwire dangle courtesy of stuntman
Richard Graydon that redefines the cliffhanger; to a riveting ski-chase that is
only occasionally disrupted by the conventional and cheesy rear-projection that
is used for close ups, this film distinguishes itself as an action
classic. Even Diana Rigg gets in on the
action in a broken bottle standoff with Telly Savalas’ Blofeld during the film’s
climax! No doubt OHMSS also features some of the best 2nd unit action of
the series, thanks to the photography of Egil Woxholt & Roy Ford and John
Glen, who also edited the film, nearly eclipsing the subsequent ski and snow
sequences of The Spy Who Loved Me (1977), For Your Eyes Only (1981), and The
Living Daylights (1987) – but, of course, the latter two were directed by
John Glen; thus, making it a bit difficult to eclipse yourself. But hands-down, Willy Bogner, Jr. and Alex
Barbey’s ski sequence and bobsled chase in the middle act mounts to some of the
best stunt action realistically, as
opposed to formalistically, recorded
on celluloid acetate.
That
anamorphically enhanced 2.35 X 1 frame does manage to still hold up considering
this DVD was originally issued in 2000, coming from a print that captures much
of the dye-transfer three-strip Technicolor print. This has softness and other problems by
simply not being a High Definition transfer; this beats the first letterboxed
edition from the old 12” LaserDisc. Ted
Moore, B.S.C., took a break from the series as well, leaving the cinematography
to fellow B.S.C. member Michael Reed. As
for the sound trouble, the film was issued in optical monophonic sound
theatrically, instead of a potential multi-channel remix from with those stereo
music masters; we have this sometimes harsh Dolby Digital 2.0 Mono. This was not much of an improvement over the
old PCM CD 2.0 Mono on that LaserDisc, but there is a misperception this film
was stereophonic on VHS. What happened
was that when MGM/UA reissued all the Bond films on VHS, OHMSS was monophonic, but had a Dolby Surround logo on their
boxes. That was a big error.
MGM must
be congratulated for taking the time to pack a 20-part series with so many
extras; and for working closely with the Ian Fleming Foundation to ensure that
that the goods, were in fact – good. As far as features go, while I must admit
that I have been impressed with the extras on all of the Bond DVD’s without
exception, the features on this disc are worth noting further. While the “Above It All” Featurette is an
appreciated nod to the unsung heroes of the 2nd unit like
daredevil-aerial cameraman John Jordan, as the last documentary cited on the back of the packaging it is still no more
than a tantalizing appetizer that while whetting the cineaste’s appetite,
should not be saved for last. Likewise,
“Inside Q’s Laboratory” is a rather odd choice for this DVD’s special features
since the film’s content per Hunt’s own insistence -- in counter-cultural Bond
tradition -- is rather scant of gadgets . . .with the exception of the
automatic safe-cracking device that Bond employs while reading a Playboy
magazine. (Perhaps a nod to the fact
that it was in Playboy where Fleming’s novel On Her Majesty’s Secret
Service had first been serialized, but the Bond producers, heirs and Hugh
Hefner's landmark magazine have had a great relationship early on.) The chipper Peter Hunt is delightful to
listen to in his commentary as he expounds on his own “cunningness” in some
very telling directorial choices: for instance, having Lazenby play Hilary Bray
first, as opposed to Bond, to get comfortable with the character and the crew;
in insisting on having the climactic avalanche even when “Cubby” and the Swiss
army seemed resistant to the idea; and on his own ability to make certain that
the scene with Bond’s marriage proposal to Tracy would not only be romantic,
but also. . . have a sense of humor.
According to the commentary Hunt seems all too pleased with himself here
and other places throughout the film – even pointing out his own cameo
appearance as a reflection in the Universal Exports sign which opens the film
in what is articulated on the third audio track as a rather literal nod to auteurism, or the idea that a film
actually “reflects” its director’s personality.
