44 replies to this topic

[Pierce - Daniel]

I rewatched the film again today after having not seen it for a while, I was totally shocked and in awe of it.

lets start where they do, the pre titles scene. Its shot so well, the slow reveal of Bond is done so well, but what I really loved was the beach, it looked so haunted and creepy, the whole shipwrecked feel really worked as a great backdrop and I loved the grayscale look of the opening. Its a very strong start for any movie. The main titles are rather lacklustre though.
But Hunt is such a wizard behind the camera, I mean a total genius! He gives the film an artisic flare and carries the momentum throughout. The only real gripe that I have with the film is that the plot os filmsy and a tad stupid. But none the less the plot really is the least important thing about the film, the love strong is what keeps the movie going, its really the hertbeat of the story. In the same way TMWTGG's plot is rather weak mainly becasue the film is really about Bond facing off against his alter ego. This film is all about the relationship between Bond and Tracy, and it really works for me. The dialogue between the pair is witty, clever but still genuine, its really a testament to the script by Maibaulm. Tracy is truly the best character in the film, her RocknRoll jet set heiress persona is really the only woman who could tame a playboy spy like 007.
Hunt's direction is so awe-inspiring, his shots are new and interesting and even today those tricks and techniques are little used, making the film even seem fresh today. His style is kinetic, but has a great decgree of flare and 'style'. Style is the key word here as every detail appears to have been ached over, it really is a great piece of filmmaking. I love his take to the fist-fight scenes, theere is a real sence of peril that your watching a brawl not some rehearsed dance. The camera gets so close in there and every punch is truly felt and blood is visible.
The lack of plotting does make the film somewhat drag for the first hour but this probelm is quickly recifiyed when Bond goes to the Alps. hunt though keeps things going, I love the Bond/Draco relationship its such a great idea of pitching mi6 against an underworld boss and having the pair forge a deal together over a girl, its such a unique and audacious iidea. the scene in the lawyer's office is also very well done in terms of tension.
the acting in the film is great, the Draco actor is inspired and great fun, even Bernard Lee has a small but great scene (I loved that moment when he talks of Blofeld keeping his title and the 'snobbery' of it), Diana Rigg is great, Ive never found her attractive but you fall in love with her in the movie, when shes driving that car I almost fainted, there is certainly somethign about her. She gives such a key and great turn as Tracy. Telly Savalas really steals the show for me, i think it the best villian Bond has come up against, I just think hes wonderfull and steals the undertire movie from under the noise of all of the other stars, I love his style and elan, the way he holds a cigarette his deem seductive voice, a great actor doing what he does best for sure.
Now on to Lazenby. I really like him. His acting and overall take on the part is a little workman, hes really going for it and I think it pays off. He's the bread and butter of the, and it is a very bread and butter prfromance, the same though can be said of Connnery in YOLT (In fact Lazenby outacts him in that movie adn Moore in his latter entrys). He's great I like his Bond he isn't as cheeky or roguish as Connery was hes was swarmy and cultred (knows where his caviars from, knows his perfumes, tells a dog how he likes his brandy etc) very much in the what was to become almost a trademark of the Roger Moore reign. He handles himself so well in the action, better than the other 5 imo. Everytime hes in a fight you really see its him and know its Lazenby, one of the thing I love aobut the 60s films are the long takes and these show at times it really is Laz in the middle of it all, which is so heartstopping. The fight scenes are so well done and he really looks the part there most of all. He really comes into his own by the end of the picture, giving the part alot of swagger, and the final scenes show he has the chops to really excel in the part, making it almost a sin he never returned.
i loved the action in the film it really is awe-inspiring, the avalance took my breathe away as did many of the shots of the Alps, the European feel of the movie also didn't go unnoticed, which always helps, i hate when Bond feels a need to be overly American. the script is so well, its witty, funny and sharp, but also very sophisicated and clever. This sophisicated air dosen't stop there, I really love teh exchange in M's office before teh final scene. The fact Bond is back in London in M's office before the finale, really gives the film a sence of peril, that all is lost and Bond has to start his next mission.
The final scene is startling, but makes my point clearly, OHMSS is not only one of the best Bond films but films ever, why? its cohesive and comes full circle, Tract the girl with no future at the opening finnally has one, only for Bond to have his snatched away. Showing Bond can never have a future, an Agent's life means he has be out himself first (to quote the movie directly) there is no way Bond can ever stop being Bond meaning he can never have a future, its a hard-hitting truth but is a necessary way to end the story. the film in that sence is very satisfying then, but also works on the level with all Bond fans as it piicks up the Blofeld stroy and run with it.

All in all a great movie first and formost.

[OmarB]

It's my personal favorite of the whole series. But then I'm not much of a fan of filmic Bond (got the DVDs, never watch 'em).

[Binyamin]

It's okay. Wouldn't say it is one of the "greatest films ever," personally. I do rank FRWL and DR.NO as two greatest ever. But OHMSS, in my opinion, doesn't quite know what it wants to be: Classic Bond adventure? Melancholy anti-adventure? It can't be both. It doesn't work as both.

