User reviews

You don't review James Bond movies, you evaluate them, rate them according to how well they meet expectations. There are certain things one has come to expect, even demand of a Bond film and each individual effort either delivers or it doesn't. So, here are ten elements that make a Bond film a Bond film and how THE SPY WHO LOVED ME rates on a scale of 1 to 10:

Title: THE SPY WHO LOVED ME: The title seems more appropriate for a Harlequin Romance novel, and if suitable at all for a Bond film, it would have been a better title for ON HER MAJESTY'S SECRET SERVICE. Yet, it does finally work the word "spy" into the title of a Bond film. 7 points.

Pre-Credit Teaser: It's all very nicely done: Within a few minutes, we see a submarine stolen and its crew kidnapped; we meet the Soviet's top agent, who just happens to be -- surprise! -- a woman; and we get the added treat of one of Bond's greatest stunts, the great skiing-skydiving trick. A pretty cool way to kick off the film and set up the various story lines. 9 points.

Opening Credits: Arguably the silliest of all of Maurice Binder's efforts, the opening sequence finds 007 bouncing around on a trampoline while various miniature, and apparently naked, babes do gymnastics on the barrels of guns. (Pity he didn't come up with that idea for THE MAN WITH THE GOLDEN GUN.) Bordering on self-parody, it is nonetheless naughty and fun and colorful and oh-so very James Bond. 9 points.

Theme Song: No beating around the bush here, the song gets right to the point: "Nobody does it half as good as you, Baby, you're the best." Just what Bond is best at is open to interpretation. The music by Marvin Hamlisch is swanky and matched by Carol Bayer Sager's dreamy and only slightly sarcastic lyrics. And Carly Simon's vocals bring it all home. Maybe not the best Bond song, but right up there. 9 points.

"Bond, James Bond": Moore finally makes the role his. The number of smug one-liners have been trimmed, yet he still invests the character with humor -- plus some warmth and charm, and unexpected sadness. And we get to see a bit of Bond's vanity as he matches wits with a female agent who is his equal and not impressed by his stock-and-trade flirtations. Moore's best appearance as Bond. 9 points.

Bond Babes: The prevailing notion has always been that "Bond Girl" equals "Bimbo," which is only partly true. Most of the women Bond encounters are highly skilled professionals -- as well as being bimbos. But Soviet agent Major Anya Amasova, a.k.a. XXX, is the first Bond Girl to give James a run for his money. She's smart, sexy, capable, resourceful and it takes her almost the whole movie to actually fall in love with Bond. What will power! As played by Barbara Bach (a.k.a., soon-to-be Mrs. Ringo Starr), Anya ranks as one of the best Bond Girls, easily worthy of 9 points.

Bond Villain: Karl Stromberg (nice villainous name, by the way) is one of those mad billionaires who hopes to create a new world order by mass genocide and building a new society, this time underwater. It is pretty much a cliché character and unfortunately Curt Jurgen plays the part like a grumpy old man and can't seem to muster up even a maniacal laugh. 5 points.

Bond Baddies: Oddjob look-a-like Sandor, played by Milton Reid, puts in an appearance long enough to die a memorable death, but it is Richard Kiel who steps into the limelight as Jaws, one of the great Bond villains. If being a hulking, seven-foot tall muscle man weren't enough, he also has steel teeth and an amazingly obsessive desire to kill 007. Playing Wile E. Coyote to Bond's Road Runner, Jaws earns 9 points.

Sinister Plot: Stromberg steals a Russian and a U.S. sub, as well as a British one, with the hopes of starting World War III and destroying the civilization as we know it today. Been there, done that. 4 points.

Production values: Romantic imagery, clever lighting effects and intriguing camera angles make this the most visually appealing Bond film. In the past, the emphasis was always on the most effective way to film action sequences, but here director Gilbert Lewis strives for that little bit extra as far as mood and romance. 9 points.

Bonus Points: Connery had his Astin Martin and Moore gets a Lotus Esprit. It is not nearly as snazzy, but it does turn into a submarine and you never know when that will come in handy. 5 points.