All in
all, this is the Bond series at its most daring. Risky stunts, risky casting, and a risky plot
that sticks very close to a novel where the unthinkable happens: Bond gets
married. Veteran Bond screenwriter,
Richard Maibaum must be given credit for not attempting to lighten the novel’s
dark and unsettling ending, marking this film, perhaps right beside From Russia with Love (1963), For Your Eyes Only (1981), and License to Kill (1989) as offering both
a Bond and a dramatic premise with the most psychological complexity and depth
of the series. I must wonder why Hunt
never took the helm of another Bond film after so skillfully navigating
Lazenby’s debut outing. It would be
interesting to note what this Bond film might have looked like in the hands of
Connery and say Terence Young, or even John Glen, for that matter.
In terms
of narrative, OHMSS offers a
somewhat non-traditional plot. Though
after 20 films, we have now seen Bond left to his own devices by two other
means -- having his license to kill revoked in License to Kill and being disavowed in Die Another Day (2002) – here Bond quits MI6 partially due to his
frustration with a mission called Operation: Bedlam, whose chief objective is
to apprehend or destroy the most memorable and spoofed Bond villain of all
time, Ernst Stavro Blofeld. Blofeld is
the mastermind behind the infamous criminal organization SPECTRE; and, in an
interesting attempt at continuity that is common in the novels but rare in the
films, M removes Bond from the mission because of Bond’s previous failures at
apprehending him, subtly referencing, of course, From Russia with Love, Thunderball
(1964), and, most recently, You Only
Live Twice (1967), where Blofeld’s face is shown for the first time as
played by Donald Pleasence.
On Her Majesty’s Secret Service is one of the most interesting
Bond films because of how much the drama derives from character and not plot
device. Bond is obsessed with Blofeld
and dictates his resignation when M refuses “Her Majesty’s” support, but when
Lois Maxwell’s adoring and adorable Miss Moneypenny changes the resignation for
a two week leave of absence without Bond knowing, it is difficult to know who
is more grateful, M or Bond. Though M’s
“thank you” to Miss Moneypenny after Bond has left is a welcomed gesture of
warmth and affection from M for both Moneypenny and Bond that is rarely
displayed in the late Bernard Lee’s distinguished but gruff and stern
characterization. What follows, however, is an enduring confrontation between
Bond and Blofeld at the Piz Gloria, Blofeld’s remote hideaway in the Swiss Alps
where he has been secretly brainwashing a throng of exotic beauties to be
prepared to spread a worldwide virus if he is not granted international amnesty
by the West and allowed to claim his newfound title of Comte de Bleuchamp. But the real spine of On Her Majesty’s Secret Service is not Blofeld’s scheme, but the
relationship of Bond and Tracy – where Bond is actually matched up not only with
an equal, but a troubled three-dimensional character with a pension for action,
one night stands, and psychological baggage that rivals that of even Bond
himself. Of all the attempts to match
Bond with a female equal – Barbara Bach in The
Spy Who Loved Me (1977), Michelle Yeoh in Tomorrow Never Dies (1997), and the laughable and degrading
characterization of Halle Berry’s Jinx in Die Another Day, this matchup is the most compelling and the most
satisfying. Perhaps this timeless
pairing results from the fact that after Connery’s resignation while filming You Only Live Twice, the filmmakers
returned to the source of the Bond series’ success -- the Fleming novels -- and
not box-office appeal when they conjured this film that falls just short of
masterpiece. Next to From Russia with Love, Thunderball -- and Dr. No to a lesser degree -- this is the most faithful film to what
Fleming actually wrote down. When you
stack this along side an excellent Bond girl, a classic villain, a classic
theme –“We Have All the Time in the World”, the late Louis Armstrong’s last
recording – On Her Majesty’s Secret
Service plays even 30 years later as a fascinating disc that is impossible
to ignore. In fact, it could be stated
that one cannot truly know Bond or the Bond series without knowing On Her Majesty’s Secret Service.
Since
this review, a new upgraded version has been issued with usually better sound
and picture, which you can read more about at:
http://www.fulvuedrive-in.com/review/4708/James+Bond+Ultimate+Edition
- Gregory
Allen
Gregory
Allen -- filmmaker, scholar, and critic -- is an assistant Professor in the
Cinema and Digital Arts Department at Point Park University, and is currently pursuing his
Ph.D. at the University of Pittsburgh.
He also oversees the student film production organization The Sprocket
Guild www.sprocketguild.org and can
be contacted at info@sprocketguild.org.
