1979-2019: "Take a giant step for Mankind"

I got the itch to watch Moonraker tonight and figure we'll start off an unofficial celebration of the film's fortieth anniversary.




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The PTS gives the film in microcosm. Brilliant model-work by Derek Meddings, a good piece of music by John Barry, death and destruction of the NASA 747 and death defying stunt but then the "on his final leg"/cut to shot of Bond indeed on a leg, Jaws' frantic efforts to stay aloft and his gormless expression.


As I wrote ages back, there seems sometimes to be a decent film trying to emerge and at the same time, there's an odd feeling personally to Moonraker -because it is that film, Bond goes into space. Though how Bond gets into space all feels natural. A writ large version of slapping clown makeup on to infiltrate a circus, he follows Drax into space via shuttle to take him down.

Of course they went into space to build the station but there's a sense -when watching the launch sequence of all the shuttles- that surely that shuttle flights have become commonplace or common knowledge. Hence, in part, there seeming no surprise about there being half a dozen launches on NASA's part, with surprise being at a space station suddenly materialising in orbit. (These are the details I cannot help but ponder watching the film). Unless the shuttles were masked by the jamming devices that hid Moonraker from NASA's radar.

Anyway. For every pun, dodgy moment, there is a centrifuge moment, a Corinne put down, death of scientists by poison gas, or super performance by Lonsdale. A film seemingly at odds with itself all the way through. John Barry's music is at the edge of these moments. Were it not for him, Bond's shaken state coming out of the centrifuge might not seem greater than it is. Indeed, Bond's at his weakest here though he deftly puts away Goodhead's attempt to see if he's okay. The hunt of Corinne is made all the more haunting by Barry, and the cinematography.

Michael Lonsdale seems so great, so effortless in his acting that you find yourself forgetting the film, the plot (doubly it being TSWLM but in space) and parries with Moore's Bond well. The shooting party a prime example. Indeed, whenever I see it, I find myself pondering it probably deeper than I should. "You missed Mr Bond?/Did I?" Here Bond is being set up to be killed, Drax by now knows of Corinne's betrayal and what Bond is up to. (Though he would've done surely from the moment Bond landed) and then Bond blows the assassin out of the tree. Any other film perhaps, Bond might have been apprehended by goons, have hared off whilst being chased by goons (take perhaps VTAK, where he sees off the horse riders only to be thwarted by Mayday and Zorin) or there being some remark by Drax. However, he shoots the assassin, makes a remark and casually walks off to his car. Perhaps Drax was all too confident in getting Bond at some point.

The model work seals the deal. I will never tire of flight into space -doubly made great by Barry but also Meddings. There's something almost haunting about Moonraker's reveal. The silence, the sound effect that comes over the darkness and then the soaring of the music as the station is revealed. Again, you forget the film or that it's a Bond film. The shuttle over Earth and lens flare is a favourite shot, as indeed, for other reasons, the shot of the redhead and her cascading hair. Ahem.




But then we have silly moments that lend to Roger Moore's assertions on Bond and the films. The fact a secret agent uses a camera with his code-number on it, that Chang can seemingly walk through Venice in that clobber unquestioned or stopped, the double-taking pigeon, the alcoholic with his wine, Jaws' volte vace into a cartoon character (the face he makes prior to going over the waterfall an absolute case in point), Jaws' girlfriend, the flimsy gadgets Goodhead has in her Venice room, etc.

Jaws' encapsulates the films see-saw tone. Presumably audiences when they first see him teeth bared in the doorway of the plane, perhaps shivered or thought they were in for thrills and more death for unlucky bit part characters. Yet within seconds, he is flapping his arms like an idiot. The scenes in TSWLM where he kills Fekkesh and Kalba chilled me when I was younger and there was something terrifying even after. Even him killing the shark. And yet that's gone in Moonraker. For a moment you get a hint of the previous life, where he chases down Bond and Goodhead on the cable car or when he is about to attack Manuela. But then there's Dolly introduction, there's the toasting amidst the destruction of Moonraker in spite of that moment when Drax outlines his plan and Jaws realises just what he's dealing with. His helping Bond is so-so. Redeeming of a character perhaps but it's so..., I don't know, simple.
"Jaws, can you help us?"
"Sure, why not?"

