Vince Stadon's OHMSS Review
Lazenby880
LondonPosts: 525MI6 Agent
While browsing the Internet I came across a very positive review of On Her Majesty's Secret Service and George Lazenby's interpretation of Bond. While not quite as good or in depth as the review by Nicholas Anez which Jaelle posted a while back, it does provide an unusually upbeat analysis of the film and its star. These have to be the only two reviews I have read that hold Lazenby in higher regard than "OK", which is about as good as he usually gets. However, the author does take a misguided and unfortunate pop at Roger and Teri Hatcher. Here's where I found it, hopefully you haven't already read it. http://www.circus.edendev.co.uk/reviews/reviewtexts/1text.php
On Her Majesty's Secret Service (1969)
REVIEWED BY VINCE STADON
All the Time in the World
Whilst on leave, British agent James Bond prevents a young woman, Tracy Draco, from committing suicide. Her father is the head of a powerful crime syndicate who is impressed by Bond and wants him to protect his daughter by marrying her. In exchange he offers Bond information that will lead 007 to his arch enemy Ernst Blofeld. At first Bond agrees to the deal purely to fulfil his objective to kill Blofeld but later he grows to love Tracy but when the British learn that Blofeld plans to destroy mankind with a deadly virus, 007 is torn between his loyalty to his county and his intent to marry Tracy.
Life, as Gareth Southgate once said, is full of regrets and lost opportunities. Consider, for example, the career of 'swinging 60s' drummer Pete Best – one minute he’s the most popular member of a Mersybeat pop combo who are destined for great things, the next minute he’s watching from the sidelines as Ringo Starr takes his place behind the drum kit, and the band - The Beatles, for those who need reminding - carve their place in history. Or take the long-forgotten Australian model/actor George Lazenby. Just how stupid was he to listen to the council given by 'trusting' friends, when they advised him to ditch the role of James Bond after one movie, stating that the 'Bond phenomena' had run its day and was becoming increasingly out of place in the 'counter culture' rebellion spearheaded by low-budget films such as Easy Rider? For contrary to the opinion of Lazenby’s fair-weather chums, James Bond has never lost favour with the movie-going public, and remains as iconic now, in the 21st century, as he did when we first saw him 40 years ago, dressed immaculately in evening dress, insouciantly smoking a cigarette as he flirts effortlessly with a beautiful woman over a high-stakes game of Baccarat. Furthermore, despite the critical panning Lazenby received from the press, and his one and only Bond movie’s disappointing box office, On Her Majesty’s Secret Service is quite simply the finest Bond movie made to date, due in no small part to Lazenby’s interpretation of the secret agent. Not for the first time, the critics and the movie-going audience, not to mention Lazenby’s trusted confidants, quite simply got it wrong.
OHMSS is unique amongst the Bond films for several reasons: most obviously, it is the only Bond film to star George Lazenby as 007; it’s the only film directed by ex-Bond film Editor, Peter Hunt; it’s the longest Bond film by quite some margin (clocking in at an impressive 140 minutes; the average length for a Bond movie is 100 minutes); it’s the most faithful of the series to the Ian Fleming source material (word for word in some scenes); it’s quite possibly the most patriotic Bond movie (for once, the insane super-villain’s nefarious plans are directed solely at the United Kingdom, and unlike the Roger Moore movies, OHMSS treats the British Secret Service as a deadly serious organisation); it’s the only Bond film in which Commander Bond falls in love and gets married; and, of course, OHMSS stands out from the cannon because it has a tragic ending.
Peter Hunt’s direction is outstanding. Purely on a visual level, OHMSS is a fantastic film; no other Bond movie can match it for its cinematography, and its edgy misen en scene lends it an urgency missing from the sprawling Bond movies that were to become the norm for the next decade. Of particular note is the frenetic editing style, a Peter Hunt trademark. The fight scenes and action sequences in OHMSS are fast, brutal and thrilling. That Peter Hunt never returned as the man behind the megaphone on a Bond film production is a tragedy as great as the non-reappearance of George Lazenby. It’s not simply for the bitter ending that watching OHMSS brings out a sense of regret in this reviewer.