The film doesn't commit. The filmmakers are afraid of departing from the Connery era, yet insist on departing from the Connery era. It's multi-personality disorder captured on celluloid. That is the most disappointing part of OHMSS: It could have been amazing, but it falls short. The chance was there. Instead it is only mediocre.

The first third of the film, for instance, works well -- Lazenby plays the arrogant playboy effortlessly. His "shoot you for a thrill" scene in the hotel is perfect Bond. He's a charming bastard, as he should be, not a reformed family man who wants to marry and have babies. The hardened shell of a man like 007 should not disappear so easily. Yet suddenly at the midpoint of the film he magically transforms into another character entirely, suddenly not interested in chasing girls and wanting to settle down with a woman who is only lukewarm in interest. It doesn't mesh.

Maybe the story itself is at fault, and the film only follows the folly. Yes, loyal to Fleming and all that jazz-- But there is no excuse. If they couldn't make the story believable and fresh and interesting, they should have chosen another adventure for Lazenby's debut. It feels forced.

To be a true classic, a film should age well. Dr. No does, I think. OHMSS does not. Where NO feels like a nostalgic time capsule, SERVICE feels stilted and campy. It's solid in some places, sure, but one of the greatest films ever? Doubtful.

Edited by Binyamin, 23 July 2010 - 08:36 PM.

[Turn]

It's okay. Wouldn't say it is one of the "greatest films ever," personally. I do rank FRWL and DR.NO as two greatest ever. But OHMSS, in my opinion, doesn't quite know what it wants to be: Classic Bond adventure? Melancholy anti-adventure? It can't be both. It doesn't work as both.

The film doesn't commit. The filmmakers are afraid of departing from the Connery era, yet insist on departing from the Connery era. It's multi-personality disorder captured on celluloid. That is the most disappointing part of OHMSS: It could have been amazing, but it falls short. The chance was there. Instead it is only mediocre.

The first third of the film, for instance, works well -- Lazenby plays the arrogant playboy effortlessly. His "shoot you for a thrill" scene in the hotel is perfect Bond. He's a charming bastard, as he should be, not a reformed family man who wants to marry and have babies. The hardened shell of a man like 007 should not disappear so easily. Yet suddenly at the midpoint of the film he magically transforms into another character entirely, suddenly not interested in chasing girls and wanting to settle down with a woman who is only lukewarm in interest. It doesn't mesh.

Maybe the story itself is at fault, and the film only follows the folly. Yes, loyal to Fleming and all that jazz-- But there is no excuse. If they couldn't make the story believable and fresh and interesting, they should have chosen another adventure for Lazenby's debut. It feels forced.

To be a true classic, a film should age well. Dr. No does, I think. OHMSS does not. Where NO feels like a nostalgic time capsule, SERVICE feels stilted and campy. It's solid in some places, sure, but one of the greatest films ever? Doubtful.

While it seems OHMSS is universally loved on CBn, it's interesting to see an opposing viewpoint. That said, I disagree with almost every point.

OHMSS is a classic Bond adventure and a successful departure from the over-the-top fantastic formula, which helps it stand apart from the rest of the series as it has a story beyond the mission, yet still includes a world-threatening plot and hits all the other targets fans enjoy such as action, exotic locales, stunts and pretty girls. There is no better evidence than when they try to make another picture in its spirit. I hate to do it, but I point to TWINE as an example of a miserable attempt to replicate what OHMSS tried to do. CR is the closest.

I don't know why having Bond develop as a character is such a bad thing in your view. Going from being a womanizer to finding that one of a kind woman is a departure for Bond. Yet one of the most debated aspects of OHMSS among fans is when he goes to Piz Gloria undercover as Sir Hilary and shags half of the Angels of Death. Then he commits to Tracy. When she comes to his rescue in Murren is one of the best scenes in the series for many of us and that whole escape scene completes why he loves her and decides to settle down with her. It works perfectly in my view.

I also don't understand how the film isn't fresh and interesting. After three epics with larger than life plots, OHMSS brings things back down to earth and still feels epic.

If OHMSS hasn't aged well, please explain why it's the only film from the classic era considered a disappointment during its time, was shunned for many years and gone on to become a solid fan favorite in the past 25-30 years.

And also please give me an example of where OHMSS is campy. You're confusing that term with something like DAF, which was intentionally campy with characters like Wint and Kidd. You use Dr. No as an example of a film that has aged well. While it is considered a Bond classic, there are aspects of it that don't feel like the rest of the series. It often feels like a hard-boiled detective story rather than a spy thriller.

[The Shark]

Yet suddenly at the midpoint of the film he magically transforms into another character entirely, suddenly not interested in chasing girls and wanting to settle down with a woman who is only lukewarm in interest. It doesn't mesh.

It's called falling in love. It happens to all of us mate, even teh mighty James Bond.

One minute with you're a devil may care, sex-crazed, lothario; the next you're a docile, domesticated piece of sponge.

