Octopussy (1983)

[zen]

Revisited Octopussy (1983). Below is my latest impression of it, where I attempt to walk you through the film (assuming that you have watched it so you are aware of the characters and situations): 
 

 

Pre-title sequence: This is like a mini-movie, a separate mission from the rest of the film. Bond’s assignment is to blow up a facility in Cuba. He disguises himself as “Colonel Toro”, gets caught, finds a way to escape, and completes his mission. This segment has its own Bond girl. Barry’s score is spectacular, highlighting the tension. 
 

009: Post the title sequence, the film opens up with the twins chasing a clown, who happens to be 009. 009 gets a knife in his back but survives to pass the egg to the British embassy in West Berlin (Yes, it was the era of West & East Berlin). This is a powerful beginning with a 00 getting killed.  
 

The property of a lady: This is classic Fleming stuff. Bond is investigating a possible attempt to raise funds by the Russians to finance their covert operations in the West. We are introduced to the villains as well. At the auction, Bond bumps up the price of the egg. His suspicion that Kamal Khan had to buy the egg at any cost is confirmed. But why? That is the answer that Bond would venture to find out. Barry’s score shines esp. when the villains walk out of the auction and 007 follows them to their car. This is a top segment that does justice to the Fleming material. 
 

India: A magical segment. We get to see many luxurious life style elements of Bond. We are transported to the days of the maharajas in the picturesque Udaipur. Like in Goldfinger, this segment is Bond v the villain. Bond takes on a cheating Kamal at the casino. He has a romantic encounter with the villain’s acquaintance, leading to his capture. Like Oddjob, Gobinda is a man of few words. He sneaks into Bond’s bedroom to deliver a chop that renders Bond unconscious. The scene where Magda ties her saree to the balcony to come down is memorable. Bond becomes a hunting target before escaping from Kamal and his gang. 
 

Octopussy: She is one of the most mysterious Bond girls. She lives on a beautiful island inhabited only by women. I like it how Fleming’s short story, Octopussy, has been built upon (the story is narrated to Bond by Octopussy to make the connection). The introduction of Octopussy is superb where we only see her hands and hear her voice. Barry’s score shines once again, crating a mysterious environment, esp. when Kamal Khan is headed to the island on the row boat.

 

A tale of two Berlins: A classic espionage segment where Bond learns about the villains’ plans. There are memorable action sequences including the train chase. Bond avenges 009’s death. Defuses a nuclear bomb.  Barry’s score helps to build the tension nicely. The film could have ended here but we move back to India for a bonus segment. 

Back to India: The bonus segment. Octopussy and her team attack Kamal’s palace. Q balloons Bond to where the action is. Watching Q in the field tends to bring a smile. Bond chases a plane on a horse. He hangs on to the plane to save Octopussy. The score by Barry, with its use of flute, is from his top drawer. This segment helps the film to finish on an “All Time High”. 

Like most films, Octopussy has its pros and cons but the pros are so good that, overall, this has turned out to be a brilliant Bond film. It is a bit Hitchcockian and a bit like an Indiana Jones film. Talking about Indiana Jones films, Octopussy is as good as the best Indiana Jones films, which are also known for their extensive use of cinematic conveniences. As a Bond film, Octopussy continues to shine brightly.

 

 

Have you watched Octopussy lately? Is it among your favorites?

Edited August 8 by zen

[bharathh]

Not my favorite Bond (don't like Moore much) - but any Sean Connery Bonds are good timepass. Can watch them at any time. Actually, I rewatched all the Bonds last year and I liked both Timothy Dalton's a lot. 

[coffee_rules]

That Indian part is cringe for even now. 1980s India was not at all that primitive. Rest of the movie is highly entertaining Bond fare. Of all Roger Moore series, I like STWLM the best. The Octopussy Bond girl makes a come back after TMWAGG. Right?

[zen]

7 minutes ago, coffee_rules said:

The Octopussy Bond girl makes a come back after TMWAGG. Right?

That is correct. I like it that most of the key actors are in Moore’s age range. 

[zen]

PS adding a poll to compare it with Indiana Jones’ Temple of Doom (1984), which took place in India too (shot in SL).

[zen]

2 hours ago, coffee_rules said:

Of all Roger Moore series, I like STWLM the best.

In the past I had written on TSWLM and FYEO on a movie platform. Sharing it here: 

 

 

The Spy Who Loved Me (1977)
Director: Lewis Gilbert 

 

In the James Bond universe when we talk about some of its greatest films, the following names are likely to be taken (in the order of release): 

 

• From Russia with Love (1963): If a period Bond film were to be made, it would be like FRWL. Released during Ian Fleming's lifetime (Goldfinger was released about a month after Fleming's demise), the film follows the book closely, capturing the spirit of that era. It also has a Hitchocokian flavor. 
• Goldfinger (1964): An iconic Bond film which optimized the Bond formula.
• On Her Majesty's Secret Service (1969): After [I]You Only Live Twice (1967)[/I] had little in common with the Fleming book apart from the title, location, and the key characters, director Peter Hunt went back to following the book closely. 
• Casino Royale (2006): Again a film that goes back to the book while accounting for the period it is shot in.
   

 

Interestingly, if you look at the structure of OHMSS and CR, it works in opposite direction. In OHMSS, Love Story -> Detective Work -> Action. In CR, Action -> Detective Work -> Love Story. 