Summary: It had been hinted at in the three previous Bond adventures, but a new sense of style is fully apparent here. The roughness and grit that many of the purists loved about Connery's films are pretty much gone in favor of a polish and panache. Whether that is being suave or merely superficial is open to interpretation, but it does set the tone and the expectations for all future Bond adventures.

Bond-o-meter Rating: 84 points out of 100.

I first saw this in the early 90s on a vhs. Revisited it recently. This is the tenth in the Bond series n the third to star Roger Moore as the secret agent James Bond. This is also one of my fav Bond film n it is very entertaining.

This time Bond has to deal with a reclusive but ultra rich scientist Stromberg, who plans to create WW3 and later aft the nuclear war, build a new civilisation under the sea. Lol. He shud have consulted Aquaman first. To thwart Stomberg's plan, Bond teams up with a Russian agent known as triple X.

This movie has one of my personal fav scene, the Union Jack-parachute scene.

This time Bond gets to cool off with Sue Vanner n Barbara Bach. And we get to cool off our eyes with Caroline Munro's amazing cleavage.

Apart from Stromberg, Bond has to face a motorbike henchman with a rocket sidecar, a small army of soldiers in red, an atractive helicopter pilot (Munro) n Stromberg's two fierce henchmen, Jaws n Sandor.

Some info on Stromberg from the book- he is totally bald, lacking eyebrows, and has a small mouth. Only the pinkie and ring finger of his left hand are webbed, as opposed to all of his digits in the film. His character is also given a rather lengthy backstory, revealing how he made his fortune and got into the shipping industry.

Some info on Jaws from the book - he used to b a basketball player but due to his sluggish reaction and his lack of speed, his career ended. Later he was arrested by the secret police for having taken part in a riot n beaten by the cops with hollow steel clubs encased in thick leather, breaking his jaw beyond repair. It was Stromberg who hired a prestigious doctor to create an artificial jaw for Jaws, that created the two rows of terrifying razor-sharp teeth.

With Roger Moore making the part his own by this; his third bond film, Albert R. Broccoli had to come up with a strong action-packed epic, if they were to attract audiences that had been spoilt rotten by 'Star Wars' the same year.

'The Spy Who Loved Me' offers no new scenarios, in fact you could easily dissect each key scene and match it to something that's been done before. There's an underwater battle like the one in 'Thunderball' a ski chase not too dissimilar to the one in 'Her Majesty's...' and even the final big shoot out is not unlike the one in 'You Only Live Twice' which was also directed by Lewis Gilbert. However 'The Spy Who Loved me' is more than merely a sum of its parts, and when each part is handled as expertly as these, you don't seem to care if it has indeed been done before.

The film like Moore exudes a certain charm, and provides a certain amount of nostalgia looking back at it now, with it's lively 70's fashions, even Bond's theme gets the disco treatment, quite superbly. Ken Adam's stunning larger than life sets fit the film's extravagant, big budget flavour perfectly. Appreciative nods must also go to some fantastically attractive women, Caroline Munro playing the enticing Naomi has to be one of the most seductive looking femme fatales to steam up a wide-screen, and more's the pity that she didn't grace it longer. Barbara Bach is equally alluring, and a fine match for Roger Moore in every sense of the word. The film also offers a wealth of laughs while not forgetting the chills and spills, Richard Keil providing all as the relentless and unforgettable Jaws. The scene where he tears open a Sherpa Van like a sardine can is particularly memorable, as is him brushing himself off after plummeting into a farmhouse from a flying Mercedes. Some fine touches of drama too, Bond's response to XXX's remarks about his career and wife are handled with compassion and reverence.

So in all everything is here you could possibly want in a 007 adventure; top stunts, beautiful women, cool villains, those gloriously huge Pinewood sets and THAT car, wrapped in an exciting globe-trotting story line where Bond has to save the world from certain destruction, accompanied by the svelte tones of Carly Simon singing 'Nobody does it better' it's not surprising that the 'Spy Who Loved Me' is one of the most memorable of all Bond films.

James Bond (Roger Moore) teams with a sexy Russian agent (Barbara Bach) to stop a web-fingered megalomaniac (Curd Jürgens) from destroying the world and rebuilding it as a new Atlantis.