[Guy Haines]

I don't know whether one could count OHMSS as one of the best films of all time, but it is one of the best Bond films ever made. Others have made points promoting the film's cause, on this thread and elsewhere, and no doubt will do so again, so I don't intend to reiterate them. That said, I'm unlikely to seriously criticise a film which introduced me to James Bond.

But one aspect for which the film has already been listed among the top ten, twenty, fifty or one hundred in various forums has been its soundtrack. John Barry composed one of his most outstanding scores for OHMSS, a suspenseful, action based work, and yet at the same time romantic and hinting throughout at the inevitable tragic end to Bond's all too brief marriage.

I've read several lists of the top film soundtracks, and OHMSS usually finds a place in one somewhere. That in itself is an achievement, particularly for a film that is still routinely dismissed by too many film critics as somehow not "proper" because it doesn't feature either Connery or Moore.

[Colossus]

Yet suddenly at the midpoint of the film he magically transforms into another character entirely, suddenly not interested in chasing girls and wanting to settle down with a woman who is only lukewarm in interest. It doesn't mesh.

It's called falling in love. It happens to all of us mate, even teh mighty James Bond.

One minute with you're a devil may care, sex-crazed, lothario; the next you're a docile, domesticated piece of sponge.

LOL nice way of putting it... guess i shouldn't be thinking of marriage w/out having a gf at all.

OHMSS is really a unique movie, feels like it almost doesn't belong with the rest of the series (in a good way though), it's really an epic movie that has a fuzzy tone throughout it all which is oddly different from the rest of the series.

[Col. Sun]

Yet suddenly at the midpoint of the film he magically transforms into another character entirely, suddenly not interested in chasing girls and wanting to settle down with a woman who is only lukewarm in interest. It doesn't mesh.

It's called falling in love. It happens to all of us mate, even teh mighty James Bond.

One minute with you're a devil may care, sex-crazed, lothario; the next you're a docile, domesticated piece of sponge.

LOL nice way of putting it... guess i shouldn't be thinking of marriage w/out having a gf at all.

OHMSS is really a unique movie, feels like it almost doesn't belong with the rest of the series (in a good way though), it's really an epic movie that has a fuzzy tone throughout it all which is oddly different from the rest of the series.

I love OHMSS and always have since seeing it as a young boy in the cinema. It's a terrific film in its own right and without doubt one of the best Bond films ever.

That comment (above) about Bond's character changing half way through is really, really missing the point. The first third of the film carefully and dramatically sets up Bond's growing interest and affection for Tracey. Their scenes become very intimate and romantic. She is falling in love with him, and he, without really realizing it, is slowly falling for her too. But then the mission kicks in to interrupt their romance. What is so good about the middle section of the film is that Bond is actually spying - which we rarely see in the films. He's undercover, isolated, and he uses his charm and cunning to seduce the girls - who are the weak link in Blofeld's fortress - to gather information. Bond is on a mission and determined to nail Blofeld, but when his cover is blown and he has to escape, it is Tracy who saves him. Together again, with their lives on the line, Bond finally realizes how he truly feels for Tracey - she is the real deal and he is in love with her; Tracey is so much more than a quick sexual conquest or another woman to exploit on a mission. And so the last act focuses on Bond returning to Blofeld's lair to save Tracey as well as complete his mission - Bond balances his emotions with his professional duty, but after the mission, he knows that he can't balance both these things forever - and he chooses Tracey. But his choice has terrible consequences and her fate, of course, is sealed. OHMSS reveals the tragic truth about a man like Bond - he can never escape his profession, he is bound to Her Majesty's Secret Service. And as we know, Casino Royale, another classic Bond film, explores the same themes.

Just to wrap up; here's my top 5 Bond films:

OHMSS
CR
FRWL
GF
DN

[Binyamin]

That comment (above) about Bond's character changing half way through is really, really missing the point. The first third of the film carefully and dramatically sets up Bond's growing interest and affection for Tracey. Their scenes become very intimate and romantic. She is falling in love with him, and he, without really realizing it, is slowly falling for her too.

That's all well and good, but the fact that you had to write a massive paragraph to explain it backs my point. For comparison, I've never seen anybody "explain" that Bond fell in love with Vesper in Casino Royale. It's obvious. Show, don't tell -- that's the scripture of film.

Yes, I know what is supposed to be happening with the story arc; I guess it just doesn't work for me. It doesn't feel authentic. Yes, fall in love. Great. But this is James Bond we're talking about here. He has a hardened shell that lets him do his brutal and ugly job. That shell is not easily broken -- it takes a soul-shattering incident to turn the bad bastard off. OHMSS, in my view, never has such a moment and fails at giving Bond a heart. The final scene is the only exception -- but at that point it's too late, and so jarring it doesn't fit the rest of the film.

What is the reason that Tracy is different? She shows up at a well-scripted moment and helps him get away? That's nearly every Bond girl in cinematic history. Despite the talent of the actress, despite the intent of the script, it just don't come across. It's forced romanticism without the proper setup.

