After disposing of a familiar looking face, Bond is sent to recover a communication device, known as an A.T.A.C., which went down with a British spy ship as it sunk. Bond must hurry though, as the Russians are also out for this device. On his travels, he also meets Melina Havelock, whose parents were brutally murdered. Bond also encounters Aristotle Kristatos and Milos Colombo. Each of them are accusing the other of having links with with the Russians. Bond must team up with Melina, solve who the true ally is, and find the A.T.A.C. before it's too late.Written by
Sir Roger Moore's vertigo made the rock face climax especially hard to do. Moore has said that he took a small amount of Valium, and drank a tall glass of beer before some of the scary climbing sequences, which helped him through the close-up shots. Stuntman Rick Sylvester performed most of the work. Moore only had to dangle over a four-foot drop, while Sylvester dangled over a twenty-foot drop. See more »
When Bond's/Columbo's infiltration team surprises the dorm full of off-duty guards at St Cyril's, a blond man seen briefly rising from a bed on the left is the same guard the team already dealt with on duty outside - he was last seen tied up and gagged after being shot with an arrow, then knocked unconscious in the basket room a few minutes earlier. See more »
Mr. Bond, Mr. Bond. I'm so glad I caught you. Your office called. They're sending a helicopter to pick you up. Some sort of emergency.
It usually is. Thank you.
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New opening credit titles (the opening background graphics with Sheena Easton were unchanged) were created for the June 29, 2002 airing of For Your Eyes Only on ABC-TV's "Bond Picture Show". The original theatrical opening credits were in an Arial font, while the 2002 TV airing featured the new opening credit titles in Franklin Gothic. Some of the arrangement of the crew titles were altered for the new airing, where as in the theatrical version, was arranged with the crew member's position on the left, and the crew member's name on the right, while the 2002 version featured the crew member's name under their position title. Also, the original opening title which listed "ROGER MOORE as IAN FLEMING'S JAMES BOND-007" with the 007 looking like the standard 007 Gun logo, while the 2002 opening titles replace the 007 logo with just a plain "007". See more »
'For Your Eyes Only' starts the tenure of John Glen at the helm of the Bond series. He had worked previously on many of the Bond movies but during the eighties he directed all 5 Bond movies, and with the exception of 'A View To A Kill', they are up there with the best of the whole series. Certainly 'For Your Eyes Only' and the follow up, 'Octopussy' are the best of the Moore years, and I don't think it would be overstating it to say that Glen may have single handedly saved the franchise.
By the end of the 1970s Bond had turned from Ian Fleming's masterspy into an entirely comic book creation, culminating in the preposterous shenanigans of 'Moonraker' in 1979. At the start of a new decade a new style is clearly apparent, with a back to basics story that actually involves some spying, and a genuine threat to world peace. It's pushing it to say that the story is believable, but it is realistically told and is certainly a more adult affair than the previous efforts.
The film starts with the final nail in the coffin for Blofeld. After years of legal wrangling over who had the rights to the character the filmmakers decided to show that they didn't need him anyway and unceremoniously dumped him once and for all. We are also immediately put in the mood for a far more serious Bond when he visits his late wife's grave, an unusual moment, not least because the movies rarely referenced previous actors in the role. Here we are reminded that Moore wasn't playing Bond at the time of his marriage. That serious tone pervades throughout the movie, with less wisecracking than usual, and a subdued villain, at odds with the expected megalomaniac we are used to. But the film is all the better for it. There are some fantastic action set-pieces including a chase in a Citroen 2CV, and a ski chase that tops even that of 'On Her Majesty's Secret Service', along with a tense finale that is literally a cliffhanger. Bond is actually forced to use his wits, and much of the action and escapes are less contrived than one would expect. It's also good to see (after 'The Spy Who Loved Me' and 'Moonraker') that the filmmakers have tried to get back to Fleming's Bond, with many ideas lifted from the original stories. The scene with Bond and Melina dragged behind the speedboat, for example, is taken directly from the novel of 'Live And Let Die', and many characters appear in Fleming's short story of the same name.
Add to the mix a fine cast, notably Carole Bouquet as another strong character in the list of 'Bond women', and you have a satisfying and thrilling entry in the series.
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