Favourite Frames: On Her Majesty's Secret Service

This is certainly fruitful ground.



Gorgeous shot.



Just so happens that a gallery of beautiful women converge with Bond's mission. Brilliant.



Bond finally discovering the 'other side' of Piz Gloria, perfectly represented in the mirrored shot.



As you may have noticed in the other Favourite Frames threads, when a girl hangs off Bond's arms, it's a thumbs up from me. This perhaps is the only time she's done so but with a fierceness behind the eyes. Tracy is vulnerable but so capable, and Rigg portrays it so beautifully.



One of the many iconic shots of OHMSS.



Who doesn't like a lens flare?

Also, phallic imagery? This part of Bond's mission being led by his dick? I jest.

Those are all terrific, but we've got to include at least one of the greatest Blofeld of them all.

I can't seem to see the frames, Fields.

Otherwise, I will be along with these at some point. As Oates once said, I may be some time.

Odd, since PK can see them.

Though I haven't been able to load the photos in MP's 4K thread. Hmm...

I've refreshed my page etc but nothing going sadly. Though having seen the film so many times I can virtually see them

Aha, I came here to say I'll have my frames up and now can see yours, Fields. Fantastic choices, the last two especially.

I was about to say that Over and Out (as I'll dub the scene) has a couple of shots, there's one of the gunners but one but of the helicopters as they reach Piz Gloria.

Have to get cracking. I have too many in some respects.

Just link the whole damn film, Hilly. You know you want to.

Ha, I might have to. I mean little angles and what not come to mind.

It's a crime Hunt didn't get to direct more of 'em. Fine looking film.

Exactly what Hilly and I have been talking about on Facey. The truest successor to Terence Young.

well here we go, we can't do the whole film but let's do a fist of it...Part 1

always like the silhouette of Bond to the opening of the theme. And Bond hanging from the clock.


Love this silhouetting here and the lens flare. How this is Campbell's vision of Blofeld et al


Always something epic about this scene


from this earlier half of the film, I would've included if it was easier the shot of Bond against Draco's office door -how the camera pans out with him knife in hand or how they focus the calendar as Draco puts on his specs and then smudge it when he takes the specs away. Or the pan out after Bond is locked in the cable car barn and you see the scope of his prison.

again, love the image of the snow flying up and Bond arcing across the plain.




The grim if outright savagery of Bond's expression and the angle. This film is full of fantastic angles and long shots

Part 2

if anything makes you fall in love with Tracy it's this shot (that and the one of Bond gazing at her)



in love with these close-ups of the couple (coupled with the panning shot of them lying together just before)

"I'm not, I'm thinking about us."


Fields took one of my ideas but prior to the shot of the bad guys, this of our intrepid couple


another image to convey sheer epic-ness. You see our intrepid couple and you see the bad guys and...the Alps


something about this shot, a classic Hunt shot


"Mer-cy flight!"

Part 3
Attack!


Ski Bond


Devastation. Fade to black.


ideally I wanted to cap Tracy's appearance at the ice rink. There are gif's of it but it's a favourite moment in the series.

Great choices, Hilly!

Has M's office ever looked that moody again?

Perilagu Khan wrote:

Those are all terrific, but we've got to include at least one of the greatest Blofeld of them all.

I always liked the way he held his ciggies.

CJB wrote:

Perilagu Khan wrote:

Those are all terrific, but we've got to include at least one of the greatest Blofeld of them all.

I always liked the way he held his ciggies.

Yep. Almost enough for me to take up the cancer stix again.

One thing I twigged as I went through these, is how unflappable Blofeld is when Bond goes to get him after seeing Campbell's body. No reaction at all other than smugness. Would've made it all the more satisfying to see Lazenby's Bond kill Savalas' Blofeld in a revenge-driven DAF.

Yep, to see that smugness fade away as he realises he's dying-- and with Lazenby causing it-- would have been something.

Considering the weight Lazenby put into his action scenes, he might well have carried on and actually killed Savalas.

What OHMSS has visually over the series is that
1. It is the lone film shot by Michael Reed who had a different visual style-and he worked with Peter Hunt to try and have the Swiss locations come across naturally and fit the visuals of the rest of the film. It caused havoc trying to shoot in PG's open glass vistas though! There is immediacy because most of the visuals are held in and the more intimate nature of the story is kept intact which is refreshing after the two previous films being about go bigger than ever.
2. Johnny Jordan used his special rig on the aerial shots and literally hung down below the helicopter to achieve the shots. This combined with Willy Bogner's astonishing moving ski footage and John Glen trying to maintain hunt's editing style makes every single one of these sequences truly feel involving.

I adore the soft haze usage in the barn sequence. The way Reed lit Diana Rigg in that moment really makes Tracy come off the screen and underscore her importance.

Two salient and fantastic points. Had we not had Reed, OHMSS would not be what it is in terms of style. Didn't Jordan almost get killed doing that shot? Something like it was the flimsiest of rigs or something.

I'll be adding a couple more frames soon. Keep OHMSS50 going forever.

hegottheboot wrote:

What OHMSS has visually over the series is that
1. It is the lone film shot by Michael Reed who had a different visual style-and he worked with Peter Hunt to try and have the Swiss locations come across naturally and fit the visuals of the rest of the film. It caused havoc trying to shoot in PG's open glass vistas though! There is immediacy because most of the visuals are held in and the more intimate nature of the story is kept intact which is refreshing after the two previous films being about go bigger than ever.
2. Johnny Jordan used his special rig on the aerial shots and literally hung down below the helicopter to achieve the shots. This combined with Willy Bogner's astonishing moving ski footage and John Glen trying to maintain hunt's editing style makes every single one of these sequences truly feel involving.

I adore the soft haze usage in the barn sequence. The way Reed lit Diana Rigg in that moment really makes Tracy come off the screen and underscore her importance.

Bizarre that Hunt and Reed never returned. Truest successors to Young and Ted Moore. Always felt OHMSS looked and felt most like TB.

Hilly's back for more but then everyday is OHMSS50...ahem

to start us off:

"Filthy habit"


It's motherfucking Lazenby breaking the fourth wall.



I find this a Young-esque shot. Dr No and FRWL both had women longingly checking out Bond as he walked away/passed. I love the shot of Bond coming off the stairs and striding. They say Connery moved like a panther, I think Lazenby had the same stride.



"Get...dressed!"



I wish I could do a gif or know how to.

echo, echo



New years!?



Broody Bond

I like that one of Bond staring out the window.