A fake Fabergé egg and a fellow agent's death lead James Bond to uncover an international jewel-smuggling operation, headed by the mysterious Octopussy, being used to disguise a nuclear attack on N.A.T.O. forces.
After the death of M, Sir James Bond is called back out of retirement to stop SMERSH. In order to trick SMERSH and Le Chiffre, Bond thinks up the ultimate plan. That every agent will be named James Bond. One of the Bonds, whose real name is Evelyn Tremble is sent to take on Le Chiffre in a game of baccarat, but all the Bonds get more than they can handle, especially when the ultimate villain turns out to be Bonds nephew, Jimmy Bond. Written by
The rift between Orson Welles and Peter Sellers was partly caused by the arrival on set of Princess Margaret, sister of Queen Elizabeth II. Sellers knew her of old and greeted her in an ostentatious manner to ensure all cast and crew noticed. However, the Princess walked straight past him and made a big fuss over Welles. Nonplussed, Sellers stormed off the set and refused to film with Welles again. See more »
In the Baccarat scene between Peter Sellers and Orson Welles, in the long shots both characters are surrounded by a crowd of extras, mostly women. In the close-ups of Sellers alone, the background shows only a few people, mostly men; a woman in a red dress appears in two shots but not in others, while Ursula Andress is in the shots that do not have the red dress. Several of the characters appear motionless and slightly blurred, possibly a still back-projection or montage. See more »
Grand Prix enthusiasts may be worried by the amount of time it has taken me to get into this Lotus Formula Three. What they don't realize is, although Le Chiffre thinks he has a faster car than me, I am faster in my Lotus Formula Three. Hee Hee!
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The opening credit animation by Richard Williams parodies illuminated manuscripts with cartoon-style calligraphy. It sets the tone for the film as a psychedelic "knight's tale" of Sir James Bond. See more »
To watch this movie, one must understand something that many appeared to have missed. Chiefly, the mish-mashed, ridiculous, over-blown insanity of it is the entire point. It is this that it aims for, and this that it achieves. It is not really a story, so much as every conceivable joke that could be thought of, thrown into an editing studio and spat out the other end as gold. This movie will challenge many who cannot break-out of the mold of needing a firm plot and some commonsense, but in this regard it is much like a comedic version of a David Lynch film, and I enjoyed Twin Peaks: The Movie even if I still don't get it.
So watch this for the crackling one-liners, ridiculously pretty women, lurid sets and the most completely unself-conscious approach to making a comedy that I have ever seen. It goes beyond funny, and becomes a matter of being shocked into admiration for the sheer silliness of it all. And the fun of trying to explain it to someone afterwards is immeasurable.
"So then the flying-saucer kidnaps Mata Hari and James Bond's love-child, and then James Bond who's David Niven and James Bond who's Woody Allen face-off, and meanwhile James Bond is being tortured with insane hallucinations and someone has snuck into his delusions with a machine-gun bagpipe and through all this Deborah Kerr was a French Scotswoman!"
Much less a true story than very funny surrealist art. Like Salvidor Dali meets The Pythons, but odder. And lots of great satire and stuff, too. See it. Now. If only to broaden your horizons.
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