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|23 reviews in total|
There's enough broken down fans, chickens, dark allys, twists, and
seedy characters in this thing to keep you glued to your seat,
contemplating the film, for hours after its concluded. Quite frankly,
you'll be too terrified to even move. If anyone has played the
excellent Sierra adventure game, "Gabriel knight: Sins of the Fathers",
you'll see a clear inspiration with this movie. Angel Heart is a
nightmare of a film-noir flick with a little of the horror genre mixed
in. Truly one of the most involving films I've ever seen and by the end
of it, the audience will feel as though they've been taken through
Hell. Mickey Rourke plays Harry Angel, a small time private
investigator in New York City. Most of his clients are jealous lovers
and that sort. Angel gets a call one day by Louis Cyphre, a clergyman
of a strange religion, asking him to track down a man who is in dept to
him. Angel Heart moves like a detective drama with the pacing. But the
film is so much more than just a gather clues and evidence type of
thing. There's a real psychological horror that builds up as Angel
nears closer and closer to his man and as he begins to question the
validity of his employer, Mr. Cyphre. Mickery Rourke is brilliant in
the movie. He plays a detestable and dirty chainsmoking hustler who
will do almost whatever it takes to find the person he's after. Yet the
character is also likable because of Rourke's charm, which allows for
us to care about him. Robert DeNiro is creepy and downright disturbing
as Louis Cyphre in all his subdued glory. The production is amazing.
Angel Heart feels like a dark moody blues and jazz number. The story
starts in New York and ends up in New Orleans. Lisa Bonet and Rourke
have one of film's most notorious moments, a sex-scene that got her
kicked off "The Cosby Show" and almost landed the film with an
X-rating. Parker's movie ain't for the squimish or faint of heart,
that's for sure. Many of the voodoo scenes with chickens are freaky
enough, let alone several of the films' gruesome murders. Alan Parker
directed the film perfectly. He's vowed to work in every genre and made
one hell of a flick with Angel Heart. Michael Seresin did the
cinematography for the movie. He also shot Parker's earlier film,
Midnight Express. Trevor Jones composed the film's score. Overall just
a damn fine piece of movie making. You'll be hard pressed to find a
more surreal and nightmarish movie than this with such great acting and
storytelling. The ending will leave you gasping for air, yet somehow
you will have seen it coming all along.
It isn't surprising that many people have been thrown off or wierded out by Bernardo Bertolucci's The Dreamers. This is the man who directed the great 1972 film, Last Tango in Paris, which threw out the rule book concerning what could be talked about and shown regarding sex in a non-pornographic film. The Dreamers isn't as revolutionary or shocking for it's day as Last Tango in Paris was, but it's every bit as daring and provocative. It is Bertolucci's homage to the movies themselves and the people that spend an infinite amount of hours in darkened rooms watching them. For us psychopaths out there where movies are more than a religion, myself included, The Dreamers lets us know we are not alone, however it also informs us just how alone we might be. Film is the greatest art form because it can be the most collaborative with many people's vision or the most individual. It combines music, sound, photography, acting, politics, religion, entertainment, fun, and everything into one package. What else other than the movies allows the beauty of a person who's been dead for a hundred years to shine forever? Long after all the Presidents are dead and long after the frescos of Michaelangelo have tarnished away, and long after the pyramids have eroded, we'll still have film. We'll still be able to watch Charlie Chaplin, Greta Garbo, Audrey Hepburn, and James Dean as though they were still alive. In fact as long as people watch their movies, they are alive. It's this sory of mentality and obsession that Bertolucci both praises but also warns the dangers of in his film The Dreamers. Michael Pitt (Matthew), presumably summoning up Leonardo DiCaprio with his performance, plays an American exchange student in Paris in 1968 during the student riots. He is pretty much a loner, an outcast, and misfit - both free and restrained by his undying love for film. In Paris he meets a pair of French siblings, a brother and sister played by Eva Green (Isabelle) and Louis Garrel (Theo), who share his affections towards the cinema and immediately befriend him and adopt him as one of their own. It's ironic that they choose to coronate him with the lyrical quote "He's one of us! He's one of us!" from Freaks. Perhaps they see themselves as freaks. It's a deep movie and it throws many curves at the audience which will push people's ideas of what is morally correct and incorrect to the extreme. The Dreamers breaks many taboos. Mostly the incestuous relationship between a brother and sister, who feel as though one another are their only true companions in life. It doesn't shy away from nudity, both male and female. Together the three of them, Matthew, Isabelle, and Theo form an emotional and sexual bond through their love of movies and their common feelings of being misplaced in the world. The Dreamers is a damn fine movie that might be difficult to appreciate because of its content. Something I really enjoyed was seeing the clips of the different movies in the film when the characters talked about them and played games revolving around the films. Breathless, Top Hat, City Lights, and Scarface are a few of the movies that are featured in The Dreamers.
