“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.
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Tagged 1962, 1967, 1969, 1971, aberration, acting, actor, adaptation, agent, ahead of its time, Albert, Andress, Armstrong, artists, Austin Powers, Australian, Avengers, babes, Barbara, BBC, being, Bernard, bikini, Blofeld, blog, BlogalongaBond, Bond, books, brawls, Broccoli, Brosnan, Bunt, childhood, Connery, cool, Craig, cruel, Cubby, DAF, Dalton, Daniel, deeper, depths, Desmond, Diamonds are Forever, Diana, directing, DN, Doctor No, Domino, Dr Evil, Draco, Drax, duty, editing, emotion, EON, Ernst, essence, experiment, facebook, faithful, Fan, fans, fascination, fast, Ferzetti, fight, film, Fleming, Flickering, formula, forum, forums, frantic, FRWL, Gabriele, Galore, George, girls, Gloria, Guy, Hamilton, Harry, Honey, Hunt, Ian, Ilse, imdb, Incredible Suit, interlude, irish, Irma, James, Joanna, Kinnemaniac, Lazenby, leave, Lee, Liam, Llewelyn, Lois, London, Louis, love, Lumley, M, Maibaum, man, Marco, Maxwell, MGM, MI6, Michael, Mini me, model, modern, Moneypenny, montage, Moore, Mrt'sblog, myth, obsessed, off duty, OHMSS, On Her Majesty's Secret Service, paced, Peter, Pierce, Pinewood, Piz, Portugal, punch ups, Pussy, Q, questions, quote, Raven, resignation, Review, Richard, Rigg, Roger, romance, sad, Saltzman, Savalas, scenes, scraps, Sean, Simon, Sir Hilary Bray, SIS, Song, spoof, Stavro, Steppat, story, superb, Switzerland, TB, telly, Terence, thoughts, ThunderBall, Timothy, Trim, tv, Twitter, United, Ursula, Verdict, visceral, We have all the time in the world, Wilson, write, writer, YOLT, You Only Live Twice, young
Nazi Germany is a historical setting we are all familiar with. Films set within the Third Reich often have similarities; good natured people trying to help persecuted Jewish neighbours, informers, political intimidation, concentration camps and the striking red background of the swastika. Equally there are areas often overlooked. The boxing rings for example.
Max Schmeling is a German film directed by Uwe Boll which tells the story of one of the 20th century’s greatest boxers. He became world champion in the early 1930s, getting his big break by beating the title holder by default after an illegal “low blow” from his opponent. The film begins by following Max as a paratrooper for the German army in Crete, where everyone seems to know his name. During a conversation with a British prisoner he recalls how his fame started, flashing back to his regret at being denied the world championship outright. The rest of his career became a struggle to prove he deserved that title.
Schmeling wanted to prove himself outside of Germany as well as within it. He wanted to be the best in the world. He was already a national hero but he wanted to win other countries over with his ability. He frequently flew to America for huge matches at iconic venues such as Madison Square Garden. He was beginning to win admiration around the globe until his task became a lot harder with the rise of the Nazi party. As Germany’s image was soured so was Schmeling’s. One of the interesting themes in this film is that Schmeling saw himself as a boxer first and a German second. And that Nazism would simply pass as though it were an adolescent phase.
Hitler wanted Schmeling to be a symbol of the Aryan race and Germany’s might. As Schmeling sought to arrange fights with the formidable black American boxer Joe Louis, an opponent with an unbeaten record and extraordinary number of KOs that would enhance his boxing credentials should he somehow beat him, the Nazis tried to portray the clash as a battle between races and ideologies. Schmeling was naive in one sense but extremely brave in another, to carry on regardless of this manipulation and insist it was just a boxing match. Through his honour he simultaneously became a political pawn by refusing to recognise the wider significance, and rose above the Nazis by continuing with his dream.
So this film is an epic historical drama, encompassing wide areas of German life before and after the Nazis took power. We see both the glitz of the Weimar era and the race riots of Kristallnacht on the streets of Berlin, when Jewish shops and residents were viciously attacked. The period detail, particularly the costumes, and the variety of locations, are impressive. It is also a story of the rise of a sporting great, with Rocky style montages as Schmeling trains for his big fights and moments of tactical deliberation. And there is a love story, when Schmeling meets his soul mate in actress Anny Ondra and manages to marry her.
The love story gives this film something extra. There are, as I said, a lot of stories set in Nazi Germany, often with romances, sometimes with sporting heroes trying to avoid the control of the regime. But this romance is particularly convincing. Henry Maske gives an Arnie-esque performance, as a simple man falling for a beautiful woman. And Susanne Wuest is believable as first a teasing woman suspicious of a brute pursuing her affections and finally an actress frightened by what the Nazis are doing to her profession.