Other people are allowed to enjoy it. Not trying to knock it off of anybody's "favorites" list, just calling it as I see it. Parts are good. However.... When I was first getting into Bond, friends would say "OHMSS is supposed to be AMAZING!" But they had never SEEN it. It never lived up to the hype. Secretly, I suspect this happens a lot: "Bond fans" have heard that it's God on Film and simply parrot the line out of convenience, present company excepted I'm sure. I just don't understand the massive support for what seems like a mostly mediocre film, that's all.

Edited by Binyamin, 24 July 2010 - 01:31 PM.

[Col. Sun]

That comment (above) about Bond's character changing half way through is really, really missing the point. The first third of the film carefully and dramatically sets up Bond's growing interest and affection for Tracey. Their scenes become very intimate and romantic. She is falling in love with him, and he, without really realizing it, is slowly falling for her too.

That's all well and good, but the fact that you had to write a massive paragraph to explain it backs my point. For comparison, I've never seen anybody "explain" that Bond fell in love with Vesper in Casino Royale. It's obvious. Show, don't tell -- that's the scripture of film.

Yes, I know what is supposed to be happening with the story arc; I guess it just doesn't work for me. It doesn't feel authentic. Yes, fall in love. Great. But this is James Bond we're talking about here. He has a hardened shell that lets him do his brutal and ugly job. That shell is not easily broken -- it takes a soul-shattering incident to turn the bad bastard off. OHMSS, in my view, never has such a moment and fails at giving Bond a heart. The final scene is the only exception -- but at that point it's too late, and so jarring it doesn't fit the rest of the film.

What is the reason that Tracy is different? She shows up at a well-scripted moment and helps him get away? That's nearly every Bond girl in cinematic history. Despite the talent of the actress, despite the intent of the script, it just don't come across. It's forced romanticism without the proper setup.

Other people are allowed to enjoy it. Not trying to knock it off of anybody's "favorites" list, just calling it as I see it. Parts are good. However.... When I was first getting into Bond, friends would say "OHMSS is supposed to be AMAZING!" But they had never SEEN it. It never lived up to the hype. Secretly, I suspect this happens a lot: "Bond fans" have heard that it's God on Film and simply parrot the line out of convenience, present company excepted I'm sure. I just don't understand the massive support for what seems like a mostly mediocre film, that's all.

Well, we can agree to disagree.

I'm a professional screenwriter myself, so one of the joys of OHMSS, for me, is its marvelous screenplay.

It is also a brilliantly made film. It has great atmosphere. The editing and use of sound are simply superb (thanks to Peter Hunt's vision). The action sequences are amongst the strongest in the series - the ski chases are terrific. John Barry's score is unforgettable. And Diana Rigg is wonderful. There is so much to recommend about the film as many people on this fan site have expressed.

I think OHMSS has such strong fan support because it really is that good. It's not hype. OHMSS stands tall. It is, as we know, considered by many to be one of the best Bond films, perhaps even the best. It's certainly my own favourite.

[dodge]

That comment (above) about Bond's character changing half way through is really, really missing the point. The first third of the film carefully and dramatically sets up Bond's growing interest and affection for Tracey. Their scenes become very intimate and romantic. She is falling in love with him, and he, without really realizing it, is slowly falling for her too.

That's all well and good, but the fact that you had to write a massive paragraph to explain it backs my point. For comparison, I've never seen anybody "explain" that Bond fell in love with Vesper in Casino Royale. It's obvious. Show, don't tell -- that's the scripture of film.

Yes, I know what is supposed to be happening with the story arc; I guess it just doesn't work for me. It doesn't feel authentic. Yes, fall in love. Great. But this is James Bond we're talking about here. He has a hardened shell that lets him do his brutal and ugly job. That shell is not easily broken -- it takes a soul-shattering incident to turn the bad bastard off. OHMSS, in my view, never has such a moment and fails at giving Bond a heart. The final scene is the only exception -- but at that point it's too late, and so jarring it doesn't fit the rest of the film.

What is the reason that Tracy is different? She shows up at a well-scripted moment and helps him get away? That's nearly every Bond girl in cinematic history. Despite the talent of the actress, despite the intent of the script, it just don't come across. It's forced romanticism without the proper setup.

Other people are allowed to enjoy it. Not trying to knock it off of anybody's "favorites" list, just calling it as I see it. Parts are good. However.... When I was first getting into Bond, friends would say "OHMSS is supposed to be AMAZING!" But they had never SEEN it. It never lived up to the hype. Secretly, I suspect this happens a lot: "Bond fans" have heard that it's God on Film and simply parrot the line out of convenience, present company excepted I'm sure. I just don't understand the massive support for what seems like a mostly mediocre film, that's all.

Well, we can agree to disagree.

I'm a professional screenwriter myself, so one of the joys of OHMSS, for me, is its marvelous screenplay.