How do you follow up the most successful science fiction/fantasy film of all time? Make a sequel that's bigger and better than the original. Not only is The Empire Strikes Back better than A New Hope, but it completely blows it out of the water. The first Star Wars film started it all and paved the way for the second installment, but essentially it was a fairly bland and simple space adventure with great special effects. Return of the Jedi, which followed The Empire Strikes Back, was also a weaker film. Empire is clearly the best film of the original trilogy. So much in fact it transcends the other films and it's easy to appreciate the film out of the context of the Star Wars universe. While the first film was too cartoonish and the third too unbalance, the second hit exactly the right note. The story picks up several years after A New Hope. The Death Star is destroyed and the rebels are hiding at their base on the ice planet of Hoth. The Empire is hot on their trail with a zealous Darth Vader combing the galaxy in search of them. From the very start of the movie it's one big giant chase. Unlike the other two films, Empire gets the big battle out of the way in the beginning so that it can slowly build down until the climax. It's a reversal of the typical adventure film arc and it works perfectly. In Empire all of the characters are fleshed out and become as real people, whereas in A New Hope they just served the storyline. There's the classic Greek mythology pathos going on with the battle between good and evil. There are also many shades of gray in the film, as the characters drift in out and of good and evil, and face difficult decisions. Out of the entire trilogy the middle film also features the most impressive and elaborate sets. Over the course of two hours we are taken into four different worlds, the ice planet Hoth, the swamp world of Dagobah, an asteroid field in space, and Cloud City. All four locales are entirely impressive. The lighting is another key factor in the film's vibrant look. Lighting becomes the most flamboyant towards the end of the film during the dusk looking scenes at Cloud City. Finally something must be said of the epic lightsaber duel between Luke and Vader that makes up the film's climax. It's the best duel in any of the films. Storywise there's a lot on the line, but it's choreographed and filmed so well it wouldn't matter how it ties into the story. It's the dirtiest and grungiest of all the duels. It's nice to actually see the physical effects of fighting for a change. In the other films the characters are pretty much stoic but here we get to see Luke grow out of breath, tire, bleed, and have his cloths torn. He stumbles around, expresses emotion, and even gets a few nice on-uppers on Vader when he's underestimated. Ultimately it's a wonderful way to finish a great film. Also I should mention the good performances from Billy Dee Williams, Carrie Fisher, and Harrison Ford.
Famously made and inspired by director Howard Hawks' and actor John Wayne's contempt for the western High Noon, Rio Bravo similarly features a frontier lawman waiting on pins and needles until someone can arrive. In High Noon it was the bad guys. In Rio Bravo the bad guys are already in town, it's the U.S. Marshall the sheriff is waiting for. But make no mistake about it. That's nearly all these two movies have in common. High Noon was a dark, cold, and desolate black and white six-shooter melodrama and political commentary. Rio Bravo is a warm, exciting, joyous, and bright technicolor ode to male camaraderie and the old west. Howard Hawks' film contains all of his trademarks. Hard drinking men, fast talking women, enough hidden sexual innuendo to get you kicked out of Church, and of course the dialogue. Sharp, funny, and biting. John Wayne was in fact never much of a talker. He's no Cary Grant. But he is the Duke. Hawks' surrounds him with a colorful assortment of characters to react to and interact with, which is when Wayne is in his element. Walter Brennan is the yappy and big mouthed old codger, Dean Martin is the down-on-his-luck drunk, Angie Dickinson is the insecure but headstrong gambling dance hall girl, and Ricky Nelson is the quiet but youthful rebel gunfighter. Those are the main characters. Ward Bond offers good support as a do-gooder cattle rancher. Pedro Gonzales-Gonzales provides plenty of comic relief as the hen-pecked and stereotypical Mexican who runs the hotel and acts as a go-between for Dickinson and Wayne and their uncertain romantic relationship. Each of them too proud to express their true feelings and emotions. John Russell fills the shoes of the villain, a rich and ruthless cattle baron who hires men to do his killing for him - 50 silver dollars a head. Russell sees very little screen time, but other than the fact that his character is there and we the audience know he's there and so do the characters, he doesn't serve any real purpose. In fact he functions in a similar fashion to what Hitchcock describes as the Maguffin. The good guys need somebody to fight against and he's it. But that's just an excuse to get the ensemble together and have them talk, talk, talk, and then talk some more. You'd be hard pressed to find a movie with more masculine male-bonding and men being men than what's in Rio Bravo. The movie is comprised of one classic scene and entertaining moment after the other. Angie Dickinson throwing the flower vase through the window, the gang sitting around and singing "My Rifle, My Pony, and Me", the seven minute opening without a word of dialogue, Dean Martin pouring the whiskey from the glass back into the bottle, John Wayne going up to see Dickinson at the film's conclusion, and on and on and on. Great story, great script, great acting, beautifully shot. What more could you ask for?