Moore would never win roles for his acting but he does a good job here. There's a delight to his role in the more serious scenes -his interplay with Goodhead is good enough. Lewis Gilbert said of Kenneth More that he was only good for certain roles and surely he thought of Sir Roger. He does the job. The payoff of Drax is classic Moore.
I like Goodhead, the acting might not always have been consistent or up there but I've had a spot for her for years. In a more serious film like FYEO or Octopussy could Lois Chiles have been superb? Perhaps not. It makes you wonder though or wish that there,  had been a more decent film for her and Lonsdale to appear in. If Lonsdale could do great for Moonraker what of a For Your Eyes Only, Living Daylights etc?

Some moments tickle for various reasons. Bond thinking that the alarm in the gallery during the Chang fight is a touch too much, despite by then destroying half the gallery, his face when Chang first launches at him, when he first meets Goodhead in Venice (a kind of delight in winding her up), the fact the bad guys always find Bond without fail even when he's up the middle of nowhere in the Amazon, his look after the concierge's "the place is in suite", punching Jaws when apprehended, knowing its futile, the nod to Jaws across the cable cars and a few other minor moments.

As often said, it's a shame there will never be a proper release of the soundtrack. The missing parts from the official release, as with VTAK, are worth such a proper release. For even in a bad Bond film there is superb music.

A final note is to Bernard Lee. Perhaps like Desmond Llewellyn's last appearance in Bond there's too much to read into his penultimate scene with Moore's Bond but there is always something about M's last scene with Bond in Venice.  But also M giving Bond that chance to go off after Drax. Not quite "What would I do with you Miss Moneypenny?" but quietly good in its way.

But yes, happy fortieth and, here's to us...

Very nice Hilly. Your point about Lonsdale in another film is interesting. After a discussion here, it occurred to me that Lonsdale might have made an excellent Le Chiffre in a film closer to the book than CR06 is. Imagine that: Connery, Lonsdale as Le Chiffre, Eunice Gayson as Vesper? Hmmm...

There's not a lot to disagree with, though wasn't there an entire sequence in the film where Holly had to disable the radar jamming system that enables NASA to discover the space station's existence?

It took me years to understand why I feel MOONRAKER is badly misunderstood and why I felt there were so many good things in it despite the silly bits everyone comments on.

The greatness comes from the grandeur and the elegance of the film. What makes it feel so different is not just that it goes into space...but that it was a French production and thus looks and feels different to any other in the series.

Storywise it doesn't hang together and is much like YOLT quickly following TB in that it quickly follows the success of TSWLM and doesn't even bother to disguise the fact that it is literally almost a remake but in space instead of underwater. The same main crew returns but overall the film has a mixture of random humor and a sudden slowness that is unlike the more narratively taut and well edited SPY. Moonraker has a more luxurious time at getting from point A to B and suffers from it in that regard.

However, it IS a grand achievement in that it is an entertainment first and foremost that despite having a double taking pigeon, Jaws a a live action Wile E. Coyote, the Bondola and the other far too over the top moments still manages to work and have a realism of its own about it. There are many great classic Bond moments that have nothing to do with the crap people give the film. The pheasant hunt and centrifuge scenes are absolute standouts with perfect acting, staging and editing to create truly pure Bond sequences. There is an otherworldly beauty to the trysts in the film coupled with Barry's haunting score and of course this is magnified during the flight into space and Corrine's brutal death.

I could talk about MR until the end of time. In no other field of human endeavor could I so praise something that was so inherently silly at times yet still full of great wonder.

I absolutely love the cutaway to the stud farm castaways in zero gravity as mentioned above. Coupled with Barry's score is an absolute moment of art unexpected in the series that goes right into the breathtaking model shot of the Moonraker shuttle in front of the sun's rays coming across the rim of the planet behind. Derek Meddings achieves absolute magic here and if not for the laser beams I think MR in many ways could be considered extremely realistic in terms of possibility. If it wasn't a Bond film, and wasn't MR the effects would be praised by everyone because they're simply stunning for the processes of the time-and they had none of the new innovations that were created and refined for STAR WARS and the birth of ILM.

