Halfway there! Hope you’ve been enjoying the daily retrospective journey through James Bond’s past. While Moonraker had been a tremendous box office success, it tested the patience of Bond fans by pushing their hero, some would argue, much too far into the realm of fantasy. Recognizing that this was a dangerous path, the filmmakers elected to do what they usually do when they realize they’ve strayed: return to the pen of Ian Fleming. For Your Eyes Only was a collection of five short James Bond stories, and the decision was made to combine two of them – the eponymous tale and Risico, along with a sequence that was omitted from the screen adaptation of Live and Let Die, to craft a screenplay that would exchange lasers and explosions for the shifting alliances and unexpected betrayals that marked the best Cold War spy thrillers.
After an unrelated teaser that bids a metaphorical farewell to Bond’s past by visiting the grave of his wife Tracy and dumping a mysterious, cat-stroking “wheelchair villain” into a smokestack (Kevin McClory was still claiming ownership of Blofeld), the plot proper begins with the destruction of a British spy ship off the coast of Albania. On board – the Automatic Targeting Attack Communicator, or A.T.A.C., which looks like an adding machine but can issue orders to Britain’s entire submarine fleet. The Soviets want it, and the British want it back. After the British point man in charge of the salvage operation is murdered by a hitman, survived only by his daughter Melina (Carole Bouquet), Bond is put on the case to figure out who is responsible. The lead dries up when Melina unexpectedly puts a crossbow bolt in the hitman’s back; however, following up on the man who paid for the hit, Bond journeys to the ski slopes of Cortina, where the helpful Aristotle Kristatos (Julian Glover) points him in the direction of a notorious smuggler named Milos Columbo (Topol). But all is not how it appears, and Bond discovers that Kristatos himself has been the one supervising the Soviet attempt to steal the A.T.A.C., with Columbo turning out to be a useful ally as Bond and Melina race against time to secure the A.T.A.C. before Kristatos can turn it over to his Soviet masters in a finale set on a mountaintop monastery in Greece.
The ingredients are there, and the actors are game, but there are a couple of major flaws. First up is a huge hole in the plot. Imagine you are told there is a treasure out there somewhere. In fact, you are told exactly where it is. You are told that the treasure is incredibly important, that there are other people after it and it’s critical that you get it first. Step one then would not be wasting days figuring out who those other interested parties are – would it not be, I don’t know, recovering the damn treasure? Yet this is exactly the course of For Your Eyes Only’s first two acts. As important to Britain’s national security as we’re advised the A.T.A.C. is, Bond sure takes his sweet time in getting around to finding it. It’s never explained why it seems to be a greater priority for Her Majesty’s Government to determine who else is pursuing the A.T.A.C., when they’ve established quite clearly that the Russians would be the likely suspects. Of course, if Bond went after the McGuffin immediately, the movie would only be a half hour long. So we have an extended sequence set in the Olympic park at Cortina for a diverting dose of winter action. After a contrived beat designed to maneuver Bond to the top of a ski jump, the chase begins, scored by Bill Conti in an over-the-top disco motif more suited to ABC’s Wide World of Sports highlight reel. Director John Glen, who cut his teeth shooting second unit for and editing the ski scenes in On Her Majesty’s Secret Service, has a really bad habit, evident throughout the five Bond films he directed, of cutting away frequently to show crowd reaction shots – people staring agape, spilling drinks on themselves, cows mooing, etcetera, as Bond speeds by. This detracts from the experience of the innovative stunts by slipping a barrier between us and them, like an additional proscenium – as if the movie is reacting to its own spectacle instead of giving the audience the freedom to do it. It robs the scenes of their intensity and any potential drama or suspense by reminding us, blatantly, that these action beats are all meticulously staged. Instinctively we know that, but we like to pretend there’s some spontaneity. Glen does much better near the end of the movie, his comedic instincts played out, in staging Bond’s ascent up the side of the mountain where Kristatos’ hideout is located. It’s a scene without gadgets, where Bond’s ingenuity and skill is required to get him out of a jam, and scored suspensefully (without disco) by Conti. Of course, Glen has to have a last laugh, and jams in an unfunny cameo by a Margaret Thatcher impersonator just before the credits roll.
Glen is another in a long line of Bond directors better at action than managing performances, and while there are some strong actors in this movie, they don’t have a lot to work with; the supporting roles are underwritten as usual. This time, at least, the secondary characters have more of their own arc, in the shape of the rivalry between Kristatos and Columbo, and Melina’s quest to avenge her parents. Faring best is Topol, who channels Kerim Bey in his role of the pistachio-chewing smuggler, a likable rogue we’re happy to see on Bond’s side. As the central villain, Julian Glover as Kristatos presents himself as debonair enough at first, until his duplicity is revealed and he then displays the requisite amount of sadism – tying Bond and Melina together and dragging them behind his boat in the hopes that they’ll be eaten by sharks (the scene lifted from Live and Let Die) and, just so we’re sure about his evil, smacking around his young blond protégé, Bibi (Lynn-Holly Johnson). More understated and sinister a presence is his lackey Locque (Michael Gothard), the silent, square-rimmed glasses-wearing thug whom 007 dispatches by kicking his car over a cliff, in a classic Bond scene that Roger Moore didn’t want to film (he felt that his version of Bond would never be that cold-blooded). Leading lady Carole Bouquet, best known as the face behind Chanel No. 5, is a greater beauty than she is an actress, and scenes in which she’s required to display the seething rage of a woman consumed by vengeance come off more like she’s upset that room service was late. Radiant, however, in an all-too-brief cameo as Columbo’s doomed mistress is Cassandra Harris, the then-Mrs. Pierce Brosnan. (Producer Albert R. Broccoli is alleged to have made a mental note of Brosnan’s 007 potential while dining with them one night on location.)
For Your Eyes Only is a movie with the right intentions, but its aspirations are undercut by its reliance on the sillier aspects of the previous Bond films. What was most frustrating about Moonraker was not so much its fantasy setting but by its frequent descent into camp, and it seems like the wrong lesson was learned here. Verisimilitude is critical to what For Your Eyes Only wants to be, but instead, it goes the other way, never missing an opportunity for a bad joke and undermining the ability of the audience to take it as seriously as say, From Russia with Love. There’s fun and then there’s trying too hard to be funny, and this movie is most definitely the latter. And it’s a shame.
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