The Red Shoes influenced a great number of filmmakers, actors, and inspired many dancers and those in the ballet. The Red Shoes combines the beauty of film, music, dance, ballet, and the human form. The story is based on the Hans Christian Andersen fairy tale. Moira Shearer plays a young and beautiful ballerina named Victoria Page. Anton Walbrook is the zealous and tyrannical ballet impresario who sees a great talent in her and is determined to forge her into a great dancer and to make her a star in the ballet "The Red Shoes." Rounding out the leading trio from which the conflict revolves is Marius Goring, a young composer who gets a chance to compose the music to the ballet. When Goring falls in love with Shearer, both their careers are put on the back burner. Walbrook and his ballet are threatened and he becomes more domineering than ever. Shearer becomes torn between love and dance and must ultimately choose between them. The story is done very stylized instead of realistically. The romance is very operatic and is right out of a tragic faerie tale. One of the most noticeable elements of the movie is the color of it. Jack Cardiff did the cinematography and it's absolutely gorgeous. The beautiful landscape shots work well juxtaposed with the matte paintings. The color red is prevalent and is a metaphor for love, passion, and jealousy. We see the vibrant color in Shearer's hair, her lipstick, the shoes. We see red in Goring's hair. All the lighting has a red tint to it with the gorgeous technicolor. Some of the special effects are absolutely miraculous and very innovative considering the release date. One of the most impressive things about the movie is how it offers both cinema and the ballet. The ballet sequences are spectacular and authentic. Shearer as well as the supporting dancers were actual performers of the ballet. In a stroke of genius director Michael Powell and writer Emeric Pressburger cast dancers and had them act instead of casting actors and having them dance. This is obvious during the ballet numbers in the film. The initial performing of "The Red Shoes" is a 15-20 minute sequence that is some of the best stuff ever caught on film. What the audience sees is an actual ballet performed and filmed, as opposed to just recreating and staging a fake ballet. Many of the special effects and backdrops during this dance number will leave the viewer in awe. If any criticism could be directed towards The Red Shoes it has to be the acting. But this isn't an actors movie. It's theatrical and doesn't demand realistic and down beat performances. The magic of film and dance make the audience forget the somewhat bland characterizations from the actors. The influence of this movie can be seen and hinted at in other movies. The storyline carries heavy tones in Moulin Rouge! There is a dancing newspaper, which no doubt inspired one of American Beauty's most talked about scenes. Since much of the film takes place at the ballet and the behind the scenes rehearsals it might be difficult for some movie-goers to get involved in the movie. But stick with it and let the beauty of it all slowly sink in.
Amelie is a film that struck a certain chord with me. Every now and
then movies come along that speak out to you and emotionally touch you
in some way. Amelie is one such film for me. I related to its innocent
charm and delightfully shy protagonist played by French sensation
Audrey Tautou, the way very few films have. Part of the reason we watch
movies is to learn something about ourselves or recognize characters
that are remarkably similar to us and the way we are in real life. For
all of us shy, introverted, quirky, and odd-ball eccentrics out there
who have trouble relating to "normal" people, Audrey Tautou in this
film is our personal hero. Instead of going into much detail about why
the film works, I'll instead try to explain what it meant to me
personally. Sure I guess this means I have to open up maybe more than
I'd like to about myself, but oh well. The way Amelie's childhood was
presented is similar to my own. I am an only child to divorced parents
and very rarely had friends as I was and still am very much a loner. As
a child much of my time was spent alone so I entertained myself in all
kinds of silly ways. Just like Amelie does in the film. Of course I
gained my fixation with films at an extremely early age, but also did
stupid things like give my stuffed animals personalities and have
conversations with them, draw pictures and create stories to go along
with them, and laid in bed listening to the radio with the windows open
on a lazy summer day imagining creatures out of the cloud formations.