"The Spy Who Loved Me" is fabulous nonsense, superior to all the previous Roger Moore Bonds, even with the obvious model shots, process shots and the occasionally corny background music by Marvin Hamlisch, who also wrote the music for the theme song, "Nobody Does It Better." (It's popular, but you can have it.) The gadgets, sets, stunts and one-liners are more outrageous than ever. Jürgens makes a good villain, and so does the shark he unleashes on traitors; but the bad guy everyone remembers is Jaws—not another shark, but a metal-mouthed giant played by Richard Kiel. He is Jürgens's best henchman—not good enough to outmatch Bond, but enough to survive for the next Bond adventure.

Roger Moore as James Bond has got another assignment involving the fate of the whole world. British Intelligence never gives him anything less. This time he's investigating this disappearance of both British and American nuclear powered submarines while on duty with no trace at all.

The evil genius behind it all is Curt Jurgens playing the role of an Onassis type billionaire shipping magnate who wants the world made to order for him. And in this case he believes mankind should start all over again in an undersea world which of course he will run. Just another case of a guy with all the money in the world thinking that entitles him to decide how everyone else should live and behave. Jurgens has the resources to make it stick unless 007 can do something about it.

With both the Russians and the British working on this, the powers that be which in this case is General Walter Gotell of the Soviet KGB and M of course played by Bernard Lee have decided to stop working against each other. In this case it means Moore working with beautiful Russian agent Barbara Bach and you know of course she'll be Bondified before the film is over.

Probably up to this point the most dangerous foe that James Bond ever faced was Odd Job in You Only Live Twice. But when Richard Kiel as Jaws made his appearance, he took that title away and retired the crown as far as I'm concerned. That is one menacing dude, 7'2" with a mouth full of steel teeth that finish off most people. Of course 007 ain't most people.

The Spy Who Loved Me garnered three Oscar nominations for Best Musical Score for Marvin Hamlisch and for Best Song with Nobody Does It Better for Hamlisch and Carole Bayer Sager and one for Art&Set Direction. I'm not sure, but this might be the most recognition the Motion Picture Academy gave a Bond film.

And this film review is dedicated to Tom Golisano, another megalomaniac billionaire who thinks he ought to be running things. We're well used to the type in my area.

This time James Bond-Roger Moore third outing and best entry ,he join forces with female Russian agent named Anya Amasova(Bach)to eliminate a nasty villainous(Curt Jurgens)and his henchman, a giant steel-toothed named Jaws(Richard Kiel).He schemes to utilize captured US and Russians atomic underwater with objective to destroy the world.For the first time nuclear submarines from Russia,Britain are sailing side by side.It may look like the beginning of WWIII,but don't worry .As usual,intervene Q (Desmond LLewelyn),MonneyPenny(Lois Maxwell),M(Bernard Lee) and Russian general Gogol(Walter Gotell).Roger Moore plays perfectly the master spy,Moore tells about his Simon Templar,The Saint, that he was a private person doing things for other people to help them and was rather a boy-scout following the rules of television and James Bond is an assassin licensed to kill.He's right,the tone is perfect for the times and for Roger Moore's brand of James Bond.Times have changed and for example, the Ian Fleming book based the film ,has nothing to do with cinematographic adaptation.His beautiful co-star is Barbara Bach and of course no Bond movie would be complete without the gorgeous Bond girls(Caroline Munro,Valerie Leon,among others).The movie is an agreeable blending of frenetic action,spectacular and exciting sets and humor with tongue in cheek.The film contains the world's largest sound stage specially constructed by production designer Ken Adam.In the inauguration day was even as special guest,former Prime Minister,Sir Harold Wilson. The motion picture is shot in Sardinia, Cala Volpe.There appears the car Lotus Esprit,¨Sweet Nellie¨, with weapons and rapidly become in sub.There's a very funny scene when the Lotus comes out of the water,but in order to avoid seeing the car underwater,Kem Adam had a speedboat doing waves .The scenes were really very simple attached a cable under the van to the front of the Lotus and pulled the car out the water.The Lotus could function underwater,but had to wear breathtaking equipment inside.The producer Albert Broccoli tells that they went to Egypt in the mid-1970s,tensions were hight in the Mideast.It took some careful negotiation to get out crew into Egypt.They had to submit the script in advance and an Egyptian government official had to be present during the shooting to make Egypt certain and did not portray the country in a negative light.The most challenging sequence was the night shooting in pyramids Giza,where was re-staged the ¨Son et Lumiere¨,despite the dramatic lighting effects much of the show had to be recreated in studio(Pinewood) using special effects.While the Bond films are not travelogues ,the producers do like to take viewers to spectacular places and show them things in a way that they've never seen before.The producers gambled that audiences were ready for a more fantasy-laden Bond film.Egypt(with an impressive temple of Karnak) was a great location for cameraman Claude Renoir,made it look elegant and exotic,Claude was the nephew of the great director,Jean Renoir.He helped photograph many Renoir's great films,like the ¨Grand illusion¨.He also shot second unit on ¨Cleopatra¨and photographer the 60s cult classic,¨Barbarella¨.This is his last major film as cinematographer.The film is well directed by Lewis Gilbert who had previously directed¨You only live twice¨a decade earlier.This picture is one of the more memorable Bond-Moore.