As always Ken Adam outdoes himself. Barry does 1000%. The photography is gorgeous but very much different than the usual styles associated with the film. The editing by John Glen is still taut in places but much looser than it was in TSWLM much like the film plays with not only being grand entertainment but to have fun with itself. And in 1979 you could do that with an audience.

Lonsdale's Drax is phenomenal, I've always liked Chiles's Holly, there are some great one liners, the film has a great sense of fun and visuals that are chilling, haunting and stunning.


And then there's the title song. I've always felt that along with TLD it's the most underrated in the series and a gorgeous haunting ballad that perfectly matches the deeper contexts of the film it is a part of. Despite it being rushed together after Sinatra dropped out and Bassey not being able to give it her usual high performance gloss it is precisely the naked emotion and loneliness of the song that makes it my favorite of the three she did in the series. I absolutely adore this masterful song.

Roger was and will always be a master of his craft. No one could do what he did. Not only is it excruciatingly hard to be charming and sophisticated onscreen, but to do so in varying modes of tone across twelve years in the same role and maintain such a powerhouse level of conviction is absolutely incredible.

Well said, Hilly. See-saw indeed; the paradox of having fairly dark stuff like Corrinne and the dogs as well as the superb centrifugre scene - where Bond really cops it for once - mixed in with the overgrown goofball (I mean that in the nicest way and with all due respect to Kiel) making an appearance at every turn. The inconsistencies really are the bane of the film, but hey, you're never going to get a completely serious thriller when you're making a movie about a British civil servant who's flying into space to shoot lasers and fuck a CIA agent in front of the Queen, Pope, and his boss.

The Bonds are often tonally inconsistent, but it's perhaps Moonraker that is so the most.

thanks fellas, the review was sort of flung together. Indeed, Fields, there is that sequence with Holly disabling the jammer so I guess that did the trick to mask half a dozen launches. I guess that jammer was working from the get-go. Lonsdale as Le Chiffre would have been intriguing alongside Connery. I'd loved to have seen him face off Dalton though.

I didn't realise just how deep the French productions were. The late Mike Marshall who played Colonel Scott (well, we didn't put it there but excuse me General, I have to hop it to the launchpad) though American born spent the majority of his life and career in France. Little details that tickle.

Superb right-up, Boot. Nodded at the points mentioned. I had a look at my last complete Bondathon rankings (seems I've only watched three Bond films over 2018-19) and Moonraker sits quite high. Looks to be my third highest of the Moore films.

I saw Ambler lurking last night. His two penny worth would be worth the admission fee.

Hilly KCMG wrote:

"the place is in suite"

You mean : "The President's Suite"?
Another poster somewhere commented that "Is he?" would have made a better comeback than talk of calling a cab.

Moonraker is a film I enjoy more for its parts than its sum. I disagree about it being tonally inconsistent; TWINE is constantly at odds between tense character drama and slam-bang (and mostly pointless) action. MR's OTT tone is consistent, otherwise you couldn't get all the way into orbit at a 200m invisible space station without saying at some point "WTF?!" US Space Marines on standby in 1979? Sure, why not?

MR is almost more a spoof of the series than a serious entry. It's also a magnificent remake of Kiss the Girls and Make Them Die. I can't dislike any movie filmed in Rio, where I was in March of 1977 - two years ahead of 007.

AMC Hornet wrote:

Moonraker is a film I enjoy more for its parts than its sum. I disagree about it being tonally inconsistent; TWINE is constantly at odds between tense character drama and slam-bang (and mostly pointless) action. MR's OTT tone is consistent.

Not the thread, but TWINE's action isn't pointless (I'd even say there's a beautiful balance between drama and thrills - this balance akin to a Fleming novel), and MR's tone is mostly consistent, but the aforementioned scenes (Centrifuge, Corrine's death, etc. seem completely out of place. Octopussy is by the worst offender in terms of tonal unevenness.

