The structure is sometimes meandering. The villain's scheme is bizarre and convoluted. The editing and cinematography is unusual, sometimes awkward, sometimes brilliant. The action is intense. It's perhaps the most sixties Bond film, dipping its toes into psychedelia and featuring amazing costumes. Diana Rigg is gorgeous, and Lazenby isn't bad, as long as you're not coming straight from Connery.
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.
Lazenby turned out to be my favourite Bond. It really isn't a fair assessment to Moore's (a close second) capabilities but Lazenby got to play a refined, kick-ass but also human and well developed version of Bond that Moore didn't (at least not as much). Diana Rigg is exquisite as Tracy; Telly Savalas is by far the best Bond villain and this is the best and EXTREMELY underrated Bond film.
Even if George Lazenby was too slick for 007 the rest of the movie is a masterpiece. The haunting Louis Armstrong title song combined with the darkest ending of any Bond film makes this unforgettable stuff as this film define the character the most as the spy falls in love with Diana Rigg (and who wouldn't`?). Excellent locations, editing and hectic editing add to the fun. My favorite in the series.
I have never understood the love for this one and I never will. Incredibly dull for very long stretches, only Diana Rigg's terrific turn and some pretty nice skiing bits stop me from falling asleep when it comes to this one. George Lazenby really is rather a good Bond as well.
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.
Even though the dude playing 007 is sort of a punchline now and his dialogue-delivery isn't the best, I'd still consider this to be the quintessential Bond flick ... and George Lazenby DOES deliver in the crucial moments. Whatever he is lacking in, the Movie-Gods compensate for, with the best in action-packed set-pieces, harrowing stunts, expert camerawork, John Barry's best score, and an overall swingin' 60's-vibe!
Lazenby may not have quite the presence of Connery but this is still a pretty good Bond film. Diana Rigg is great as Bond's perfect match and there are some strangely touching scenes: Moneypenny at the wedding, and... after. I do find it odd though how much this harks back to the earlier Bond in the titles, Lazenby looking at old Bond equipment and of course his "other fella" quip.
In recent history OHMSS has had a resurrection amongst Bond fans. I think it's due to it being more like the current Craig Bond films than any other in the series. It's post-modern, dark and shows the consequences of living a spy's life. Not all it's innovations hit, but considering the circumstances surrounding production they created something fresh and unique.
The most maligned Bond is perhaps the one that best captures the spirit of the books. This entry rescued Bond from the self parody the two previous entries had made it though it was unappreciated at the time. Fine action set pieces, excellent stunt work and set in a world not so far fetched. Shame about that line before the opening credits though. Until the latest trilogy my favorite Bond.