I have to admit that I have a soft spot for this film as this is the first James Bond movie that I anticipated and then saw in a movie theater (I did see both The Man With the Golden Gun and Live and Let Die as the 2nd feature at a drive-in, but they don't count). So, I was a little apprehensive about re-watching a film that is a cherished memory.

I am happy to report that this movie holds up. From the tremendous "ski off the mountain" opening shot, through Maurice Bender's always terrific opening credits to Richard "Jaws" Kiel and villain Curt Jurgens underwater hideout, I was entertained throughout. True, this movie has to overcome some truly tremendous 1970's synth-pop soundtrack, but add in Barbara Bach's wonderful turn as Agent XXX, andyou have the quintessential Roger Moore Bond movie.

So, why is that? I think it is because Moore finally came into his own as Bond. In his third movie, Moore (and director Lewis Gilbert) dropped any attempt at Moore copying Sean Connery's roguish toughness and started cultivating Moore's natural tendency towards comedy. This comedic bent will, ultimately, overcome Moore's portrayal of Bond in future installments, but in TSWLM, they strike exactly the right tone.

Go back and checkout THE SPY WHO LOVED ME, you'll be pleasantly surprised on how good this movie is.

7 (out of 10) stars and you can take that to the Bank (of Marquis)

Ian Fleming's original 1962 novel was a bold experiment that pleased no one, so he specifically stipulated in his will it not be filmed. The producers therefore whipped up a completely unrelated screenplay.

In the hands of old pro Lewis Gilbert (related by marriage to Sydney Tafler, hence his fleeting appearance as the captain of the Liparus) it's agreeably old-fashioned and tongue-in-cheek, hailing from the days when Bernard Lee was still playing 'M', Ken Adam was still designing the sets and it seemed conceivable that the East and the West could bury their differences in the face of a common foe.

This may well be the best of the Roger Moore Bond movies. Terrific action throughout, complete with many many surprises, gadgets, do anything sports car, and truly terrific sets. The main villein is perfect, and his employees are brilliant, one giant of a man being particularly macabre. True, its an old movie now, yet its just so hammy it has a timeless charm. And the locations are charming as well. The plot is classic, and resolves itself in such a brilliant way as to have one truly on the edge of one's seat (certainly by the all explosive end, if not way before). Roger Moore is debonair and slightly restrained with plenty of silly one liners. His beau is magnificent, also restrained but with real charisma. No wonder she married a Beatle. One simply cannot go wrong with this gem.