So what of Lazenby? What was he like in the role of the world’s most dangerous man? Lazenby/Bond comes across as a rather contradictory character. There’s the brutish force of Connery/Bond, but Lazenby lacks the refinement and sophistication that Connery (and later, Moore, Dalton & Brosnan) would bring to the character. Instead he exhibits an awkward physicality; oddly, he lacks the grace that one might assume a model would bring with him. Underneath this, there’s an air of vulnerability: he’s a wounded Bond; a thousand times more human than the 'Joke Superman' – as Moore described the part – we would see throughout the 1970s. No doubt these attributes are the result of an inexperienced actor faced with the daunting prospect of stepping into the shoes of an actor hugely acclaimed for his performance, but whatever the circumstances, Lazenby’s take on James Bond is by no means the disaster most contemporary critics proclaimed it to be. Far from it.
Of the supporting cast, Diana Rigg stands out (she always does), breathing life into Tracy; portraying her as suicidal and vital at the same time – a good trick if you can do it (I certainly can’t). Rigg’s casting is simply one of the best ideas the Bond production team ever made – if James Bond is to be married (and swiftly widowed) then it makes perfect sense that his bride should be Emma Peel (rather than Lois Lane – Tomorrow Never Dies – the very idea the such a quintessentially English hero such as Commander James Bond would ever marry an American – it doesn’t bear thinking about). Telly Savalas is a muscular, threatening Blofeld; a genuinely scary Bond villain.
OHMSS has an absolutely superb soundtrack, courtesy of veteran Bond scorer, John Barry. And there’s a real poignancy to the Louis Armstrong song 'We Have All The Time In The World'; Mrs Tracy Bond is murdered on her wedding day, and George Lazenby would never again play James Bond. Like the sands in the hourglass from the film’s opening titles, time is something this very human James Bond has in very short supply …
On Her Majesty's Secret Service (1969)
REVIEWED BY VINCE STADON
All the Time in the World
Whilst on leave, British agent James Bond prevents a young woman, Tracy Draco, from committing suicide. Her father is the head of a powerful crime syndicate who is impressed by Bond and wants him to protect his daughter by marrying her. In exchange he offers Bond information that will lead 007 to his arch enemy Ernst Blofeld. At first Bond agrees to the deal purely to fulfil his objective to kill Blofeld but later he grows to love Tracy but when the British learn that Blofeld plans to destroy mankind with a deadly virus, 007 is torn between his loyalty to his county and his intent to marry Tracy.
Life, as Gareth Southgate once said, is full of regrets and lost opportunities. Consider, for example, the career of 'swinging 60s' drummer Pete Best – one minute he’s the most popular member of a Mersybeat pop combo who are destined for great things, the next minute he’s watching from the sidelines as Ringo Starr takes his place behind the drum kit, and the band - The Beatles, for those who need reminding - carve their place in history. Or take the long-forgotten Australian model/actor George Lazenby. Just how stupid was he to listen to the council given by 'trusting' friends, when they advised him to ditch the role of James Bond after one movie, stating that the 'Bond phenomena' had run its day and was becoming increasingly out of place in the 'counter culture' rebellion spearheaded by low-budget films such as Easy Rider? For contrary to the opinion of Lazenby’s fair-weather chums, James Bond has never lost favour with the movie-going public, and remains as iconic now, in the 21st century, as he did when we first saw him 40 years ago, dressed immaculately in evening dress, insouciantly smoking a cigarette as he flirts effortlessly with a beautiful woman over a high-stakes game of Baccarat. Furthermore, despite the critical panning Lazenby received from the press, and his one and only Bond movie’s disappointing box office, On Her Majesty’s Secret Service is quite simply the finest Bond movie made to date, due in no small part to Lazenby’s interpretation of the secret agent. Not for the first time, the critics and the movie-going audience, not to mention Lazenby’s trusted confidants, quite simply got it wrong.
OHMSS is unique amongst the Bond films for several reasons: most obviously, it is the only Bond film to star George Lazenby as 007; it’s the only film directed by ex-Bond film Editor, Peter Hunt; it’s the longest Bond film by quite some margin (clocking in at an impressive 140 minutes; the average length for a Bond movie is 100 minutes); it’s the most faithful of the series to the Ian Fleming source material (word for word in some scenes); it’s quite possibly the most patriotic Bond movie (for once, the insane super-villain’s nefarious plans are directed solely at the United Kingdom, and unlike the Roger Moore movies, OHMSS treats the British Secret Service as a deadly serious organisation); it’s the only Bond film in which Commander Bond falls in love and gets married; and, of course, OHMSS stands out from the cannon because it has a tragic ending.