It is also a brilliantly made film. It has great atmosphere. The editing and use of sound are simply superb (thanks to Peter Hunt's vision). The action sequences are amongst the strongest in the series - the ski chases are terrific. John Barry's score is unforgettable. And Diana Rigg is wonderful. There is so much to recommend about the film as many people on this fan site have expressed.

I think OHMSS has such strong fan support because it really is that good. It's not hype. OHMSS stands tall. It is, as we know, considered by many to be one of the best Bond films, perhaps even the best. It's certainly my own favourite.

I've seen this film dozens of times and just rewatched it the other night. It still seems forever young and fresh I'm convinced its list of Major Movie Moments (Triple M-ers) can hold its own with any other Bond film...and at least some of the best films of all time:
--The entire opening sequence, culminating in the beach brawl and, praise the gods, The Line.
--The big brawl in Tracy's hotel room.
--The exquisite montage wherein Bond and Tracy really fall in love.
--The entire Piz Gloria shagging up the ladder sequence.
--The classic, unparalleled ski chase.
--The astonishing sequence at the skating ring.
--Diana Rigg's delightful use of her tongue tip in the stock car race scene.

Ah, lord, I could go on. But the longer that I do go on, the more I want to see it again.

[stromberg]

That comment (above) about Bond's character changing half way through is really, really missing the point. The first third of the film carefully and dramatically sets up Bond's growing interest and affection for Tracey. Their scenes become very intimate and romantic. She is falling in love with him, and he, without really realizing it, is slowly falling for her too.

That's all well and good, but the fact that you had to write a massive paragraph to explain it backs my point. For comparison, I've never seen anybody "explain" that Bond fell in love with Vesper in Casino Royale. It's obvious. Show, don't tell -- that's the scripture of film.
....

The romantic montage, for example, is as much "Show, don't tell" as it gets. And makes the point of Bond falling in love so much clearer than cheesy talk about newborn nakedness, tells, body armour and little fingers. Paragraph short enough?

I guess it just doesn't work for me.

Obviously. As was said before, we'll have to agree to disagree, with which I have no problem.
To each his own. That one likes to bite into a piece of soap, the other one prefers a walk in the park, as my father used to say

[Lachesis]

Great OP and the mostly positive comments really capture my own view of the film.

That comment (above) about Bond's character changing half way through is really, really missing the point. The first third of the film carefully and dramatically sets up Bond's growing interest and affection for Tracey. Their scenes become very intimate and romantic. She is falling in love with him, and he, without really realizing it, is slowly falling for her too.

That's all well and good, but the fact that you had to write a massive paragraph to explain it backs my point. For comparison, I've never seen anybody "explain" that Bond fell in love with Vesper in Casino Royale. It's obvious. Show, don't tell -- that's the scripture of film.

It didnt actually need a full paragraph but the fact is, its the core of the enitre movie so there is a lot of trouble taken to develop it.

I completely disagree with you reagrding Vesper in CR, I feel zero chemistry between her and Bond and for the most part she is an entirely ordinary Bond Girl, there is no real development of love and its a rather abrupt reveleation imo.

Still each to their own - the diversity of Bond is one of its great virtues.

In terms of greatest films ever, that quite a responsibility and I am not qualified to judge - but as well as being my favourite Bond its also one of my favourites of all time (one of those 10 or so essential "desert Island" films I'd elect to take with me)

[Major Tallon]

"Bond suddenly thought, Hell! I'll never find another girl like this one. She's got everything I've ever looked for in a woman. She's beautiful, in bed and out. She's adventurous, brave, resourceful. She's exciting always. She seems to love me. She'd let me get on with my life. She's a lone girl, not cluttered up with friends, relations, belongings. Above all, she needs me. It'll be someone for me to look after. I'm fed up with all these untidy, casual affairs that leave me with a bad conscience. I wouldn't mind having children. I've got no social background into which she would or wouldn't fit. We're two of a pair, really. Why not make it for always?
Bond found his voice saying those words that he had never said in his life before, never expected to say.
'Tracy. I love you. Will you marry me?'"

A film can't say all that, of course, but, watching OHMSS, I think the screenplay, nicely rendered by Lazenby, captures the essence of it very well. Bond's feelings for Tracy crystalize during their time together. The romance is genuine, not the least forced, and the two leads are entirely believable.

[doublenoughtspy]

Someone really should write an in-depth "making of" this movie. Oh wait...

[ChristopherZ22]

On Her Majesty's Secret Service is one of the best Bond films. If a Bond fan calls it one of the greatest films ever made, however, then they have become too obsessed with James Bond and need time away from it. Would any sane person put any Bond film, even the great Goldfinger, alongside The Godfather, Casablanca, or The Wizard of Oz? Not likely.

[Lachesis]

On Her Majesty's Secret Service is one of the best Bond films. If a Bond fan calls it one of the greatest films ever made, however, then they have become too obsessed with James Bond and need time away from it. Would any sane person put any Bond film, even the great Goldfinger, alongside The Godfather, Casablanca, or The Wizard of Oz? Not likely.