I thought I was a Bond fan but after seeing this I'm starting to have my doubts. Usually praised as one of the best Bond films I was very disappointed. Good pre-title sequence leading to the usual great song and titles (though they are starting to resemble more and more like a 70's porn film), then we're introduced to the Russian spy and your thinking nice twist it's a woman, then she opens her mouth, oh dear, how on earth did Barbara Bach get such a major part when she plainly can't act to save her life. I haven't seen a more wooden performance since I last saw Thunderbirds! Roger Moore seemed to have left his charm at home as some of his witty comments were more offensive than funny. The pacing of the film seemed all wrong and it felt very flat in places. It wasn't all bad 'Jaws' is a great henchman, the car/boat was ingenious and Marvin Hamlisch's score was surprisingly good. But on the whole a dog of a film. Just to add some more controversy I saw Moonraker at the end of last year and thoroughly enjoyed it from start to finish.(3/10)

I really wish that I could love this movie like some others do. But I just don't buy Roger Moore as Bond in any of his movies. I also thought Agent XXX was a very standard Bond girl. So what are some of good things about this movie if I don't care for Roger Moore as Bond or the Bond girl? Jaws is one of the most memorable henchman in the series. There are some decent action scenes throughout the movie, but the last act is extremely entertaining. If the entire movie was as good as the last act, I'd probably be giving this movie a strong 7/10. As it is, the last act is what brought this movie from a 5/10 to a light 6/10 for me. I do recommend this film as it does have some redeeming qualities and you might like it more than I. Nothing here stands out as bad, just pretty average to me.

A slightly more complex Bond villain, complemented by a a henchman who is as silly as he is menacing. Actual cool gadgets and gizmos for a 70's bond flick. The supporting actress is probably the biggest detriment to the film. Her acting is monotone, her presence in the script is only for romance, and in action sequences she is useless.

The Spy Who Loved Me has a sublime theme song, superbly sung by Carly Simon. Yet on every other level the movie is a complete washout.

Commercially, it was a hit, with it's $79.9 million gross over twice that of the previous film in the series. (Though in fairness, The Man With The Golden Gun was nearly half as cheap to make). Critically, too, this film is generally regarded, if not the best of the series, then the best vehicle for Roger Moore.

Personally, I can't see why. While it IS a step up from the all-time nadir of "Golden Gun", it is still a wholly unsatisfying movie. Maybe it's the "greatest hits" mentality behind it that pleases so many, as Thunderball is gutted to form the basis of it's plot. The pre-credits teaser is a rehash of the skiing stunts from On Her Majesty's Secret Service, and many of the elements of that flawed-yet-worthwhile flick seem to be dredged up here. For this is one of the few times Bond has a relationship with a woman that isn't based solely on his libido. (Though Barbara Bach as Agent XXX must qualify as the most gratuitous display of cleavage in a Bond movie - and THAT'S a feat).

007's murdered wife is mentioned in the film, and this gives us one of the few moments where Moore does any acting. Make no mistake, while his sense of irony was a breath of fresh air in Live and Let Die, here it is a noxious odour. The constant schoolboyish, smutty puns are no longer post-modern, just DUMB, and date the film quicker than any 60's equivalent. Bach, who plays off Moore as a female counterpart, kills any repartee with what may seem wooden acting, but is probably just the actress weighed down by her heavy cod Russian accent.

Stromberg is a sub-sub-sub Blofeld, surrounded by a set that outdoes Dr.No's aquarium with all the spectacle but with none of the style. Richard Kiel does well as the mute "Jaws", but his mechanised fight then fall through a window with Roger on the train is a straight steal from the fight with Tee-Hee, just two films earlier. And Moore CAN'T do fight scenes, giving us a series of incongruous edits.

Amidst all this Deja Vu is a series of pointless, dumbed-down chases, explosions and unrealistic sex. Bond can even dodge bullets in this one, for goodness sake! But the real crime is that 95% of negative views surrounding James Bond films seem to stem from this era - and that IS unforgivable.