Peter Hunt’s direction is outstanding. Purely on a visual level, OHMSS is a fantastic film; no other Bond movie can match it for its cinematography, and its edgy misen en scene lends it an urgency missing from the sprawling Bond movies that were to become the norm for the next decade. Of particular note is the frenetic editing style, a Peter Hunt trademark. The fight scenes and action sequences in OHMSS are fast, brutal and thrilling. That Peter Hunt never returned as the man behind the megaphone on a Bond film production is a tragedy as great as the non-reappearance of George Lazenby. It’s not simply for the bitter ending that watching OHMSS brings out a sense of regret in this reviewer.
So what of Lazenby? What was he like in the role of the world’s most dangerous man? Lazenby/Bond comes across as a rather contradictory character. There’s the brutish force of Connery/Bond, but Lazenby lacks the refinement and sophistication that Connery (and later, Moore, Dalton & Brosnan) would bring to the character. Instead he exhibits an awkward physicality; oddly, he lacks the grace that one might assume a model would bring with him. Underneath this, there’s an air of vulnerability: he’s a wounded Bond; a thousand times more human than the 'Joke Superman' – as Moore described the part – we would see throughout the 1970s. No doubt these attributes are the result of an inexperienced actor faced with the daunting prospect of stepping into the shoes of an actor hugely acclaimed for his performance, but whatever the circumstances, Lazenby’s take on James Bond is by no means the disaster most contemporary critics proclaimed it to be. Far from it.
Of the supporting cast, Diana Rigg stands out (she always does), breathing life into Tracy; portraying her as suicidal and vital at the same time – a good trick if you can do it (I certainly can’t). Rigg’s casting is simply one of the best ideas the Bond production team ever made – if James Bond is to be married (and swiftly widowed) then it makes perfect sense that his bride should be Emma Peel (rather than Lois Lane – Tomorrow Never Dies – the very idea the such a quintessentially English hero such as Commander James Bond would ever marry an American – it doesn’t bear thinking about). Telly Savalas is a muscular, threatening Blofeld; a genuinely scary Bond villain.
OHMSS has an absolutely superb soundtrack, courtesy of veteran Bond scorer, John Barry. And there’s a real poignancy to the Louis Armstrong song 'We Have All The Time In The World'; Mrs Tracy Bond is murdered on her wedding day, and George Lazenby would never again play James Bond. Like the sands in the hourglass from the film’s opening titles, time is something this very human James Bond has in very short supply …
Comments
1 - Moore, 2 - Dalton, 3 - Craig, 4 - Connery, 5 - Brosnan, 6 - Lazenby
I only have a few quibbles about his review:
1) I think his "the average length for a James Bond film is 100 minutes" does not bear close scrutiny...in fact, is a crock: ALL Bond films run longer than 100 minutes. Only Dr. No is close, at 111 minutes. A full 16 of the films run 125 minutes or longer.
2) I disagree with his (rather peculiar) assessment of Lazneby's movements and supposed lack of grace. Even most of George's detractors seem to think that he handled the physical side of the role quite well. I think his physical performance as Bond is letter-perfect, and his acting rock-solid as well (I guess I'm definitely in the minority there).
Otherwise, a nice little review. Thanks for posting it here, Lazenby880.
Agreed. I don't think Lazenby was perfect in this regard but each time I watch the film I'm amazed at how in certain scenes he does move remarkably well, with surprising grace at times.
Thanks for this, Lazenby880, a great read. Nice to know we're not just the crazy few.
And yes I also believe Lazenby held the physical side of the character with a brute force that none of the others did, in this respect the view of Stadon is somewhat odd. This is not the primary reason he was good as Bond, but near everyone does concede that he could knock a bloke out, which is emphasised by the edgy camera work.
Jaelle, it is indeed nice to know we're not just a crazy few.
http://www.mhvf.net/forum/general/posts/3272.html
Pete Fitzgerald
"This never happened to the other reviewer..."