Apparently there are legions of us out there. Even today I enjoy
solitude far more than the company of most people and still use my
imagination to think of stupid little things. Amelie did an amazing job
in capturing what the world is like through the eyes of a person who
doesn't really fit in, but finds joy in the simple things in life. Like
the fresh spring breeze on your face, the sound of the rain, the
chirping of birds, the touch of fur, and popping bubble wrap. Actually
popping bubble wrap was always an exciting and rare treat during my
youth. Jean-Pierre Jeunet's film also has a marvelously fun nifty view
of sex. For Amelie sex is not something that is intimidating,
temptingly desirable, sinful, adult, or lustful. It's just another of
the many silly things that people do in this world that make us human.
Two people taking off their cloths and rubbing up against one another.
How sweet! In fact many people have insulted the film for it's unique
view and open attitude towards sex. For shame really. Sure there's a
lot of it actually. Amelie's first sexual encounter, the orgasms, the
object of her affection working in a porn shop with a stripper and
putting price tags on didoes. But it's all in good fun and filmed with
the naivety that a character like Amelie would view sex as. Anyways the
movie really works. Cinematographer Bruno Delbonnel does an excellent
job in filming Jeunet's crazy vision and Audrey Tautou with her funky
hairdo, wide brown eyes, and whimsical voice and kitten like mannerisms
and shyness brings the movie to life. As I said I relate to this movie
and understand the character the way I do with few other movies simply
because it is frighteningly very much like I tend to be in real life.
"You mean she would rather imagine herself relating to an absent person than build relationships with those around her?"
Hmm, so would I sometimes. Audrey Tautou's been a more reliable friend than most people and has put a smile on my face and lightened my day at the thought of her more times than one. And I still say I'll marry her one day.
Audrey Hepburn, Billy Wilder, Hubert de Givenchy, Humphrey Bogart, William Holden, Charles Lang. With names like that attached to a project, do you even need a movie? Fortunately we got one. A great one! Sabrina is a charming and moonlit romantic comedy from two masters of the genre. Billy Wilder and Audrey Hepburn. It's essentially a retelling of the classic Cinderella story. The girl who is poor but falls in love with a prince and is made over beautifully to get his attention. There's no wicked step-sisters in Sabrina and no-magical faerie God-mother, but who cares. Hepburn is Sabrina the daughter of a chauffeur to a rich family named the Larrabee's. The Larrabee patriarch has two sons played by Bogart and Holden. Bogart is the older and more business savvy brother. He is realistic and practical and regards the family's name and fortune with the utmost care and regard. This is contrary to Holden who is more of a careless playboy seeking fun and women in life. He's been married three times, always falling in love or at least confusing lust with love. Hepburn at the start of the film is desperately in love with Holden and watches him at a ball from up in the tree under the moonlight. To help her get over her crush she is sent to refining school in Paris where see learns how to cook, speak, and dress. Basically she becomes a lady. What emerges is a swan from the ugly duckling and for the first time Holden sees her and falls in love. However time has passed and Sabrina doesn't exactly feel the same way anymore. Plus Bogart expresses his own interest in the elfin' and glamorous chauffeur's daughter. Watching all this play out in such a romantic and funny way is pure cinema. All the elements come together in this film. Hepburn looks magnificent in Hubert de Givenchy's gowns and dresses. The scenes on the racquetball court are whimsical and absolutely priceless. Frederick Hollander's musical score is breathtaking and haunting, sending the audience far away from their problems and allowing them to become completely involved in the characters and story. Really to tell the truth there isn't much plot, but the story is good because it's so simple. Sabrina isn't a complicated movie at all, nor is it very in depth in exploring what true love is. But at the heart it's a faerie tale. It doesn't need to be realistic or profound. If you're looking for answers about the true nature of love and self-sacrifice then you won't find any in Sabrina. However if you're looking to be swept off your feet and taken to a far away place where naive, blind, and moonstruck romantic love are the rule then this is the movie for you.
