Directed by:
Lewis GilbertCinematography:
Claude RenoirComposer:
Marvin HamlischCast:
Roger Moore, Barbara Bach, Curd Jürgens, Richard Kiel, Caroline Munro, Walter Gotell, Geoffrey Keen, Bernard Lee, George Baker, Michael Billington, Olga Bisera (more)VOD (3)
Plots(1)
When a massive underwater craft abducts U.S. and Russian submarines, global tensions are heightened to the brink of war. In order to find the true culprit, James Bond (Agent 007) joins forces with beautiful Russian agent Anya Amasova. Together they follow a trail that leads to Karl Stromberg, a powerful shipping magnate who is implementing a horrific scheme for world domination. Bond struggles to foil the plot, but Stromberg has provided him with a most lethal adversary: Jaws, a seemingly indestructible steel-toothed giant. Agent 007's adventure takes him to the Egyptian pyramids, under the sea and to a mountaintop ski chase. (official distributor synopsis)
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Reviews (7)
It's well known that films with Roger Moore tend to play more on a humorous note. That kind of delivery suits him well. However, The Spy Who Loved Me can be a bit silly in places, and the humor can feel a bit forced or even intrusive at times. It's balanced by interesting characters and gadgets, with Jaws standing out among henchmen like Tee Hee, Nick Nack, and Oddjob. The Egyptian artifacts really contribute to the exotic atmosphere. There are indeed some great gadgets here - the submarine is excellent - but unfortunately, that doesn't mean the overall impression is that great. It’s good, it’s cool, but it’s not excellent. On the other hand, it's an undemanding spectacle with interesting settings that you won't mind watching on television.
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I never really liked Roger Moore's Bond. To this day he still seems like an old man (you can see it well in fights that were infinitely more brisk in Connery's performance), but on the other hand, I have always appreciated his perspective and excellent sense of self-irony. And I really loved The Spy Who Loved Me as a kid, and with a little bit of nostalgia, I still like it today. The script is really good, Jaws is a scumbag, Barbara Bach is gorgeous, and the action sequences have flair and wit (especially the one with the car-submarine). This Bond movie has everything I love about agent 007 - an engaging story, power disputes, a perverted villain, perspective, and a tolerable dose of naivety (e.g., Moore's ridiculous "skiing" in front of the screen). The only thing missing for the last star is the only true Bond – Sean Connery.
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Another quality Moor Bond film, even one of the best ones. 007 is not only a sexual, joke-spouting machine, but the film shows him much more as a soldier (probably because of the officer's uniform he puts on a few times). The opening ski chase is well filmed (though not as long or as entertaining as the one from For Your Eyes Only), and I really like the whole part set in Egypt (the cameraman did a great job) + the music from Lawrence of Arabia used in it. The ending in the tanker is a brisk, originally-filmed action full of gunshots, explosions and angry hijacked and kidnapping sailors. What I really liked was the quick handling of the villain. No speeches, no talking points, blah, blah, blah, Mr. Bond, just fast action and saving the Bond girl (the very, very pretty Barbara Bach). Four pure stars.
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007__#10__I don't really like Roger Moore much in his later Bond films, maybe he should have quit sooner, especially in the last episodes it was clear that he doesn't have it anymore and his fights are more for laughs (I miss Connery and his brisk duels). That said, he's still pretty cool in this episode. Just like the whole film, packed with imaginative action and with a little bonus on top in the form of an amazing Bond amphibian and one of the prettiest Bond-girls in Agent Amasa. And most importantly, when I'm filthy rich, I want Jaws as my bodyguard. He's just incredibly cool, definitely the best sidekick in the entire Bond franchise.
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The change of director was a good decision and moved the franchise closer to the eighties as well. Bond stopped making stupid jokes and started playing a real agent, women dress much more daringly than ever before, there’s plenty of technology, and no shortage of refined shots of sunsets. The cold and intimate spy thrillers have turned into full-fledged eye-candy spectacle, without losing any of the traditional values and attributes that make Bond Bond. By far the best Moore film to this day.
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