For years now, I've been hungering for a "special edition" of one of the high points of the Bond series, ON HER MAJESTY'S SECRET SERVICE (1969), ever since MGM/UA Home Video released those sumptuous deluxe laserdisc box sets of GOLDFINGER (1964) and THUNDERBALL (1965) back in the mid-1990s. Now it's a reality on DVD, and it meets nearly all of my expectations. Let me start by saying that, despite a few criticisms I have, this DVD is a definite "must-have", unless you're inextricably in the "I hate George Lazenby/it's not Bond without wild gadgets & Ken Adam sets" camp. I put it up there in the triumvirate of top Bond films, with FROM RUSSIA WITH LOVE (1963) and GOLDFINGER. After OHMSS, with the original production team starting to break up, things started to go downhill, to one extent or another; while there have been some good and entertaining Bonds since, OHMSS is the last GREAT James Bond film.
The plot: Agent 007 James Bond (George Lazenby) rescues a suicidal Contessa Tracy Di Vincenzo (Diana Rigg) from drowning herself in the ocean. She's the daughter of shady construction company president, Draco (Gabriele Ferzetti), who, hearing of Bond's concern for her, tries to act as matchmaker for the couple. Bond initially plays along only to get info on the whereabouts of arch-villain Ernst Stavros Blofeld (Telly Savalas), who he's been after for two years, to no avail. Bond's boss, M (Bernard Lee), is impatient with Bond's lack of results on this mission, "Operation Bedlam," and closes the case, giving Bond two weeks' vacation.
Bond uses this time to clandestinely continue "Operation Bedlam" on his own, and romance blooms between himself and the lovely Contessa Tracy. He also discovers that Blofeld is seeking legal confirmation to be officially recognized as Count of the "De Bleauchamp" family, as well as having established a new base of diabolical operations on the snowbound summit of Piz Gloria, high in the Swiss Alps. Borrowing the identity of "Sir Hilary Bray" (George Baker), head of the College of Arms in Edinburgh, Bond travels to Piz Gloria to find out more. Blofeld's latest scheme involves bacteriological warfare (permanent sterilization of livestock & crops) and hypnotism of an unwitting bevy of typical Bondian female set decoration (plus the atypically daffy "Ruby Bartlett" (Angela Scoular, who also had an amusing bit in a bathtub with David Niven's "James Bond", in the spoof CASINO ROYALE (1967))) to carry out this plan, in order to blackmail the world into absolving him for all past crimes, and allowing him to settle down as the "true" Count De Bleauchamp. His right-hand henchwench "Irma Bunt" (Ilse Steppat) zealously assists. This sets the stage for 007 to experience an unprecedented variety of highs & lows before the end credits roll.
This was supposedly the film that stuck closest to Ian Fleming's source novel, but I have to admit I haven't read any of the Fleming novels yet (I've been meaning to, really I have...), so I can't judge it by that standard. What the film does illustrate is what is most needed in modern Bond films: character development. The plots almost always adhere to the same "madman out to rule the world" template, and the only way to keep that from going stale is to populate them with interesting characters the audience can get involved with. It sounds so simple, but it seems more often to be the very last consideration in most action films these days. Who cares when walking cyphers get shot, blown up, or otherwise put in harm's way?
To me, George Lazenby did a fine job as 007, especially considering that he had essentially no acting background. Sean Connery will always be the ultimate James Bond, and It would've been great if he had made this his last Saltzman/Broccoli 007 adventure, instead of the watchable-but-on-a-steep-downhill-slide DIAMONDS ARE FOREVER (1971), but Lazenby capably holds his own in the role, apart from the occasionally awkward line reading ("Hmmm...Beluga caviar, north of the Caspian..."). I prefer him as Bond to Timothy Dalton & Pierce Brosnan (even though I generally like their performances as Bond also), and especially to Roger Moore's "Bond-as-smug-clown" (although that was as much as decision of the producers as it was Moore's). Lazenby especially excels in action/fight scenes, giving more of an extra visceral punch to such sequences as the pre-credits fight on the beach, and the hotel room brawl, compared to Connery's increasing reliance on a stunt double for similar duties in YOU ONLY LIVE TWICE (1967). And Lazenby aquits himself quite well in the emotional scenes, particularly the proposal in the barn, and during the memorable end scene.
