“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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As a Manchester United fan I refused to believe the tabloid talk of a widening rift between Wayne Rooney and Sir Alex Ferguson. It was the usual overexcited babble, trotted out simply to fill column inches. The sports pages have always brimmed with such gossip and rumour when the decorated, dour Scott decided to take a no nonsense approach to one of his big players. Rarely did such an approach lead to outright irreparable confrontation, and when it did the players had always past their prime or become replaceable. No one was seriously considering Wayne Rooney as a player who has already peaked, a player who could easily be slotted out of the side. When Ferguson had had enough of a player’s ego in the past he ushered them out the door and reinvented his side. Stam was eventually replaced by Ferdinand, Beckham by Ronaldo. When Van Nistelrooy departed Fergie changed the team’s playing style and adapted for the better. This time there was no question of Rooney departing and that being the catalyst for a wave of positive renewal, because Rooney was the one remaining talisman, the fulcrum around which any new generation would grow. Besides just months ago the England striker had pledged his entire playing life to a club he loved, respected and was grateful to. It is impossible to imagine where he would go.
I put all the excited chatter down to his recent personal and footballing woes. Rooney was the type of character who was bound to get agitated when in a bad run of form. He was also, or so I thought, a football puritan who just wanted to play as much as humanly possible. That’s why he was furious with Ferguson for being left out of the side a few times recently after news of his personal life rocked the airwaves. He wanted to play his way out of trouble, smash the doubters and the critics with his genius and endeavour on the pitch. Sir Alex, experienced with such media storms, clearly felt that Rooney would be better off shielded from the harsh glare of scrutiny whenever possible and unleashed to prove his doubters wrong only when fully, 100% fit. The manager was doubtless aware how he has allowed his squad to deteriorate in quality, to the point where Rooney carried United’s title challenge almost single handed last season, and he would be needed again at his best if United were to win back the crown. Sadly Rooney too could feel that burden on his shoulders and was no longer relishing it but allowing it to undermine his brilliance on the pitch.
Nevertheless even as the evidence mounted I would not believe that Rooney wanted to leave until Ferguson confirmed it in a press conference and Rooney followed this with a statement of his own. If there is to be a media battle as to who is blamed more, manager or talisman, it would seem Fergie has already masterfully laid the seeds of manipulation in his favour. Or perhaps the veteran manager was simply being honest and there was nothing calculated at all about his approach to the news. He seemed solemn at the press conference, powerless. The fingerprints of the modern game’s big money, agent culture were all over Rooney’s statement. The fans could make up their own minds.
Having said this Rooney does have some weight behind his argument. There is no doubt that Ferguson has let his team become over reliant on Rooney’s presence. I have been arguing for the last couple of years, and indeed have mentioned in previous pieces, the need for Fergie to invest in the future, a new generation of Red Devils and thus avoid the need for a massive, unrealistic replacement of faded stars like Giggs, Scholes and Ferdinand in one go with high quality, expensive replacements. There are still gaps in the team left by the departure of Ronaldo and even Roy Keane. At times United’s trophy charge last season was a limp and a wheezing carcass was dragged reluctantly towards the finish line by Rooney’s goals. When his form dried up so did the team’s trophy hopes. This summer it seemed inevitable that Fergie would finally reinvest some of Ronaldo’s gargantuan transfer fee. But he let more time pass without acquiring replacements and dumbfounded supporters by missing the chance to sign a bargain like Ozil, who ended up at Madrid. There was no excuse for such a failure. The manager has always insisted that he would not be held to ransom by the market, but here was a proven, emerging young talent at a sensible price. Instead an impulsive £7 million went on Bebe, an untested, youthful player from a low level of football, who judging by his start to life at Old Trafford looks set to go the way of Djemba-Djemba and other Fergie transfer flops.
Letting Ronaldo go may have been inevitable and a good deal for United, but since his departure the manager has not moved to build a new great side or plug glaring gaps. In the aftermath of Ronaldo’s departure United’s weakness was the lack of a strong midfield spine, which cost them a second consecutive Champions League against Barca in the final. However rather than acquire that solid spine and build a new team for a renewed push for that third European Cup Fergie has allowed his squad to age. Now there is the need to replace Van Der Sar soon, find a new partner for Vidic given Rio’s continued fitness problems and secure long term creators and goal getters going forward. Acquiring all that quality in a hurry will be expensive and impossible given United’s financial constraints these days. Perhaps I am being unfair and in reality Ferguson, like any manager, was keen to go out and get players but was hampered by cautious voices behind the scenes, filtering down from the boardroom and from the Glazers. But in my view United’s diminished financial clout made it all the more important to gradually and sustainably acquire the parts of the next great side. Leaving things so late heaps so much pressure on players who simply don’t have it in them and risks a Liverpool style fall from grace from which the club might not recover.
Ok things might not be THAT drastic. Manchester United remains a massive club, with or without Wayne Rooney. Top, top managers hungry for glory and a place in history and capable of putting their own stamp of success on a team, would be desperate to step in should this crisis prove the beating of Sir Alex. If Rooney were to leave he would bring in a fee similar to that of Ronaldo, if not more. He is certainly worth more to the team, if not in the same dazzling, world beating form that the Portuguese was in. With no Ronaldo or Tevez at the club now only Dimitar Berbatov stands out as a world class potential talisman, and his form is sporadic. Therefore Rooney’s departure would surely demand serious investment in like for like replacements to keep United at the forefront of the game. There is already talk of Torres, Kaka, Benzema, Bale. As with Ronaldo though Rooney’s unique qualities make him effectively irreplaceable and a number of players, coupled with a change in style, would be needed to cover his absence.
Whilst Sir Alex has clearly missed opportunities in recent transfer windows that may have made the effects of this crisis even worse, there is a reason why Rooney is emerging as the villain of the piece; he is. Sir Alex Ferguson is a wise, successful manager, hindered by a difficult boardroom situation and impossibly high expectations. Wayne Rooney is a good player, but at 24 owes everything to his manager and his club. His statement talked of ambition and the club’s apparent lack of it, but for all the failings I have mentioned Manchester United remain one of the best clubs in Europe and are rivalled seriously only by Chelsea in the Premiership. Rooney has been privileged enough to have been elevated to effectively the leader of United’s trophy pushes, the carrier of supporters’ hopes and dreams. As Mark Lawrenson remarked in the build up to United’s stale win over Bursapor last night, Rooney has clearly forgotten where he has come from. He is a Champions League and Premier League winner and it is within his own power to ensure continued success for his club. Has he no sense of responsibility, respect or greatness? Where exactly would he like to go? Manchester City or Chelsea? Madrid or Barca? The choices are limited and none would suit him like United. Those who abandon Fergie’s projects rarely go on to better things, even if their already sizeable pay packets swell that little bit more. Rooney’s departure could permanently scupper United, but it will more than likely simply herald the beginning of the end for his own career and hero status.
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