Is there a Curse of Bond? The theory is occasionally put forward, largely in the British tabloids, that winning a part as a "Bond Girl" will act as a permanent blight on the career of the actress concerned. This theory is, of course, exaggerated; starring in Bond films does not seem to have harmed the careers of, say, Honor Blackman, Britt Ekland or Diana Rigg, who later went on to become a Dame of the British Empire. Indeed, some hitherto little known actresses (Ursula Andress, Jane Seymour, Kim Basinger) have been able to use the role as a starting-point for their rise to stardom. Nevertheless, there may be some truth in the idea; Daniela Bianchi, Claudine Auger, Lois Chiles and Carey Lowell are among those Bond Girls who are little known for anything else. If there is a Curse of Bond, it certainly seems to have affected "The Spy Who Loved Me". Its heroine may have stayed in the public eye because of her marriage to one of the Beatles, but "Can you name two films starring Barbara Bach?" would be a question to stump all but the most obsessive film buff.

"The Spy Who Loved Me" seems to have been one of a number of periodic attempts by the Bond producers (dating back at least to Pussy Galore in "Goldfinger") to answer feminist criticism of the series by providing heroines who were strong and capable as well as sexy. (Neither of the two previous heroines, the passive and fatalistic Solitaire in "Live and Let Die" and the endearingly incompetent Mary Goodnight in "The Man with the Golden Gun", fitted that particular bill). The plot has Bond joining forces with Major Anya Amasova, one of the KGB's top operatives, to foil a sinister scheme by the villain, a shipping tycoon named Stromberg. Stromberg hopes to start a nuclear war which would wipe out nearly all life on land, leaving him free to found a new underwater civilisation, and to this end has captured two nuclear submarines, one British and one Russian. (The Anglo-Russian co-operation shown in this film may reflect the growing mood of détente in the mid-seventies).

There is an extra twist to the plot in that on a previous mission Bond was responsible for the death of Anya's lover, another Russian agent. This means that Anya's character is, emotionally, considerably more complex than that of the average Bond Girl. On the one hand she hates Bond; on the other she finds herself falling for him. It is therefore unfortunate that such a weak actress was cast in the part, in my view the weakest ever cast as a Bond Girl. Handicapped by the need to assume a phony Russian accent, Bach seems quite incapable of showing any emotion, and delivers all her lines in a flat tone of voice and wearing the same wooden expression. Her main qualification for the role seems to have been her looks. (Despite the difference in colouring, she bears a close facial resemblance to Britt Ekland, who had played the heroine in the previous Bond film). It is perhaps unfortunate that the role did not go to Caroline Munro, as attractive as Bach and far more animated, who played the villainess Naomi.

There are, however, some good things about this film. I have always regarded Sean Connery as the best Bond, but this is one of Roger Moore's better contributions to the series, characterised by a greater seriousness and less jokiness than some of his outings, with some moments of genuine emotion, such as when Anya refers to his dead wife Tracy. Curt Jurgens's Stromberg is not the most memorable Bond villain- I preferred Michael Lonsdale' Drax in "Moonraker", a man with a similar scheme and similar motives- but the film did introduce one of the best villains of the whole series in the form of Richard Kiel's Jaws, an immensely strong assassin with steel teeth. Unlike most Bond villains who end up dead, Jaws survives to make another appearance in "Moonraker". There are some good chase sequences, such as the one where Bond and Anya escape in the amphibious Lotus Esprit (a good combination of excitement and humour) and the opening ski chase which ends in the famous Union Jack parachute jump. Unlike many of the pre-credits sequences, this one does have some relation to the main plot, as it is during this chase that Anya's lover is killed. With a stronger heroine, this could have been one of the best of the Bond films. 6/10

Undeniably one of the finest James Bond films to star Roger Moore, the film has plenty of excess, top notch special effects (for 1977) anyway, the humor less overt and left over for puns and one liners, and one of the first strong and independent Bond women, paving the way for future love interests like Jinx and Wai Lin. The Spy Who Loved Me scarcely puts a foot wrong. Sure the plot is far fetched to the extreme (an underwater building and a villain looking to repopulate the earth in his underwater city), but it has plenty of charm and is frequently enjoyable. Moore looks very confident in his performance as Bond, the one liners oozing effort and confidence, showing he has hit his stride in this, his third appearance as the character. His chemistry with Barbara Bach is in full swing, despite her odd Russian accent, and the two of them make for a great on screen couple.

