Tag Archives: artists

BlogalongaBond: On Her Majesty’s Secret Service


“FAR UP! FAR OUT! FAR MORE!” reads the poster. As a youngster I would have scoffed at this. I would act superior to my friends whenever a Bond film happened to be on TV. I would dazzle them with my knowledge of the films. And if I was ever asked what the worst film in the entire series was I would always reply – “On Her Majesty’s Secret Service, obviously”.

Why was this? There was only really one reason; George Lazenby. It was his only Bond film, he did less than everyone else and therefore it was the worst. OHMSS (as I shall refer to it from now on) was an unwelcome aberration before the jolly rebirth provided by Roger Moore. As I grew up I was taught to love and treasure Roger’s cheeky eyebrows. But now, just as You Only Live Twice has slipped since childhood from one of my favourites towards the bottom of the pile, OHMSS is one of the very best in my personal Bond canon.

This is because the dated but charming slogan on the poster was spot on for a change; you really do get far more from OHMSS than any other Bond film. Not in every department of course; the range of locations is European and perhaps ordinary by modern standards, the gadgetry is minimum and the action less frequent than some would like. But for Bond fanatics, particularly those familiar with the Bond of Fleming’s books, this is the most faithful adaptation. A film with a storyline that really lets us get to know a little of the man behind the agent, the icon and the image.

As the excellent review from Kinnemaniac (which says everything I’m going to say more amusingly and precisely) points out, it is perhaps inevitable that diehard fans pounced on the instalment least popular with the general public. OHMSS is rarely picked for Bank Holiday TV schedules like other outings from Connery and Moore. Again as Kinnemaniac points out though, OHMSS attempts a tone not seen in the franchise again until the Dalton films and then properly in Casino Royale with Daniel Craig’s Eva Green love interest. Indeed perhaps Lazenby has Craig to thank for a new generation falling with renewed vigour for his solitary outing as 007.

Producers Cubby Broccoli and Harry Saltzman no doubt fretted over replacing Sean Connery. For cinemagoers of the sixties he was THE embodiment of James Bond. Unlike audiences of today they were unaccustomed to the regular replacement of the actor playing Britain’s top secret agent now and again. The way in which they chose to tackle the casting and the whole creative process of the sixth Bond outing was bold and experimental.

Lazenby was nothing more than an Australian model, director Peter Hunt had been an editor for the early films. Or perhaps OHMSS was a safer bet than it appears. Saltzman and Broccoli might have gone back to the books through caution rather than ambition, and the whole project delayed the business of thinking about Bond’s future properly until Connery could be lured back for Diamonds are Forever. In any case the special features of my Ultimate Edition DVD reveal the bitchy arguments and distrust on set that never looked likely to form harmonious or long lasting foundations, despite frequent praise for Lazenby’s surprising ability.

Lazenby of course unavoidably remains the film’s defining feature. Nowadays I am more than happy to overlook his occasionally dodgy acting. The reason many fans of the books take to him is that he simply looks like James Bond. Rather than acting out aspects of his character, he is simply being Bond and our selective imaginations can iron out the creases in his portrayal. Re-watching OHMSS this time I noticed just how good Lazenby’s acting is on occasion though. He pulls off subtle little looks as well as the more obvious love scenes.

You hope to discover something new each time you watch a film and I found out that I like OHMSS best when Diana Rigg is on screen as Tracy with this viewing. I knew I loved the opening scene with Peter Hunt’s teasing direction of a mysterious driver, John Barry’s sublime soundtrack to the seaside action and Lazenby’s fourth wall breaching line; “this never happened to the other fellow”. And indeed I rank the scenes until Bond heads off to Piz Gloria in the Swiss Alps (surely the only base of villainy to match YOLT’s volcano?) as some of my favourites in the whole franchise. But then things simmer down with Bond undercover as Sir Hilary Bray. There’s occasional hilarity, an interestingly un-mysterious Blofeld and lots of girls, but not that same look at Bond as a man in love. When Rigg turned up again my interest was ignited again and turned up a couple notches.

Lazenby and Rigg’s chemistry is important, indeed vital for Bond’s first true love story, but the main reason I enjoy her presence on screen is because of what it does to the story. And the creative execution of the storytellers must be praised when talking about OHMSS. It’s evident for Bondians familiar with the whole series that the reins are looser here. They are telling a story rather than following a formula.

The two key architects are John Barry and Peter Hunt. I’ve already mentioned my admiration for the scene that introduces us to Tracy and reveals Lazenby as Bond. It just might be my personal favourite out of all the films. But aside from my preferences it’s the perfect illustration of Barry’s musical talent and Hunt’s ahead of his time direction.

The OHMSS soundtrack was one of the first that I bought. Its got a brilliant title theme, along with a gorgeous mix of thrilling synthesised ski chase accompaniments and romantic themes inspired by the sublime We Have All the Time in the World by Louis Armstrong. And then there’s Hunt’s evident ambition as both an editor and director.