Diana Rigg... While not quite as volumptuous as Ursula Andress, Shirley Eaton, Luciana Paluzzi, Honor Blackman and most of the other heroines & femmes fatales of the previous films, she's easily the greatest "Bond girl" of all time, the best actress, and the only one who could credibly woo 007 away from bachelorhood. Beauty, intelligence & wit are on display in equal measure. She was/is a treasure, and it's a crime and a shame that she wasn't a bigger film star in the late 1960s-1970s. Her handful of major film roles at that time (OHMSS, THE ASSASSINATION BUREAU (1969), THEATRE OF BLOOD (1973), THE HOSPITAL (1971), etc) were uniformly excellent, she's just someone who's a joy to see, whether trading on her "Emma Peel" image or not. One of my favorite scenes in OHMSS is when she suddenly appears wearing ice-skates, swooshing to a stop in front of an endangered Bond. And she looks like she's having a ball in her driving scenes; her sense of fun is quite infectious.
And then there's Telly Savalas... Despite the popular sport of Lazenby-bashing that has endured for over 30 years now, I personally find Telly's performance to be the (slightly) weak link in this film. Visually, he's the perfect Blofeld, his Greek features lending authenticity to the "Stavros" portion of the character's infamous monniker. However, when he speaks, half the time his "New Yawk" accent bubbles to the surface, sabotaging his attempts at portraying a sophisticated European fiend. It might be argued that Blofeld is indeed just an unsophisticated, glorified thug trying to buy/blackmail his way into a cultured persona, but that doesn't really wash with me, considering how Blofeld was played with sinister class by Donald Pleasance in YOU ONLY LIVE TWICE (and vocally by Eric Pohlmann in FROM RUSSIA WITH LOVE and Joseph Wiseman in THUNDERBALL). Imagine if they had looped Pohlmann's voice onto Savalas (just as Gert Frobe's voice in GOLDFINGER was an expert dub job, as was Lazenby's, when George Baker loops his voice in when Lazenby is working undercover as Sir Hilary Bray). I also can't help but imagine how much better Yul Brynner would have been in this, especially after seeing him in Franklin J. Schaffner's THE DOUBLE MAN (1967) recently. But I don't want to slam Telly too much, he doesn't do so badly as to derail the film.
The rest of the cast is perfect; Bernard Lee, Lois Maxwell & the late, great Desmond Lewellyn are given more to do than usual, and we get to see M at home with his butterfly collection. Gabriele Ferzetti (with his voice looped by another) is an engaging as "Draco," giving us two great performances in 1969, along with his role as the tuberculosis-ridden railroad baron in Sergio Leone's ONCE UPON A TIME IN THE WEST, before passing away. Ilse Steppat's magnificently malevolent matron was also her last performance, she died before OHMSS was released. And the aforementioned Angela Scoular is the (intentionally) funniest Bond girl ever, she's a pip.
Peter Hunt's direction, Michael Reed's cinematography, John Glen's second unit direction & editing, and John Barry's score are some of the very best of the entire series, making the action scenes rocket forward with splendid rhythm, and giving the slower, character-development sequences a gloss and style that is sorely missing from the bulk of recent Bond films. It's such a blast when Bond straps on skis to escape Piz Gloria, and Barry's OHMSS theme kicks in, as all hell breaks loose. I also love that quick bit where Blofeld gets the news over the phone, hangs up, and drops his white cat, which is cut-away from in mid-meow. The skiing and other stuntwork is also superlative (again, some of the very best in the entire Bond series), the skiing only marred a tiny bit by a few inserted process background shots that look a little clunky to modern eyes, but they still manage work in an expressionistic way, for me anyway.
http://www.scifind.co.uk/ip3/filmandtv/DVD-video/details.php?openme=ohmss.html
Liam O'Brien
“Its alright….its quite alright you see…we have all the time in the world….”
Imagine for a moment that you are, for some unknown and convoluted reason back in the past, stuck in 1968. Now imagine you are legendary producer Albert R “Cubby” Broccoli, the man who got the James Bond films on the screen and made a star out of a young Sean Connery. Now, imagine this: Connery, the icon of the sixties, the man who, to the main bulk of the cinema going world is James Bond, has just decided that after five amazingly successful OO7 blockbusters to throw in the licence to kill and try other things. What do you do? Panic? Beg? Cry and/or yell? Well, if the answer was yes to any of those was yes, then you would not make a Broccoli for today. For what Cubby and his producing partner Harry Saltzman was hire an unknown Australian male model- the name? Lazenby. George Lazenby.