Not sure its a case of being too much a Bond fan... I don't claim to be overly sane but, truth be told, I'd rather watch OHMSS than The Godfather or Casablanca (prefer Bogie in The Big Sleep or Key Largo tbh) and I think Wizard of Oz is simply dreadful..... oh and I'd rather gouge out my eyes and rub salt into the sockets than watch 'The English Patient' over again =/.... Sometimes I have to admit what I am told is 'great' just isnt actually entertaining for me....nope I don't know much about art, but I do know what I like ^^

[Guy Haines]

On Her Majesty's Secret Service is one of the best Bond films. If a Bond fan calls it one of the greatest films ever made, however, then they have become too obsessed with James Bond and need time away from it. Would any sane person put any Bond film, even the great Goldfinger, alongside The Godfather, Casablanca, or The Wizard of Oz? Not likely.

Not sure its a case of being too much a Bond fan... I don't claim to be overly sane but, truth be told, I'd rather watch OHMSS than The Godfather or Casablanca (prefer Bogie in The Big Sleep or Key Largo tbh) and I think Wizard of Oz is simply dreadful..... oh and I'd rather gouge out my eyes and rub salt into the sockets than watch 'The English Patient' over again =/.... Sometimes I have to admit what I am told is 'great' just isnt actually entertaining for me....nope I don't know much about art, but I do know what I like ^^

I do know what you mean. To borrow an expression from "Casablanca", the "usual suspects" always appear on the lists of the ten (twenty, fifty, one hundred?) best movies of all time, ever, that you must see before you die! (that last expression I particularly dislike when I see it in a book title - I doubt I'll have a morsel of regret when I join the choir invisible at not having seen some of those films that are always listed ). And some of those films mean nothing to your typical cinema goer, unless the cinema in question is so-called "art house" (aka pretentious).

That said, several of these interminable greatest lists feature at least one Bond film, although its usually DN, FRWL or GF, rather than OHMSS. So, at least some critics have an idea of what much of the fee paying public like to see.

[Harmsway]

None of the Bond films qualify for Greatest Films of All Time status.

[Safari Suit]

Now please remember that I like OHMSS a lot and would certainly prefer to watch it over many "seminal" films, but I'm going to play devil's advocate and say no. Bond fans generally consider OHMSS one of the deeper entries in the series, but that really only reveals how shallow the Bond series really is. That's not a criticism; it excels within that realm, OHMSS included. But only within the "love em and leave em" world of the Bond movies would the Bond/Tracy romance constitute a great cinematic romance; it's really not all that developed, and IMO if you're not in love with Diana Rigg it's not entirely clear why Bond fell for Tracy rather than any of the others. Frankly, the dubious "romance" in TLD was more interesting. On a technical level, I think its style is also an acquired taste, and to me it seems a little sloppy at times.

OHMSS is a milestone in action film-making, and a fair claim for the strongest film in the Bond series. Making a claim for the one of the greatest films of all time however, you'd have more luck with one of the first three or four films. You may feel they are weaker films, and in one or two cases I do too, but they had a definitive effect on filmmaking and popular culture that I don't think OHMSS really did.

[elizabeth]

I love it. Not exactly my favorite Bond, but it is definitely right up there with GF and FRWL. George is cute, I love the story...it's just terrific.

[THX-007]

OHMSS is hands down my favorite of the series. Greatest of all time? I don't think anyone can safely say what the greatest films of all time are. They're personal favorites and ones which one can watch over and over and never tired of. OHMSS is one of them.
Growing up in 90's my introduction to Bond was, naturally, Goldeneye. After that came Goldfinger, From Russia, LALD and so on. But OHMSS was the one that struck a cord with me with its romantic story, tragic ending, and human side of James Bond.
Nowadays were used to seeing more dramatic and emotional portrayals of classic heros (i.e. Batman moving away from the campy 60's show to Burton and Nolan's Batman movies). When CR came out, critics and audiences were excited to see a human, emotional and dark side to James Bond. To the public James Bond was the smooth, cool, martini-drinking spy who ended up with the girl in every film. CR was applauded by audiences and critics for showing a human side to James Bond and for being different. But they forget that Lazenby was the first to show a human, emotional side to Bond and Dalton was first to show a dark side to James Bond. I guess they forgot about Bond cradling his dead wife and Bond knocking a guy into a shark tank and lighting a guy on fire. When Lazenby and Dalton did these things in 60's and 80's not many took notice, and when they did they dismissed for not being "Bondy". While chatting with some college friends they were talking how great CR was and when I brought OHMSS they dismissed it because it starred the guy who only did one.
Its nice to see that OHMSS really is appreciated as evidenced by comments on this board, its rating on IMDB, being voted #1 for best Bond soundtrack, and of course the brilliant book "Making of OHMSS" by Charles Helfenstein. Now I'm not depressed when I see blogs call it the worst Bond movie.
One of the greatest film of all time? Can't say but its a personal favorite of mine.

Edited by THX-007, 27 July 2010 - 06:36 AM.