This is a return to the values of many of the Bond films that were missing the last time around. The extravagant sets are back, the villain has plenty of henchman for Bond and the cavalry to fight and the gadgets are in full swing. Everything from a parachute with the Union Jack on it to the Lotus with just about every conceivable gadget at Bond's disposal. The emphasis on sight gags and overt comedy is gone and replaced with moments of genuine suspense, just check out Bond having to steal the detonator of a nuclear weapon, not to mention the superb theme tune Nobody Does it Better by Carly Simon.

It's an apt song for a series that found its footing and gave its lead actor his first classic Bond film.

A rather bland entry into the Bond franchise sees Roger Moore do a lot of walking to different landmarks throughout Egypt for no purpose other than a ploy to increase tourism in the area or something.

I'm not sure how much inspiration it takes from the book but this movie seems to take a lot from previous Bond films without any initiative or excitement.

We have Stromberg who is essentially Blofeld if he was ordered from Wish. He's just non-threatening, boring, and urgh.

The Spy Who Loved Me also introduces the most ridiculous villain in the franchise, Jaws. I'm not sure what's worse - getting past the fast the fella has metal jaws/teeth and gets by fine, or the robotic action sequences in dire need of some lubrication. He offers nothing more than an intimidating looming presence.

Middle of the road. Not the worst, but nothing spectacular.

What a nice surprise this was, a change for me since re-viewing some of these old Bond movies. With the exception of "Goldfinger," I've been disappointed in the rest....but not this one. This film seemed far better than I had remembered, one of the best James Bond movies I've seen. My first look in over 30 years at this stunned me. I couldn't believe how entertaining and fun it was to watch!

It's enjoyable right from the start and features my all-time favorite "Bond song" - "Nobody Does It Better," By Carly Simon. It's sung or palyd throughout the movie.

This was Roger Moore's third attempt at playing James Bond and he really hit his stride with this, being a natural as the suave spy. The action is plentiful but never seems too much or gets boring with an excess. It never quite crosses that line, although it comes close a few times.

Curt Jurgens is very low-key as the villain "Karl Stromberg." His role really isn't all that big. You don't see much of him until the end. Who you DO see is the seven-foot, two-inch giant "Jaws" (Richard Kiel) the main with the iron teeth. He is fun to watch, and is almost indestructible, like the evil cyborg in "Terminator 2." Jaws just keeps coming back no matter what you do to him.

Overall, this Bond film is attractive because it has just the right mixture of action, suspense and humor, and another pretty leading lady in Barbara Bach. I'm not sold on her Russian accent as "Major Anya Amasova" but she is nice the eyes. The accent made her appear sub- par as an actress. Otherwise, no complaints.

The cinematography in here, too, is above-average. There are very nicely-filmed scenes with interesting camera-work. Good work, all-around!

After the lackluster "Live and Let Die," Moore grew more comfortable in the role in "The Man with the Golden Gun," one of the better entries in the series. This, Moore's third outing as Bond, takes a step back, thanks to a rambling script that goes on far too long. Like most Bond films, this is a collection of set pieces tied together with a silly plot about a super villain trying to take over the world. The problem is that the set pieces are not entertaining, causing the film to drag. The only thing Bach has over other Bond girls is her cleavage. As with "Live and Let Die," the best thing about this film is the title song, this one sung by Carly Simon.

Moore's third outing as Bond, and the one that began the series descent into mediocrity.Not as good as the previous "Man With The Golden Gun"-not a great entry in itself-but it tried to retain the character and essence of Bond, this one threw all caution to the wind and gave us a comic book Bond. The faults are many.The film is overlong and you wait too long for anything really exciting to happen. The Soviet agent, as played by Barbara Bach shows no real emotion and is never seen as a threat. There is a 7 foot tall henchman named "Jaws"- with steel teeth{yeah right} and superhuman strenght.Watching him take apart a truck is unbelievable and embarrassing to the viewer at the same time. What were the producers and writers thinking when they came up with him. There is a Lotus sports car that converts into a submarine- you have to see it to disbelieve it! And the plot has yet another megalomaniac trying to dominate the world. Anything new here? On the positive side, there is his underwater lair, a crab like structure that rises and submerges, and the finale set inside a large oil tanker containing 3 hijacked nuclear submarines is quite good. The set is well designed and detailed and almost redeems this mess, even though it owes its concept to the SPECTRE missle base in the dead volcano from "You Only Live Twice". This disco era Bond, now reduced to a middle aged punster would go on to do "Moonraker" 2 years later. The less said about that, the better.After doing "For Your Eyes Only" in 1981, it seemed the series was trying to get itself back on course and back to basics, but after the wretched " A View To A Kill" and not much better "Octopussy", Moore's stint as Bond was over.At least Timothy Dalton bought a new edge to Bond, but he only lasted for 2 films.On the plus side is the theme song sung by Carly Simon-one of the best in the series.