On Her Majesty’s Secret Service is, to most people an anomaly, an accident, a film that does not really belong to the Bond canon. The reasons for this are wide, varied, and interesting. The most obvious difference is the presence of Lazenby in the role of Bond. The Australian had had little or no acting experience, and had pretty much blagged his way into the role by means of dressing up at the same Saville Row shop Connery frequented, and ‘accidentally’ bumping into producer Broccoli in a hairdressers one day. After (in much competition and speculation) winning the coveted role, the story comes together.
Richard Maibaum, long time Bond script writer decided one day, sitting at his type writer, that he didn’t like the way the Bond films were going, didn’t like the new found reliance of gadgetry and spectacle. So, he read Ian Fleming’s OHMSS, which is a taut, tragic, exciting and well-plotted thriller. And then, he wrote the screenplay for the film OHMSS, which turned out to be a taut, tragic, exciting and well-plotted thriller.
This is for any number of reasons. There are no laser beam watches or Aston Martin cars loaded to the cogs with guns and rockets or jetpacks to get Bond out of a spot of bother this time. Only wits, and a gritty determination to live- witness the scene where Bond climbs along a cable car line, using his torn out pockets as grips. The other key differences which make this different to the Connery Bond’s, apart from the above, is the cast, the awesome Bond girl, the grandiose music score, and the direction, all of which is the best of any Bond film to date.
To start, the cast is filled with interesting and exotic key players- Bernard Lee’s original M, Lois Maxwell’s Moneypenny and Desmond Llewelyn’s Q all make the customary appearances; Gabrielle Ferzetti’s loveable rouge crime boss Draco and Telly Savalas’s Ernst Stavro Blofeld are both brilliant- but there is one other (apart from Lazenby’s excellently real Bond) who needs to be mentioned. The Avenger’s girl, Diana Rigg, known to so many as John Steed’s counterpart Emma Peel plays Contessa Tracy De Vicenso- the only woman OO7 has ever truly loved.
The scenes in which her and Lazenby interact are highlights of this film. As their love grows, so does the story, and the emotion behind their affair. Tracy is a brilliant character- not a spy, not a double agent- but herself- a woman, but a woman with a heart, a real personality and life to her. The whole film is brilliant- so much better that what came after. That is in no way to say that the other 19 Bond thrillers are bad films, that’s not the point at all. Die Another Day is a brilliant spectacle, a Bond wholly appropriate for todays world. But OHMSS is a true classic, it has plot, drama, tension, intrigue- all tinted (as this is a sf site!) with science fiction (Blofeld plans to hold the world to ransom with bacteriological warfare).
The only false note is the villain’s scheme- he wants not money, but recognition as a Count and to have an official pardon to all past crimes. Why would the UN say no to that relatively meagre threat than face a global catastrophe?! But this is nit picking.
On Her Majesty’s Secret Service is the best Bond film- ever. John Barry’s score (recognised by many as his best ever) hits you from the gun barrel sequence and does not stop. Peter Hunt, the director gives the film a warmth and energy, a sense of thrills and foreboding that all come together in the tragic, down beat finale’.
And, all told, after what has come before (a terrific pre-credits fight on a beach, a tense safe cracking sequence, a ski chase to die for, a final attack on the villains Swiss alp base and the following bob sled led fight scene) the ending of this film is the key difference. The Bond formula is that OO7 always saves the main girl- right?
Not this time. Everybody knows, following on from Bond and Tracy’s marriage that the relationship is about to be cut short. But this does not make you, as much as you think you are, prepared for the scene where Bond, who has just come under-fire from a Blofeld driven car, storms into his car to give chase. Cue a crushing camera shot, of a single bullet hole in the windscreen, blood pouring from Mrs Bond’s fore head. And that’s it. Bond, cradling his slain love in his arms mutters the top quote to a stunned traffic policeman, before (in a scene in which Lazenby acts and pulls it off with aplomb) Bond breaks down, with only the memories of a love now well, and truly, lost.
ANY GOOD: Tragic, brilliant, exciting- all these words can be applied to OHMSS. You will notice that I haven’t mentioned the dvd extras. There are some, very good ones too, but the strength of the film is enough that the extras are merely an added bonus. That should tell you all you need to know. Lazenby, in his one film, sticks in the memory forever, as does Riggs Bond Girl- and of course, the final, horrifying reel that will NEVER leave you. A must see, must buy film, get it now, and see what makes James Bond films so great.