[Ytadel]

On Her Majesty's Secret Service is one of the best Bond films. If a Bond fan calls it one of the greatest films ever made, however, then they have become too obsessed with James Bond and need time away from it. Would any sane person put any Bond film, even the great Goldfinger, alongside The Godfather, Casablanca, or The Wizard of Oz? Not likely.

I would rank a good half-dozen or more Bond films above The Wizard of Oz. No problem. No qualms about it at all.

[David_M]

At the risk of getting my neck stretched, I'm going to go out on a limb and agree with Binyamin that the romance in OHMSS isn't all it might have been. Certainly whatever chemistry Lazenby and Rigg share -- if any -- is nowhere near the levels of some of the great screen pairings (like Bogie and Bacall, Errol and Olivia or Gable and Colbert), so as a film romance (which to a degree matched only by CR in this series, it is meant to be) it's pretty limp for me. Some of that is no doubt down to Lazenby, who's asked in his first outing to pull of some mushy stuff that would be hard for any newbie, and all the more so because he's asked to sell the radical concept that a carefree lothario like the movie Bond could ever be willing to hang up his Walther for a life of domesticity.

There really is very little on celluloid, IMHO, to explain why Tracy is so much more worthy of Bond's devotion than any other woman he's met to date. Quite the opposite, depending on your point of view; a petulant, snippy, emotionally fragile near-suicide, she's arguably less "with it" than any of the other Bond girls. Stacy, Tiffany and Goodnight may be twits, but at least they're not candidates for psychotherapy. Helping "sell" the concept is the film's addition of action scenes for Tracy, but her chief attribute is that in another life she was Emma Peel, arguably the only proper match for 007. But really that's cheating, and nothing to do with the merits of OHMSS itself.

I consider OHMSS one of the most beautifully filmed entries (which in the old days was saying something), with the best score, some of the best stunts and arguably the most human -- and thus fascinating -- story. But a lot of that story hinges on the idea that Bond is experiencing a transformational love, and this angle is weakened (if not quite utterly torpedoed) by Lazenby's inexperience, what I personally find a general lack of chemistry between the leads and yes, the fact that Bond is willing to bed most of "Blofeld's Angels" as soon as Tracy's out of his line of sight.

Nods to the earlier films aside, I've always found it easier to enjoy OHMSS when I imagine it outside the series. It's easier to accept that a Bond I just met is falling in love with Tracy than it is to believe the lover of Honey, Tania, Pussy and Domino is doing it. Oddly, though, I never bought into the popular notion that having Connery on board would have fixed everything. Frankly I think I would've found it harder to swallow Connery-Bond delivering the proposal in the barn than Lazenby.

Similarly, if I imagine it as "a film apart," I don't have to sweat little questions like how exactly Bond thinks a pair of glasses will disguise him in the presence of a guy he just met in the previous film (something that doesn't really work as filmed, but would have been completely insane with Sean on board). In fact, all my "problems" with OHMSS, such as they are, have to do with trying to make it fit into the rest of the series. If I take it out of that context, and think of it as a "rogue Bond," or a one-off from some other reality, it's quite excellent on its own merits, though not perfect by any stretch, and no, not one of the best films of all time.

But then, everyone's entitled to an opinion, which is why "Best Films" lists, entertaining as they sometimes are, are ultimately pointless and prove nothing.

[BoogieBond]

One of the best Bond films, Check
One of the best films of all time, not sure about that, but certainly one of my favourite films.
I normally think of the best films of all time being those rare gems where there are very few flaws in the film
OHMSS is an excellent film, but it does have a few flaws for me, an rookie main lead being one of them. Some rather suspect scenes on Piz Gloria when Laz is being dressed as a Baronet and beauties being hypnotised to "Love Chickens" being some others.
The other thing is when comparing to other films, is it better acted than say "The Godfather" is it more epic than "The Good, The Bad and the Ugly" is it more exciting than "Raiders of the Lost Ark" etc. All these things are down to personal taste.
It does have for me a strong and interesting story and more character development than most Bonds, which is on its plus side, fantastic action and scenes that are as good and as exciting any in the Bond canon. To top it off it has some emotional resonance when Bond loves and loses.

[sthgilyadgnivileht]

But then, everyone's entitled to an opinion, which is why "Best Films" lists, entertaining as they sometimes are, are ultimately pointless and prove nothing.

Yes agreed.
I think 'best of' compilations can be accused of retaining the typical list of well known supposed classics in order to appear credible.
I remember when the BFI listed the top 100 films based on the number of bums on seats in the UK seven Bond films were in the list.


I think most people would be impressed and surprised by OHMSS if it were screened today and, like others on this thread have said, I prefer it to some of the films that often crop up in the typical best of lists. For me OHMSS is an adventure film at the top of its game. Its made with care and it entertains in spades.

