The Spy Who Loved Me
Dir. Lewis Gilbert
Premiered July 7, 1977
I have a confession to make: I’m not a big fan of James Bond movies. I only saw them as an adult, and watched them all at once at that, so most of them are blurred together. If I had to pick favorites, I’d probably say From Russia With Love and Casino Royale, and my favorite of Roger More, the Bond of 1977, is For Your Eyes Only. My interest in espionage is strictly of the hardboiled John Le Carré variety.
My biggest problem, I think, is the series’ fundamentalist approach to the formula established in 1964’s Goldfinger– flirting with Moneypenny, a brief from M, gadgets from Q, two countries visited, two girls bonked, the first one dies, etc. It’s weird, right? No other successful film franchise does this, and if they did, people would endlessly complain about it. I can’t always speak to the quality of the movies that break from this template, but the usual adherence has always kept me at arm’s length, even when it comes to what is generally regarded as “the other good Roger Moore movie.”
Britain and the Soviet Union both lose a nuclear submarine so that independent villain Stromberg (Curd Jürgens) can start World War III and rebuild global society in his own image. James Bond (Roger Moore) is put on the case for the British Navy and ends up in Cairo, where he faces against his Soviet counterpart, Agent XXX (Barbara Bach). While they both want the same thing, their relationship is emphatically non-cooperative. But when they’re faced down by iron-toothed, super-strong henchman Jaws (Richard Kiel), and more importantly the Stromberg mission brings the KGB and MI6 together, 007 and XXX fall for each other. Little does XXX know that Bond is the man responsible for her lover’s death during a routine ski chase.
So yeah, I’d agree that it’s the other good Roger Moore movie. In many ways, it’s a cleaner, less convoluted take on the formula established by Goldfinger. It does most of the tropes, but does them well: good action, good gadgets, a respectfully subdued but mercifully present sense of humor. There’s not much else to say; halfway through 1977, it’s in my top 10. Just don’t expect it to stay there.
Signs This Was Made in 1977
Bond says “you’re on Candid Camera.” However, Allen Funt never comes boogieing on out. Detente is namedropped, and is the entire subtext of the movie. The score is all lush Marvin Hamlisch piano pieces, including the theme by Carly Simon, with the one exception of the Bond theme’s disco remix. Eat your heart out, Meco!
Next Time: Orca