In MR - as well as TND - the narrative is propelled by the action scenes. By the end of each action scene something has been accomplished, even if it's only to confirm that Bond must be onto something. Most of the action scenes in TWINE are totally gratuitous (the boat chase accomplishes nothing, and the narrative stops dead for the attack on the caviar factory. Bond even returns to Zukovsky and says "Now, where were we?").

To those who say that the Rome chase in Spectre was boring, I say time was saved and the pace maintained by having Bond receive exposition from Moneypenny while evading Hinx at the same time. We didn't need a lot of other traffic getting in the way.

AMC Hornet wrote:

In MR - as well as TND - the narrative is propelled by the action scenes. By the end of each action scene something has been accomplished, even if it's only to confirm that Bond must be onto something. Most of the action scenes in TWINE are totally gratuitous (the boat chase accomplishes nothing, and the narrative stops dead for the attack on the caviar factory. Bond even returns to Zukovsky and says "Now, where were we?").

To those who say that the Rome chase in Spectre was boring, I say time was saved and the pace maintained by having Bond receive exposition from Moneypenny while evading Hinx at the same time. We didn't need a lot of other traffic getting in the way.

I've heard that exact phrase concerning the caviar factory set piece said by a reviewer and a fan, however I don't buy it. The choppers were sent to kill Bond, but Bond turns the tables and use it to convince Zukovsky to ally with him, which is what happens. Sure, Bond says "where were we?" but I think it's more humorous as now the interrogation will occur with Zukovsky drowning in his own caviar.

As for the boat chase, it's obviously to try get more intel on those responsible. However, Cigar Girl's suicide shows that she'd rather die than risk being at Renard's mercy. Builds up his character, makes Bond's job more difficult, etc.

The Rome car chase in SP is an interesting one. I feel that the root of the problem is honouring Naomie Harris' contract. Bond gathering a dossier on someone with Moneypenny's help was much more effective and efficient in GE than in SP. The roles Bond and Eve play in working out the riddle doesn't quite work for me because it dilutes their characters, reducing Bond to a mere action man, and Moneypenny to Bond's slave. I guarantee that had Bond worked out The Pale King's identity by himself, the car chase would in turn play out more dangerously. Of course, it would have helped if Mr White was referred to as The Pale King in an earlier film, but everything about the Craig era smells of 'retcon' so it was never going to work.

I'm at a loss, I've not seen Spectre in a couple of years. But the boat chase in TWINE or the caviar factory fight aren't the worst things going. Highlights in that film personally. Musically at any rate. Do like the Zhukovsky/Bond dialogue in the caviar factory scene. Even Christmas gets a good line in.


But, AMC, apologies on mangling the hotel room quote. I need a new TV or subtitles.

With MR you get a sense of the team loosening up after the success of Spy and having bit of fun. Yes it's too loose and too fun for a series entry, but that's part of its charm.

The tonality of OP actually works in a funny way. It's all old school adventure mixed in a breezy fashion right up until the bomb is revealed in the train car. Then we're fully engaged due to complete surprise and shock right up until the defusing. Then its off to a nice capper to nab the baddie in a completely over the top fashion but done in a throwback sort of way.

TWINE could not understand tonality. The switching between drama and action scenes is literally like flipping a switch and very little feels as organic as it should. It took me years to realize why I loved the film but had such deep reservations about it. I think the elements are certainly there but that they never quite gel in the manner in which they should. As slipshod and chaotic as TND's production was, the final film is more cohesive than TWINE is by a wide margin-and ironically I prefer TWINE.
As always I can analyze the four Brosnan films so deeply for literal eons, and still adore them.

But if I'm started on any of the 20 films you're in for a long haul.

With Hornet on TWINE's action sequences, have long felt that it feels like the movie 'stops' (almost out of obligation, because they're what's expected) so they can take place.

Blunt Instrument wrote:

With Hornet on TWINE's action sequences, have long felt that it feels like the movie 'stops' (almost out of obligation, because they're what's expected) so they can take place.      

Perzackly!