Warren Beatty made his screen debut in Hollywood with this treasure of a film. One of the best ever made. For me, I can barely make it through without shedding a tear. It's probably the most emotionally devastating film I've seen and somehow struck a chord with me like few other films have. The Shootist and The Bridges of Madison County are two other movies that bring out the Kleenex, but not the way Kazan's film can. The setting is a dim rural Kansas farming community in the days just prior to the Great Depression. Yet things are good in the beginning. The Stamper family is making a fortune off their stocks and the Loomis family has recently invested and stands to make money as well. Warren Beatty and Natalie Wood play two of the children of the families who go together in high school and are desperately in love. Beatty is Bud Stamper and Wood is Deannie Loomis. Both are in their teenage years and their hormones are raging. Sexual repression and it's consequences are examined in the film and why such conservatism and restraint exists. Bud and Deannie do not have sex, though both feel extremely uncomfortable from the tension that arises when they mutually suppress their instincts. Deannie is told by her mother that good girls don't do things like that, nor should they enjoy it. Bud on the otherhand is told by his freewheeling father, played excellently by Pat Hingle, that there's two kinds of girls in the world. Those that put out and those that don't. His only advice for his son is to not get into trouble, by which he means get a girl pregnant. Bud knows all too well about the "other" kind of girl, as his sister has become one of them. Bud fights pressures on all sides of his life including sports, his relationship with Deannie, finding a college, and sexual repression. Yet he is emotionally stable enough to take it. Deannie on the otherhand makes an altar to Bud and her entire existence seems to revolve around him. What makes the film so compelling is watching these wonderful characters who are not cliché' even if their problems sometimes are. Warren Beatty plays his role naturally sensitive but conflicted with his father and peer's advice that he "man-up." Deannie is quiet, shy, beautiful, and sensitive. When Bud's need can no longer remain in check he sleeps with another girl. This news sends Deannie into complete shock. Natalie Wood brings so much depth to the character. I can vision a thousand places where her scenes could have gone wrong, but somehow it works. Even the most difficult and infamous scene in the movie where Wood is soaking in the tub and then stands up screaming at her mother before running out of the bathroom. Deannie's mother only wants the best for her, but it's the old fashioned values, restraint, and the pain of Bud with another girl, which eventually snowball into Deannie being sent to a mental institution after a nervous breakdown and suicide attempt (ironically Wood attempts suicide by drowning in the movie, years later the real life Wood died from drowning. She carried a fear of water with her through her entire life). From this point in the movie the stock market crashes and Bud moves past Deannie but fails college before continuing his personal dream of becoming a farmer. William Wordsworth wrote the poem from which the film takes its name. The film deals with first love in a way few other films have. Certainly a movie of today examining the issue would not be so foreboding. One might think the film is unrealistic because of the outbursts and almost too fragile teens. It is easy to laugh and say how stupid and ignorant love is at that age, but for those who've lived and felt it, I think it'd be difficult to see this movie as far fetched in anyway. Or even scoff at the characters and their desperate behavior. Afterall, we're dealing with an age and time where suicide is among the leading causes of death for teenagers and 20-year olds and one of the major factors are breakups with first loves. Natalie Wood gives one of the finest, most powerful performances in all of cinema. She'll break your heart and make you feel as much for her character as possible with the medium. Warren Beatty is also good as Bud, the confused and repressed young man who just wants things to make sense. There are few films as fine as Elia Kazan's 1961 picture that tackles these subjects and can deal with them in such a sincere and emotional way.
Roman Polanski worked on both sides of the camera in The Tenant, which completed his loose trilogy about the horrors of urban dwellers and apartments. Repulsion (1965), Rosemary's Baby (1968), and finally The Tenant (1976). This film is probably the weakest of the three, but that's no excuse to dismiss it. I consider it great in its own right. Polanski is fine as an actor. He is Trelkovsky, an inconspicuous man who at the start of the film is looking for an apartment. The one he finds is ran by landlord Melvyn Douglas and the Concierge played eeriely by Shelley Winters. Like Polanski's other two films, The Tenant is a survey of paranoia and claustrophobia. As we learn the previous occupant of his room committed suicide by throwing herself out the window. While Trelkovsky does seemed to be a bit disheartened by the room's history he generally puts it on the back burning. However he does visit the critically ill occupant in the hospital before she finally passes. Trelkovsky comes in contact and attempts a relationship with the beautiful Isabelle Adjani in a fine, but small supporting role. Through the movie she will be his only voice of reason in his slow descent to madness and obsession with the girl who killed herself. There's a wonderful scene towards the beginning with Polanski and Adjani where she is pleasuring him in a movie theater. This is just one of many such scenes that catch the viewer off guard. The Tenant is a slow and tedious film, but it needs to be in order for it to question Trelkovsky identity. The bickering of the neighbors, the non-stop complaints about the noise, bizarre guests who urinate in the sink, and other such freakishly odd people all chip away at Trelkovsky's grip on reality. Comedy is subtly thrown into the film. Polanski is a shrewd individual and knows that many of the occurrences in the film might be too over-the-top so he intentionally teases the boundary between horror and comedy. Is Trelkovsky insane, is he the victim of a scheme by the occupants and landlord (ala Ingrid Bergman in Gaslight), or is it a genuine case of haunting and possession? Who knows. The film is left ambiguous and that's probably a good thing. I don't really want an answer and I don't get one. There is however a wonderful conclusion and depending on who you are you'll either be laughing your ass off or running as quickly as you can to puke in the toilet.