A short but enlightening “Making of” feature on the DVD reveals the reason for the authenticity of this relationship on screen; Maske is not an actor but a boxer. Therefore, as Wuest puts it in an interview, we have a boxer playing a boxer and an actress playing an actress. Director Boll was impressed with Maske’s performance and put it down to his ability to effectively play himself, identifying with Schmeling to inhabit the character.
Overall this might not be the most original film experience but it is immensely enjoyable. All of its various elements are superbly executed, from the production standards to the acting, from the music to the exciting and raw boxing matches themselves. This feels like an incredibly real snapshot of history and it’s a story that deserves to be well told about a remarkable man.
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You can rely on Disney’s well known Pirate franchise for one of the universal laws of cinema. As sure as night follows day and the tide washes in and out, each successive film in the Pirates of the Caribbean series will be worse than the last. Like a basket of juicy fruit left to rot on a sunny beach, the individual ingredients that made the first film so fun gradually lose their enjoyment. You can also bet your house that in increasingly more desperate attempts to recapture the magic of the Black Pearl’s virgin voyage, the plots will acquire more baffling layers with each new instalment. And this film’s ending proves once again that there will always be room for yet another adventure.
However this film does break some new ground. For example for the first time ever, the title is as confusing and vague as the many competing strands of the story. The tides are certainly no more or less important than before and there is nothing strange about the film; within Captain Jack’s world at least mermaids and myths are pretty standard fare.
Things get off to a familiar but promising start. Our beloved scallywag Jack Sparrow is in London to rescue sidekick Mr Gibbs from a trial, which would be swiftly followed by a hanging if the bloodthirsty crowd had their way. After some costumed shenanigans and typically camp stalking about, Jack and Gibbs find themselves at the King’s palace. The crown wish to find the fountain of youth before the crafty Catholics in Spain and they’ve heard Sparrow knows the way.
Jack gets an audience with the King in a sumptuous room and Depp gets ample opportunity to showcase the physical comedy and wordplay audiences have come to love. The King is played by Richard Griffiths in a delightful cameo. Needless to say Jack manages an escape. Later in the film Geoffrey Rush’s Barbossa takes the time to mentally plan an escape route, presuming that’s what Depp’s madcap Sparrow does, only for Jack to reply that he sometimes “improvises”. The running and jumping through an impressive CGI London in the film’s opening segment, is ad hoc Jack Sparrow action at its best.
Sadly the film simply cannot maintain the entertainment levels as chase follows chase and sword fight follows sword fight. Most of the action is surprisingly inventive, especially since we’ve had three films already but at times even Jack’s luck over judgment leaps of faith enter ridiculous territory. The stunts become monotonous by the end because of the film’s relentless opening barrage, tarnishing the drama of the finale. There are no explosive cannon battles for those who love their ships and nautical duels. Instead of boarding we get an awful lot of trekking through the jungle.
Having said this, two standout scenes are exciting and engaging. I’ve already mentioned Captain Jack prancing his way around London but the first mermaid attack scene is also terrific. Only the Pirates franchise could deliver such a scene. It’s got frights and bites, fangs and bangs. The mermaids are less interesting by the end, but here they are introduced in a lengthy scene as seductive and dangerous. The attack comes as a real shock and well managed change in pace after they are lured in to enchant some pirates left as bait.
The mermaid battle is an epic, long scene and the film is so long that it loses much of its epic feel. Sub plots like a half formed romance between a mermaid and clergy man could have been slimmed considerably or dropped altogether .The runtime is literally bladder bursting, as a friend of mine dashed from the room as soon as the credits rolled. I was content to sit and watch the names of the cast fly at me in 3D however, because of Hans Zimmer’s magnificent music, which remains the best thing about the Pirates of the Caribbean. There are some nice variations and new additions to the main theme in this instalment but I can’t help feeling it’s time he focused his talents on new projects, rather than continually recycling one stunning track.
Hang on though; surely this is still worth seeing just for another outing from Johnny Depp as Captain Jack Sparrow? Isn’t he the single most important pillar upon which the blockbusters are based? I always assumed, like many critics, that the romantic pairing of Orlando Bloom and Keira Knightley in the previous films was holding back Depp’s brilliance. But having seen On Stranger Tides, in which Depp must mostly steer proceedings alone, his performance is somehow less effective without them.
He is at his best in this film when dancing around other characters, making light of them. Penelope Cruz is suitably sassy and sexy as a pirate, albeit with an unrealistically attractive cleavage for a hardened sailor, and she and Depp have some fun exchanges, but putting Sparrow at the heart of a love story doesn’t work. Even the filmmakers realise this by backing out of it somewhat at the end. Captain Jack Sparrow is not the emotional type. And what made him so attractive to audiences, was the way he mocked the clichéd relationship between Bloom and Knightley. Making him part of the conventional storyline robs his performance of some of its power.