Moonraker: A Reflective Review

Just like Drax, Eon wanted to conquer space too…

Moonraker: One of Fleming’s best novels, yet one of the films generally ranked amongst fans’ least favourites. After The Spy Who Loved Me’s success in 1977, plans to adapt For Your Eyes Only were shelved temporarily in favour for Fleming’s grandest sounding title in an attempt to capitalise on the winning elements of their most recent film -- and Star Wars. Helming the film was returning director Lewis Gilbert, who mastered success with two of the biggest Bond films, beginning with You Only Live Twice. Then Executive Producer Michael G Wilson later claimed that the intention is always to set out to make a From Russia With Love, but that deviates slightly to the grander Thunderball, which was the highest grossing Bond film (when adjusted to inflation) for decades to come. While tonally Moonraker is not From Russia With Love, it is certainly cut from the Gilbert blockbuster template with inspiration from Thunderball too.

The pre-titles sequence (PTS) appears to foreshadow a Bond film’s tone and style in many of the series’ entries and Moonraker’s is no exception. As with The Spy Who Loved Me, the film opens on a hijacking, this time featuring a taste of Derek Meddings excellent model work. M hears about this and quickly seeks to question Miss Moneypenny of his best agent’s whereabouts: James Bond is said to be on his ‘last leg’ and he certainly is feeling one up on a private jet. And this one turns out to be bad. Sound familiar? The set up is identical to The Spy Who Loved Me (and before that, You Only Live Twice). But for a film that becomes evidently tongue-in-cheek, this doesn’t become an issue, especially as some of the production and creative choices actually improve upon those seen in Lewis Gilbert’s other films.

And clearly created to one-up the previous film’s timelessly patriotic, jaw dropping stunt, we get a mid-air scuffle between Bond and the jet’s pilot, as 007 resolves to steal his parachute. Bond is successful before Jaws descends to finish the job. Nearly getting a mouthful of Bond’s leg (and nearly proving Moneypenny right!) Bond deploys his parachute and escapes Jaws’ clutches.

A gripping opening, Bond being pushed out of the plane by a returning villain and the subsequent shot of a falling 007 is genuinely arresting. But like the rest of the film, for every thing it gets right, there’s a gag almost immediately after that undermines much of the drama. We realise that Moonraker isn’t going to be a From Russia With Love-esque outing, but the film embraces that immediately. And if you do too, it’s an enjoyable two hours.

In this instance, as Jaws follows suit to deploy the parachute, the cord breaks. He results to flapping his wings to fly while (non?) diegetic circus music sounds (he falls onto a circus tent). Just as the Bond series creates impactful, one scene cameos (Henderson in You Only Live Twice, Doctor Kaufman in Tomorrow Never Dies) that leave viewers thinking the characters have a greater presence in the respective films, certain fleeting moments and scenes often have that effect, albeit negatively. Like James Bond surfing a CGI tsunami, or a winking fish, Jaws flapping his arms lasts just seconds but it tends to tarnish the entire viewing experience for most. Not for this one. The impressiveness of the rest of the film so far outweighs whatever cosmetic flaw that follows.

And that’s the thing with Moonraker (and a couple of other Bond films): a good majority of the flaws are cosmetic, surface oddities for a cheap gag or because of technological impediments. At the very least they don’t undermine the integrity of Bond’s character. In the case of Moonraker, a gag might just make it a little more accessible for younger viewers or to remind us that it’s such an extravagant world we’re visiting.

Because the narrative through line remodels Hitler’s ‘master race’ scheme through the release of poisonous gas (derived from Amazonian orchids) through his capsules from space (he intends to repopulate Earth with persons who embody the highest examples of human beauty. Fortunately, the various women appear throughout the film in different capacities, echoing Blofeld's Angels of Death). Bond’s revelation of Drax’s scheme encompasses such actual spy work: cracking safes, discovering and observing glass factories, laboratories, and warehouses, keeping surveillance on flights and freights, all of which give Bond intelligence on his next lead. All of which keep Bond grounded in this out-of-this-world, villainous plot.

