James Bond goes undercover in the treacherous Swiss Alps and finds himself involved in artillery-laden ski pursuits, incredible stunts and thrills, when he must stop the evil genius Blofeld from realizing a germ warfare plot that could kill millions.
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Despite the cuckoo in the nest, this is oddly the best summation of the tropes and medallions of this repetitive series with surprising tenderness and emotional delineation for a (one-off) change. Pace, performance - from Rigg especially - and music smoothly coalesce and capture something of the pulpy silk of Fleming's stories.
Elevated by the emotional heft of its out-of-the-blue final scene, the soundtrack contribution from Armstrong and a few stylistic quirks that the director seemingly borrowed from Boorman's Point Blank. Otherwise this is an oddly plotted Bond full of choppy action sequences and a story featuring the wooden Lazenby seducing a chalet full of multinational nymphomaniacs and little else? May require further examination.
Bond would soon slip behind the times for the better part of the next two decades, but this film's willingness to look past current fads (Satch contributing vox to a song, a monogamous Bond) and anticipate new ones ('70-style visceral action cutting) makes it one of the franchise's great standouts. Bond is a human being here, perhaps not the point of the series but much appreciated.
The best girl, the best villain, some of the best action sequences, the best Bond? It's up for debate, but damn, the film's audacity, especially in a necessarily conservative money-making gig like the 007 franchise...it's something to be applauded. The casual outbursts of extreme violence, Bond's vulnerability, the way Hunt & Lazenby throw away most of 007's pithy lines...subversive, yet affecting. AND DIANA RIGG!
One of the most audacious Bond films, George Lazenby brings a vulnerable side to Bond that Connery's otherwise iconic depiction of the character lacked. Peter Hunt, who got his shot at directing after editing all the Bond films up until this point, brings an innovative style to OHMSS that was ahead of its time. The film's final scenes are incredibly powerful for any Bond fan to behold.
For me, the best Bond film. Such a shame Lazenby and Peter Hunt were unable to continue with the series; incapable of being the bigger-than-life Bond of the late Connery films, Lazenby becomes the most human.