Depp is still fantastic fun at points though, rising above an overcomplicated script with a bizarre fascination for throwing in random and rubbish rhymes. This film may just go through the motions and it may be far too long, but it’s undeniably grand and fairly pleasing despite the odd yawn.
Rather than fork out for its occasional 3D gimmicks of a sword jutting out of the screen though, I would recommend ditching the high seas for inner city London and Joe Cornish’s critically acclaimed directorial debut, Attack the Block. I saw this just hours before Pirates 4 and without adding anything new to the chorus of praise around it, I will just say go and see it. It is funnier and more thrilling than Rob Marshall’s blockbuster and doesn’t deserve to sink.
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Tagged 2010, 3D, 4, acting, action, actor, Aliens, America, Anne's, At World's End, Attack the Block, Australia, aye, bangs, Barbossa, beauty, bites, Black Pearl, Blackbeard, bladder, Blade, blog, Bloom, blud, Bray, Britain, British, bursting, camp, captain, Caribbean, cart, Catherine, Catholic, CGI, chemistry, Chicago, choreography, cinema, cleavage, clergy, Comedy, Cornish, costume, Cruz, culture, Curse of the Black Pearl, Daniel Day Lewis, daughter, David, day, Dead Man's Chest, Deadwood, debut, Depp, director, dull, eccentric, England, English, entertaining, epic, fangs, feds, FIFA, fight, film, films, Flickering, follows, fountain, franchise, frights, funny, Geoffrey, Gibbs, gimmick, girl, glasses, grand, Griffiths, Guardian, Hector, high sea, hilarious, history, horses, Ian, impostor, Incredible, Independent, inevitable, inner city, instalment, island, Jack, Joe, Johnny, jolly, jungle, justice, Keira, Keith, King, Knightley, Labour, length, Liam, London, love, man, Marshall, McShane, mermaid, movie, movies, musicals, myth, narrative, nautical, new, newcomers, next, night, Nine, novel, of, old flame, On Stranger Tides, Orlando, overcomplicated, Penelope, performance, Pirates, pleasant, plot, pregnant, Protestant, Queen, quest, race, random, revenge, Review, rhymes, Richard, Richards, ridiculous, rings, Rob, Roger, Rolling, romance, Rotten, routine, rubbish, runtime, Rush, sail, sailor, sassy, scallywag, scary, scene, script, sex, sexy, shenanigans, ship, silly, slang, soldiers, Spanish, Sparrow, Stones, story, style, sub plot, suit, suitably, swords, Tear, Technorati, Telegraph, The, The King's Speech, thoughts, tide, Tomatoes, too long, Trim, tv, UK, Ultra, Verdict, water, woman, writer, writing, youth
If you’re not fed up with the circus yet, you soon will be. Every clowning performer, every newsreader, commentator and gushing crowd member, will be salt rubbed into your severely wounded mood. Gossiping and gawping at two rich strangers is irritating for half an hour, annoying for an evening and soul destroying after days and weeks. Wedding talk is a stressful and pointless nuisance. At the end of this week the womenfolk will be in an unstoppably riotous mood. It will be terrifying.
Your masculinity will be torturously chipped away. The usual refuge, the pub, will be hideously transformed into a paradise of bunting and delicate decoration. When the confetti and the cupcakes and the tiaras get too much, new escape routes will be needed. After the horrors of the day itself, you’ll need to rediscover your true self and chill out as a bloke again.
For the alternatives to the madness, the cures to wedding fever and feral femininity, keep it glued to Flickering Myth. We’ll remind you that there’s good honest entertainment worth living for after a monstrous marriage marathon.
Your first anti-wedding tip then is Kenneth Branagh’s (that’s right the thespian and national treasure, directing a comic book adaptation) eagerly anticipated Marvel epic Thor, in three dimensions courtesy of the now standard issue Elton John specs. After all what could be more manly than a hero with impossibly mahoosive muscles and a badass cape, whose principal superpower is a giant hammer for bashing stuff to bits? He’s a God-like handyman irresistible to women and the envy of lesser men.
I promised myself I wouldn’t resort to atrocious puns to describe the merits and failures of Branagh’s creation, as other reviews have done. But then I thorght, by Odin’s beard there’s no harm in saying that whilst this isn’t quite a thor star film, its plot hammers along with such thunderous gusto that it at least cracks the norse code of decent superhero movies for the most part. The critics are right to muck about with words and have fun with their reviews though; because Thor, whatever its faults, is a fun watch.