Of course, Bond’s intelligence gathering isn’t without seducing a woman or two for information, and these come in the form of the beautiful, “humble” pilot of Corrine Dufour and brilliantly named NASA AND CIA officer Dr. Holly Goodhead. The latter is essentially Anya Amasova of the previous film minus the subplot involving a dead lover. Chiles, however, lends a physicality and earthiness missing from the Barbara Bach’s character. You can believe it when she throws a punch. You also believe it when she says she’s delivering a speech. Corinne, doomed since assisting Bond, is the focus of one of the film’s highlights - a tonally dark, haunting scene made so by the excellent casting of Corrine Clery, John Barry’s heavenly score and Jean Tournier’s romantically lensed cinematography.

Both of these production elements are improvements on the former. Lewis Gilbert’s Bond films have lush photography, but there is something sensual about Moonraker’s that sets it apart from his 1967 and 1977 Bond films. The fact it's a French production informed this, assumedly. Venice has never looked better in the series… Until that damned Bondola sequence! But then we see Venice at night, and all is well again. Also because there’s a solid fight with Drax’s henchman, Chang. Series stalwart John Barry's score is beautiful, the ethereal, choric sound perfectly accompanies the space motifs. The journey to space is a particular highlight (And of course, Derek Meddings’ model work helps seal the deal), as is the return of the 007 theme which appeared throughout Connery’s run.

And is Moore, here, a worthy successor to the original, quintessential James Bond? Here, absolutely. In a performance that again improves on the preceding film (also noteworthy is that Connery and Brosnan also provided arguably their most relaxed performances in their fourth films. The same can’t be said for Daniel Craig, however). Two scenes standout as some of Moore’s best here: the centrifuge scene, and the pheasant shooting scene. There’s a lovely bit of vulnerability in the former scene rarely seen in Moore’s Bond which he completely sells. Moore himself didn’t think much of his acting ability but there is little doubt here that his James Bond was nearly dizzied to death at that moment. Even more welcome is his pushing away of Dr Goodhead’s help, which says so much about his character than his preceding three films. The pheasant shooting scene encompasses classic Roger Moore charm and wit that reminds the viewer that it’s a James Bond film their watching - and a Roger Moore one.

Because Roger Moore in space could suggest otherwise. For fans intent on keeping the series grounded in espionage, the final act set in space could leave a sour taste in viewers mouth - which is understandable. But for a film that treads the line of spy spoof, does it matter? Especially when so many production elements work; Moonraker was nominated for Best Visual Effects at the Oscars which should be telling just how well the space segment of the film is crafted, regardless of whether it should be in a Bond movie or not.

This isn’t to say the film is perfect. If the longer gags (e.g. Bondola chase, Jaws falling in love) were replaced with moments to tighten narrative threads (i.e. why doesn’t Drax kill Bond after he assassinated one of his employees? Why is Bond targeted in the canals of Venice? Are Drax’s goons on standby in case Jaws fails at the Rio lookout? Who does Drax call to employ Jaws anyway?) then the film would might improve for the general film goer.

It still doesn't matter, as Michael Lonsdale’s chillingly droll performance is one of the film’s highlights and a marked improvement over the least interesting villains of the series in the preceding film. While they both intend to wipe out civilization which epitomises super-villainy, Drax appears to be more than a simple button-pusher that Stromberg is relegated to. This one enjoys his hobbies, is an exceptional host (“May I press you to a cucumber sandwich?”) and is a highly regarded member of society (as seen through the MOD’s reaction in Venice, which also begs the question: why did he and M need to go to Venice?) in addition to running Drax Industries. And who could argue with a villain who explicitly states: “You defy all my attempts to give you an amusing death Mr Bond.” Perhaps that’s why he doesn’t kill Bond while he’s holding a gun at his chateau!

An amusing death usually involves Jaws, and it’s usually amusing for the wrong reasons. Common thought is he is reduced to a cartoon character but it’s a 50/50 split in my mind. He's a genuine threat in the PTS until he flaps about, he’s a genuine threat at Carnivale, and the image of Jaws in his clown suit slowly walking down an alley is a striking image. The cable car fight and Amazonian boat chase prove too goofy to be the intimidating figure he was consistently in The Spy Who Loved Me. By the time he falls in love and takes Dolly on a date to space, you don’t care at the absurdity of it all, and are actually surprised such a character has managed to transform, giving Jaws a sense of humanity. And giving Jaws a voice - something that is worth the two hours alone.