Supposedly Lazenby got the role as Bond after he demonstrated his aptitude for fight scenes. The punch ups in OHMSS swing between the comical and the innovatively magnificent. Long before the creators of the Bourne films would claim that Craig’s Bond copies their style, Hunt and Lazenby filmed frantically paced and edited brawls in hotel rooms and the froth and spray of Portuguese waves. There may be the odd inadvertently funny grunt or strange bit of camerawork but Lazenby’s exciting physical Bond foreshadows Craig’s by almost forty years.  If Hunt were working today his action scenes would be hailed as visceral and hard hitting. But back then change wasn’t embraced.

Even this fresh, frenzied approach to fisticuffs came back to underlining OHMSS’s USP; Bond is a man! He may still be a dapper chap with a trio of ladies actually making appointments to pull his trigger but now and then he’ll need to smother a man into submission rather than K.O. him with a single swipe. And his heart is as prone to silly somersaults as the rest of us male apes. Haters of Lazenby’s emotional depths though will not have long to wait for Bond to haul his armour back on. Within two years he’ll be protected by a 70s haircut, pink tie and drawling Scottish accent.

The Tunnel (Der Tunnel)


Film fans love a good tunnel. Whether it be the ingenious method for a daring bank robbery or the claustrophobic road to freedom from a tightly fenced POW camp, they are a vital ingredient of many a cinematic classic. Tunnels are a striking but simple storytelling device, that place the focus of the narrative firmly on the characters of people getting from one place to another, usually against the odds and at a snail’s pace. And what are all stories but snappier versions of the long and slow journey of life?

Sitting just a hay-fever induced sneeze away from surprisingly sizzling Easter sunshine with the windows flung open to the fresh spring air, I doubted my ability to fully inhabit the journey of the characters in Der Tunnel, a German film finally released on DVD on the 25th of April. In the comfort and luxuries of a 21st century room, blessed with the freedom to liberally gulp countryside air, I felt a million miles away from the damp, stuffy, volatile tubes carved torturously through the soil by countless characters in tunnel based films of the past. Not to mention feeling a world away from the 1960s Berlin setting of Der Tunnel.

Berlin is a constant inspiration for superb historical drama. It’s a fascinating city and just a glance at the ingredients that comprise its vibrant whole tells you why it’s so popular for storytellers. It’s steeped in history of all kinds, even before the rollercoaster the 20th century put the place through.  It became a radical melting pot for cultural and political change, ravaged by wars and economic turbulence and enriched by the presence of artists, writers, intellectuals and dancers.

Then with the division of the city via its infamous wall, the eyes of the world came to rest on a stark clash of cultures. When JFK declared himself a spiritual resident of the city he confirmed its status as a symbol of the Cold War, the tense conflict in microcosm. The West stood for freedom and the East for brainwashed or enforced conformity. Whilst Der Tunnel is ultimately pro the West and anti the Eastern regime, it does make you consider such simplifications more carefully. Standards of living do not change magically because of a move, and state intrusion can be replaced by the media. The West is no sure-fire ticket to happiness.

 Of all the tales inspired by the city though it’s perhaps those of suspicious spies and elusive espionage that endure with the widest and most thrilling legacy. Set a film in Berlin and it’s almost guaranteed shorthand for the audience that secrets will lurk and loom at the centre of the plot. Der Tunnel is no exception to this rule. There are a number of features that could be ripped straight from a Cold War thriller, with a manipulative East German Colonel using relationships and blackmail to protect the regime a superb example.

And yet this isn’t a tale of meddling foreigners but a story based on the truth of real Berliners, trying to escape meddling and ideological interference in their private lives. It’s principally the tale of champion swimmer Harry Melchior, who gives up a comfortable and celebrated lifestyle in the East to flee to the West before the wall is completed. He’s unable to get his beloved sister out in time though and he sets about finding a way to “bring her across”, and is joined by others cruelly parted from family, friends and lovers.

It’s a dramatic scene between two separated lovers, one of them also Melchior’s love interest, that really stood out for me from Der Tunnel. One of many emotional moments in the film, this rises above the rest because of superb acting and high drama but also due to the visual presence of the wall: painfully, physically and unavoidably denying the lovers a precious moment together. The tender scenes after this event are also moving, and the standout scene itself certainly has the potential to pluck tears from the coldest of eyes.

At just twenty minutes short of three hours long, I was worried about the wearisome effects of Der Tunnel. Would I need to scramble to the surface for air? In many ways this isn’t very creative or original storytelling, but it’s undeniably well executed, from the acting to the direction. I was engrossed by the lives and loves of the characters throughout. Crucially the tense and exciting climax delivers a classic, satisfying conclusion that’s fitting for such a classic premise.