Despite the drawbacks of spending much of the running time in the CGI kingdom of Asgard, I found such a different setting mostly refreshing. Gleaming golden palaces, elaborate armour and impossible landscapes are ingredients unavailable to the likes of Batman and Iron Man, no matter how artificial the environment might sometimes seem. Undeniably at times the 3D CGI is visually dazzling and striking. There are even a number of good, thumping action scenes in the eternal realm. As some reviewers have pointed out, setting much of the film in Asgard ensures the audience becomes attached to it, whether they appreciate its over the top beauty or not.
There’s no doubt that the fun factor only truly kicks in when things literally crash down to earth though. There are a good number of gags, nearly all of which are LOL worthy. Thor amusingly thrashes about at the humans he interacts with, struggling to accept he is at the mercy of the mortals. He only really bonds with one of us human plebs, the beautiful and gorgeous (I do not have a crush!) Natalie Portman. She plays a scientist on the verge of some vague but momentous discovery to do with particles and space or something. Thor sees she is clever. And that she’s a woman too. Portman is by no means mesmerising as she is in Black Swan here, but she does the job asked of her by the story, as do Anthony Hopkins and even Chris Hemsworth as Thor, who looked so wooden in the trailer. No I don’t just think she did a good job because she’s hot.
You might like to know the basic thrust of Thor’s plot: Thor heir to throne, Thor seeks revenge on Frost Giants, Thor banished for breaking peace, Thor seeks to find lost hammer, Thor inadvertently falls for hot human scientist, Thor tries to return to save kingdom. I like to think he may have grunted it out bluntly like that. And yes you read that rightly, the bad guys in this are called Frost Giants. They are perhaps Thor’s weakest ingredient; childishly simple foes that are difficult to take seriously. But again they are at least different to standard superhero fare.
The best bits, besides the laughs, following Thor’s fall to earth are two stunning action scenes. The first sees Thor roaring like King Kong as he bashes a bunch of S.H.I.E.L.D agents. He’s trying to get to his beloved magical hammer, which is sealed off by awesome looking white tubes by the guys in suits that will link all Marvel’s superheroes together for the forthcoming Avengers film. The second climatic action scene sees Thor and his warrior friends fleeing from a fire breathing robot despatched by the traitor in Asgard’s camp to kill Thor.
This scene gets the best out of a small and dusty New Mexico town location; by smashing it to pieces with fantastic fiery explosions. The really impressive and surprising thing, especially given all the talk about Thor’s visual style, is the sound the killer robot makes every time it unleashes a fireball; it’s so piercing and deafening that you feel the impact of each blast. My friend violently flinched in surprise at one moment when the thing shaped up to slap something. Then in the aftermath of the destruction the soundtrack and the visuals reach suitably epic proportions for Thor’s big race against time comeback moment.
Thor is of course the God of Thunder, which is fitting given that most superheroes grapple with the stormy consequences of their own God complexes. Needless to say Thor predictably learns his lesson, to put others before yourself is truly heroic blah blah, but in engrossingly epic style. There is just something fun about this film, which makes you reluctant to dwell on its various faults and flaws. Thor ended leaving me wanting more from the character and more from his world, despite the silliness of some of the mythological squabbles. Branagh has not crafted the meaningful art he is accustomed to, but a fun and refreshing thorker of a blockbuster. He may be a prince, but Thor will easily sail your mind away from all things Royal.
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Tagged 2010, 3D, action, agent, America, Americans, Anthony, antidotes, article, articles, Asgard, at, bash, Batman, battles, BBC, Beard, bits, blog, blokes, Branagh, breathing, bridge, Britain, British, bunting, cakes, Cameron, Captain America, ceremony, CGI, Chris, cinema, Cineworld, Clegg, CNN, Coalition, Comedy, confetti, culture, Cup, Cuts, David, decoration, Deity, delicate, desert, destroyer, director, dust, Ed, Elton, England, epic, explosions, fantasy, feature, females, feminine, feral, fight, film, fire, Flickering, flinch, Friday 29th April 2011, Frost, funny, Giants, glued, god, God complex, gossip, Guardian, gushing, Hamlet, Hammer, handyman, Hemsworth, history, Hopkins, hot, Hulk, hypocritical, Iron Man, it, ITV, John, keep, Kenneth, Labour, lesson, Liam, Loki, LOLZ, London, love, macho, magic, manly, marriage, marvel, men, movie, myth, narrative, Natalie, NBC, new, New Mexico, Nine, Norse, norse code, Norway, novel, Odin, Part 1, plot, Politics, Portman, prince, pub, punches, realms, refreshing, Review, robot, Royal, sail, Scandanavian, scene, science, score, script, Series, sex, Shield, soundtrack, specs, story, style, superhero, Superman, The Avengers, Thespian, Thor, thor star, thorght, thoughts, tiaras, To, Trim, UK, Verdict, warrior, wedding, Westminster Abbey, writer, writing, Yanks