Perfect film this is not. But if you chuckle as the film gives you everything and nothing at the same time, you’re in for an enjoyable adventure.

Very excellent writeup. If only the fools of the Internet could understand.

I think the main issue besides the painfully goofy gags is that the pacing is too leisurely as is the editing in places. Address those and the film would play much better. You get used to the lows and the silliness but overall there's very little that should have been changed in the film. It's extremely effective if you can look past the 007 cam, double taking pigeon, Bondola and ruination of Jaws etc.

Thanks! I agree that it's very leisurely in its pacing but I think if the gags were omitted or replaced with narrative devices that will amp up the stakes, as you say, much of it could stay the same.

Lois Maxwell said that she mentioned to Cubby that she didn't think MR's script was very good, to which Cubby responded 'Well, we're competing with Star Wars now'.

Nice write-up Fields, nodded at most of the points throughout. Succinctly summed up Drax after Bond shoots the would-be assassin. Surely the perfect chance to kill Bond all the same. Unleash the dogs on Bond rather than Corinne. Never really thought of the girls being echoes of the Angels of Death but it works.

Blunt Instrument wrote:

Lois Maxwell said that she mentioned to Cubby that she didn't think MR's script was very good, to which Cubby responded 'Well, we're competing with Star Wars now'.

I wonder far the script went with the gags, and how many were added while shooting.

Though I suppose, when she was previously in films like DN, FRWL, GF, TB and OHMSS, I understand why she might think less of MR. OHMSS was her favourite of her films, wasn't it?

Blunt Instrument wrote:

Lois Maxwell said that she mentioned to Cubby that she didn't think MR's script was very good, to which Cubby responded 'Well, we're competing with Star Wars now'.

I wonder far the script went with the gags, and how many were added while shooting.

Though I suppose, when she was previously in films like DN, FRWL, GF, TB and OHMSS, I understand why she might think less of MR. OHMSS was her favourite of her films, wasn't it?

Hilly wrote:

Nice write-up Fields, nodded at most of the points throughout. Succinctly summed up Drax after Bond shoots the would-be assassin. Surely the perfect chance to kill Bond all the same. Unleash the dogs on Bond rather than Corinne. Never really thought of the girls being echoes of the Angels of Death but it works.

Thank you, sir! I wonder if Bond would have used his dart wrist gun on the dogs?

A nice bit of irony may have been to name them the Devils of Birth (maybe from Bond's perspective), considering their part in repopulating Earth and the impression of them being in on the plan (the way they watch over Bond as he breaks up the python).

Surprised Ms Maxwell would count OHMSS as her favourite. I didn't think she was all that enamoured of Lazenby -or maybe I misread something ages ago. It's my favourite Moneypenny film -her moments with Bond and M are the best going (as far as Ms Maxwell was concerned).

I daresay Fields Bond could've used the wrist darts on the dogs, one on Drax and then go hell for leather on the golf cart back to the mansion.

It might be a mixed blessing the 'cargo' never got a name. Noah's Children came to mind in my head, something along the ways of Valkyrie too...I wonder if Drax intended on removing Jaws and his girlfriend at some point if he had succeeded in wiping out the population on Earth.

[quote="Hilly KCMG"I wonder if Drax intended on removing Jaws and his girlfriend at some point if he had succeeded in wiping out the population on Earth.
[/quote]
Of course he did - Jaws and Dolly both. That's why Jaws turned.
But, if I may interject with logic here a moment (always iffy in a thread dedicated to MR):

Jaws & Dolly represent 400 lbs of dead weight aboard a space shuttle where every lb of payload has to be justified. Drax should have left him in the exhaust chamber with Bond & Holly - then he could have helped them bust out and escorted them to the launch site. The last we would have seen of him would be him walking into the jungle while the shuttle lifts off in the background.

"Brazilian authorities report seizing the launch site with the help of a tall man with...metal teeth?"

I salute your logic. I never considered Jaws' dead weight alone.

IIRC Lois Maxwell said that she had her best scenes with George surprisingly of all.