I've always liked the James Bond films. The formula, which is loosely modeled after Alfred Hitchcock's North by Northwest seems to never wear its welcome. Even today with the latest installment of one of cinema's longest running franchises, there's still fun to be had in watching the British Secret Agent with his license to kill foil the plans of a black hat menace with eyes set upon world domination, while still finding time to bed down the most beautiful creatures under the stars, drive the best cars, and toy with the coolest gadgets. Yeah what's not to like about the Bond films? That said however many of the Bond films don't really work outside the franchise as stand alone movies. Entertaining sure, but not really a quality product on their own. Goldfinger and From Russia With Love are generally considered the two best movies of the series. Sean Connery in the staring role is to many the only true Bond. However there are a few Bond cultists out there, who'll make the argument for On Her Majesty's Secret Service as being the best 007 film. I'll join that small group. For the sixth Bond film unknown actor and Australian model George Lazenby stepped into Connery's shoes. It's the only Bond film he would be in and as an actor he might be the least talented of all the Bonds, but in regards to the film itself, Lazenby plays Bond very well. Diana Rigg and Telly Savalas play the supporting roles. Rigg as the love interest and Savalas as Bond's arch nemesis Blofeld. The story of this Bond film is relatively simple when contrasted to the others. Bond has been hot on the trail of Blofeld for several years and to no success and he's thinking about retiring. However he meets Rigg and must abandon the British Secret Service and work for a rival crime syndicate in order to penetrate his way into the secret fortress of Blofeld and SPECTRE nestled away atop the Swiss alps near a skiing resort town. What sets this film apart from every other Bond film, besides Lazenby, is the maturity of it. We still get the suave, womanizing, gambling, and charming Bond, but with a hint of vulnerability and seriousness lacking in the other films. It's a very well paced and consistent film. We get the sense that none of it is filler. Every moment either serves to push the film along story wise, provide great action, or to supplement the realistic romance between Lazenby and Rigg. As a stand alone film it would work extremely well, but within the context of being a Bond film, I'd stake the claim in describing it as great. It's the one time we can actually view Bond as a human being, who is really capable of falling in love or losing a battle. There is little double-cross and few gadgets that trademark the series but it contains just enough of the quintessential Bond flick to please both Bond enthusiasts and those just wanting a darn good action film. The romance is believable and tender. Much could be said of the chemistry between the two leads. This is not a whirlwind fling, as is in most other Bond flicks with the mandatory female. In the other movies the girl is simply part of the formula. In On Her Majesty's Secret Service the girl is an essential part of developing Lazenby's version of the Bond character. By having Lazenby meet up with Rigg even before the title sequence and staying with her through the picture until the final tragic and mature ending, the writers have done a great thing. On Her Majesty's Secret Service also has some of the best action sequences of the Bond films, and like everything else in the movie it's semi-grounded in reality. The escape from Blofeld's trap on the skiing cables is brilliantly staged and followed by a remarkably well edited and choreographed chase down the mountain ski slopes. The speeding bobsleds, the two-fisted hand to hand battles, the bell shed and the helicopter attack, are handled with great care and believability. Telly Savalas is the least cartoonish of all the Bond villain portrayals. The most human. All in all On Her Majesty's Secret Service is one helluva of a ride and a solid film. Goldfinger is the most celebrated of the Bond movies, but the one and only time Lazenby stepped into the character's shoes shows the most mature Bond film.
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