[The Shark]

There really is very little on celluloid, IMHO, to explain why Tracy is so much more worthy of Bond's devotion than any other woman he's met to date. Quite the opposite, depending on your point of view; a petulant, snippy, emotionally fragile near-suicide, she's arguably less "with it" than any of the other Bond girls. Stacy, Tiffany and Goodnight may be twits, but at least they're not candidates for psychotherapy. Helping "sell" the concept is the film's addition of action scenes for Tracy, but her chief attribute is that in another life she was Emma Peel, arguably the only proper match for 007. But really that's cheating, and nothing to do with the merits of OHMSS itself.

But isn't the whole idea within Fleming's span of Bond novels, that Bond naturally has a weakness for these emotionally fragile, 'bird with a wing down' types? Arguably the two girls that left the strongest mark on Bond, are Vesper and Tracy - Who also have the most mental aberrations and are the most likely 'candidates for psychotherapy.'

I may get a lot of flack for this, but I'll say hands down, Lazenby's performance in the 'barn proposal scene' is the strongest 3-4 minutes of any slice of Bond-love interest chemistry. It really does make the romantic drivel in CR look like a primary school production.

[marktmurphy]

It's a really good Bond film, but if I were being harsh on it I'd say it's a film about a love story in which the love story is swept under the carpet.

That comment (above) about Bond's character changing half way through is really, really missing the point. The first third of the film carefully and dramatically sets up Bond's growing interest and affection for Tracey. Their scenes become very intimate and romantic. She is falling in love with him, and he, without really realizing it, is slowly falling for her too.

That's all well and good, but the fact that you had to write a massive paragraph to explain it backs my point. For comparison, I've never seen anybody "explain" that Bond fell in love with Vesper in Casino Royale. It's obvious. Show, don't tell -- that's the scripture of film.

Yes, I know what is supposed to be happening with the story arc; I guess it just doesn't work for me. It doesn't feel authentic. Yes, fall in love. Great. But this is James Bond we're talking about here. He has a hardened shell that lets him do his brutal and ugly job. That shell is not easily broken -- it takes a soul-shattering incident to turn the bad bastard off. OHMSS, in my view, never has such a moment and fails at giving Bond a heart. The final scene is the only exception -- but at that point it's too late, and so jarring it doesn't fit the rest of the film.

Yes; quite- there's no love story there. She hates him, he grabs her physically, says a really crap line and somehow persuades her to go out with him.

The romantic montage, for example, is as much "Show, don't tell" as it gets.

No: it really isn't. You learn nothing in the montage other than Tracy likes kittens- there is no arc of a relationship shown- she hates him and then literally thirty seconds of film later, she's getting engaged to him. That's rubbish. You could replace that montage with a subtitle which says 'THEY FELL IN LOVE AND GOT ENGAGED' and you would literally miss nothing.
That's as much 'Tell, don't show' as it gets.

The rest of the film is great, but the love story is barely dealt with. Arguably you see Bond fall in love with her during the Piz Gloria escape, but half of that love story remains missing.

[Lachesis]

There really is very little on celluloid, IMHO, to explain why Tracy is so much more worthy of Bond's devotion than any other woman he's met to date. Quite the opposite, depending on your point of view; a petulant, snippy, emotionally fragile near-suicide, she's arguably less "with it" than any of the other Bond girls. Stacy, Tiffany and Goodnight may be twits, but at least they're not candidates for psychotherapy. Helping "sell" the concept is the film's addition of action scenes for Tracy, but her chief attribute is that in another life she was Emma Peel, arguably the only proper match for 007. But really that's cheating, and nothing to do with the merits of OHMSS itself.

But isn't the whole idea within Fleming's span of Bond novels, that Bond naturally has a weakness for these emotionally fragile, 'bird with a wing down' types? Arguably the two girls that left the strongest mark on Bond, are Vesper and Tracy - Who also have the most mental aberrations and are the most likely 'candidates for psychotherapy.'

I may get a lot of flack for this, but I'll say hands down, Lazenby's performance in the 'barn proposal scene' is the strongest 3-4 minutes of any slice of Bond-love interest chemistry. It really does make the romantic drivel in CR look like a primary school production.

Yes agree entirely Lazenby and Rigg work extremely well togther and that is a wonderful scene even for a non romantic misery like me.

I think the key in OHMSS is balance and timing - the films, like Fleming knew not to develop such an aspect of Bond too early in his career, and the woman that ultimately melted his cold heart really had to do so by stealth, in OHMSS Bonds enforced leave is also his enforced time with Tracy not only is he falling in love but hes also seeing the truth of Dracos assertion hes good therapy for her...so shes almost a mission for him in her own right, she emerges independet yet paradoxically vulnerable ultimately the perfect combination to snare the battle worn agent. There isn't another quite like her in the novels or films and Rigg was perfect casting imho.

[Lachesis]

Yes; quite- there's no love story there. She hates him, he grabs her physically, says a really crap line and somehow persuades her to go out with him.

But she never hates him, she only hates herself, she hates that she's vulnerable and shes afraid to let her guard down....but Bond is just the man to rise to that challenge. On leave from OHMSS he takes a personal mission (draco's therapy) and against his own expectations ends up falling in love. imo its developed beautifully by Hunt exploiting the established mythos but also mining the new guys vulnerability.