007 Double Feature: The Spy Who Loved Me
By David Pegram
AMC Theaters’ 007 Double Feature is aimed to honor the late Roger Moore and also benefit UNICEF, for whom Moore worked for decades. So two films made their way back to the big screen: The Spy Who Loved Me and For Your Eyes Only.
I attended the screening at an AMC Theater in north Phoenix and was quite surprised by how well both films played, especially For Your Eyes Only. But first: a review of The Spy Who Loved Me.
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In 1977, Bond fans were accustomed to plots of extortion or terrorism; what they were not accustomed to was an attempt to annihilate humankind in order to create a new, underwater civilization. That plot, devised by Karl Stromberg, is a clear indication of mental illness. But it also plays well in today’s world, where economic and environmental agendas continuously clash. One could see a Stromberg emerging from today’s climate (pun intended).
The Spy Who Loved Me is certainly one of Moore’s best Bonds, if not the best (and it does have the highest Rotten Tomatoes score of his seven films). The film plays big, looks big, and thus looks best on a big screen. The pre-title sequence, in which Bond skis off an icy cliff, to certain peril, takes on even greater scale when seen in the theater. It should also be mentioned that Marvin Hamlisch’s rather outdated disco-influenced score for this scene feels relegated to the background, where it belongs.
While The Spy Who Loved Me scores points for its two iconic moments: the aforementioned ski jump, along with appearance of the Lotus Esprit submarine, the characters help keep the film from becoming all style and no substance. Jurgens plays Stromberg to the hilt, with a controlled madness—a la Auric Goldfinger. Of note, of course, is that the villain in The Spy Who Loved Me was supposed to be Blofeld. But legal problems prevented this from occurring. Nevertheless, Stromberg is up to the task, here. Meanwhile, Barbara Bach is serviceable as Agent XXX. Her Russian accent seems too forced at times, there is no escaping her allure. The big screen does her favors. And then there is Jaws, prior to the disaster that would be Moonraker, one of the more recognizable henchmen. And like all good ones, Jaws never says a word. Doesn’t have to.
But we see this film to see Moore, and he has never been “better.” Charming, as ever. If viewers want one scene that epitomizes Moore’s version of Bond, that scene may take place at the Great Hypostyle Hall, near Luxor, when Bond and XXX are trying to escape Jaws, in a van. As Jaws tears piece after piece from the van, Bond remains calm, in the passenger seat, zinging one-liners and looks of incredulity, as XXX struggles to get the van moving. It’s masterful “Bond stuff.”
The film’s final showdown between Bond and Stromberg may feel like a letdown. But in one respect, it is fitting. Bond makes quick work of Stromberg, as he should. Ultimately, Bond isn’t battling an evil mind; he battling the forces of nature.