After the critical and commercial beating taken by THE MAN WITH THE GOLDEN GUN, producer Albert Broccoli, now solely in charge of the 007 franchise, had to re-evaluate the series for the third time in less than ten years. Certainly, Roger Moore would never be believable in a Sean Connery-type Bond film, but couldn't some of the series' best elements be restored, and the comedy reduced a bit, to make Moore's Bond a bit more believable?

The research, which became the basis of THE SPY WHO LOVED ME, took over two years to complete, and the script went through many writers before the final draft, by Christopher Wood and Richard Maibaum. With a renewed emphasis on more realistic action, Broccoli brought back Lewis Gilbert to direct; his earlier Bond effort, YOU ONLY LIVE TWICE, while not a major 'hit', had featured the most spectacular action sequences of the series. With Gilbert on board, the production became very reminiscent of the Connery film (Even the concept of a supertanker 'swallowing' submarines echoed YOU ONLY LIVE TWICE, and the spacecraft-'eating' SPECTRE capsule).

As the villain, esteemed German actor Curt Jurgens was cast as Karl Stromberg, an ideal choice, as the actor, with his bulging eyes, 'fit' the role of a fish-like megalomaniac. Playing his henchman, Jaws, in an inspired piece of casting, giant Richard Kiel, complete with 'bear-trap' steel teeth, would provide Moore with the greatest danger he'd ever face as Bond. Kiel was, in fact, so good in the role (possibly the most popular villain of the entire 007 franchise), that he would return in MOONRAKER, to bedevil Bond some more. Less successful, dramatically, but still astonishing to watch would be Stromberg's 'hit woman', Naomi, played by voluptuous Caroline Munro.

In an effort to 'update' Bond into an era of feminists, the strongest, most independent love interest to appear in at Bond film to that point was introduced. Major Anya Amasova, played by Ringo Starr's wife, the exotically beautiful Barbara Bach, was Bond's opposite number on the Russian side, an equal to 007 in every way. In a pivotal scene, she would display a knowledge of Bond's past that even included his dead wife, Tracy (the first time Bond's marriage had been mentioned since ON HER MAJESTY'S SECRET SERVICE). Moore's reaction to her comment would be both emotional and abrupt, and demonstrated that he could do far more than just deliver witty one-liners.

From the spectacular ski chase pre-title sequence, climaxing with a parachute free fall off a cliff (love that 'Union Jack'), to Bond and Anya's confrontations with Jaws, in Egypt (reminiscent of Bond's fights with Oddjob in GOLDFINGER and Tee Hee in LIVE AND LET DIE), to the amazing Lotus that would do service on land and in the ocean, to the massive tanker battle while Bond disarms a nuclear warhead (shades of GOLDFINGER), THE SPY WHO LOVED ME would do homage to 007's previous adventures, and utilize humor in support of the on-screen action, instead of spoofing it (other than the brief use of the LAWRENCE OF ARABIA theme...you'll spot it).

And to top things off, Carly Simon's rendition of the film's title tune, "Nobody Does It Better", would become a Top Ten hit, worldwide.

Critics and audiences loved THE SPY WHO LOVED ME, hailing it as Moore's best work, and one of the better Bonds of all time. Things were, again, looking up for 007...but STAR WARS was about to debut, and things would go dreadfully amiss, when Broccoli decided to send Bond into space, in MOONRAKER...