 

There is one film that also achieves similar greatness but by breaking most of the previous rules. [I]The Spy Who Loved Me[/I] has nothing in common with the book apart from the title. It takes its inspiration from [I]You Only Live Twice [/I], which was also directed by Gilbert and had only a few things in common with the book.

 

TSWLM brings in concepts such as 007 teaming up with a Russian agent. There is a brand new villain (not seen in the book), Stromberg, a big Bond villain who wants to change the world. The villain is not motivated by money and other such worldly matters. 
 

In TSWLM, it appears as if the producers wanted to take the film to the next level, packaging it with one highlight after another. For example: 
 

• The pre-title sequence incorporates a major stunt where Bond parachutes off the cliff. 
• Introduces Jaws, a big favorite among fans now.
• The car chases add dimensions like "underwater driving". Bond's vehicle is first chased by a motorcycle, followed by a car, and then a helicopter. When you wonder what is next, the car dives into the sea!
• Most films would be happy with a big showdown between Bond and Stromberg on the Liparus, a ship that captures submarines, but not TSWLM. It adds the segment where Bond goes to Atlantis, an underwater hideout (yes, a lair also taken to the next level), to rescue the Russian agent.  

 

The Bond role in this film is perfectly tailored for Sir Roger Moore. He balances his comic timing and seriousness to such an extent that it is difficult to imagine anyone else in the role of 007 in this film. 

 

Talking more about breaking rules, the background score pays tribute to [I]Lawrence of Arabia [/I]during one of the desert sequences - when Bond and Amasova stroll across the Egyptian desert after their van breaks down. 

 

Various elements in the film, including Moore's performance, work in such a fashion that it would be difficult to remake TSWLM. Gilbert tried repeating the concept in [I]Moonraker (1979)[/I], which was a big hit too on its release but lacks that perfect blend to stand the test of time like TSWLM relatively speaking. 

 

The Spy Who Loved Me will continue to remain among the greatest Bond films of all time for not only breaking the rules but also creating a perfect blend for a big Bond villain film. As Carly Simon sang - "[I]Nobody does it better[/I]".
 

 

Edited August 8 by zen

[zen]

For Your Eyes Only (1981)

Director: John Glen

 

For Your Eyes Only (FYEO) is an essential film in the Bond portfolio. In the 1970s, Bond films saw significant departures from Fleming's books apart from mainly using titles, characters, and locations. FYEO kicked off the 80s where Bond films reverted to utilizing/building on Fleming material. After the 60s, the 80s is the decade with most films that bank on incorporating Fleming elements into their storylines. 

 

Additionally, with this film, director John Glen began his journey of directing every Bond film, a total of 5, in the 80s. 

 

FYEO also brings Bond back to earth (or basics) after his sojourn in space in the previous film - Moonraker. Back to the basics also means relying more on wits than gadgets. Examples include Bond getting out of a hopeless situation using his street smartness in the pre-title sequence. In the Spain segment, his "high-tech" Lotus is destroyed, therefore, he has to rely on his driving skills to maneuver a Citroen 2CV to outrun the chasing henchmen. There is a segment where he is tied and dragged underwater, which required Bond to bank on his environment to get out of the situation. Finally, his climbing skills are tested in the finale.

 

Roger Moore gives a well-measured performance, leaning more toward the serious side. This is often rated to be among his best performances.

 

FYEO is an adaption of Fleming's short stories - "For Your Eyes Only" and "Risico". Bond and Melina being dragged in water is from the book Live and Let Die. 

As far as negatives are concerned, if I have to be picky, the score in some segments may not have aged as well as I would have preferred. However, the generous use of the Bond theme ensures that the overall score remains competitive. The villain relies on intrigue/deception, therefore, needs to remain understated. 

 

Overall, this is a top tier Bond film. It is almost flawless as a Bond film!

[zen]

1 hour ago, bharathh said:

Actually, I rewatched all the Bonds last year and I liked both Timothy Dalton's a lot. 

My notes on the Living Daylights: 

 

The Living Daylights (1987)

Director: John Glen

 

The 1980s was an interesting period for Bond films. First, all of them were directed by John Glen. Second, 3 of the 5 films showcased some of the best work of John Barry. And finally, the period was still influenced by the Cold War, where the Berlin Wall fell in 1989 when the last Bond film of the 80s,[I] Licence to Kill[/I], was released. 

 

Challenges included a) finding suitable scripts for an aging Roger Moore, and b) bringing in Moore's replacement that could also provide a new direction to the franchise, which tends to reinvent itself from time to time to remain relevant. 

 

Another interesting aspect of the 1980s was returning to utilize/build on Fleming material versus the 1970s, where we saw a relative departure from Fleming books apart from mostly using titles, characters, and locations. 

In 1987, the post-Moore era, which also aimed at a new direction, began with The Living Daylights. Timothy Dalton played the Bond that is relatively closer to the Bond in Fleming's books. This remains one of the most impactful performances by a Bond actor. You only have to see the segment where Dalton's anger flows off the screen in Vienna where his associate is killed. 

 

The film also displayed how excellently a Fleming short story could be developed. "The Sniper was a woman" segment utilized Fleming's work and the rest of the film brilliantly built upon that short story. 

 

Additionally, the film sports memorable stunts including the Ice Chase and Hercules segments. The locations include Gibraltar, Austria, and Morocco, along with the Northern parts of the Indian subcontinent. Surrounding Bond are interesting characters such as Kara Milovy, General Koskov, General Puskin, Kamran Shah, etc. 

 

Above all, John Barry goes out in style with the score, which is among the best for the franchise, meaning that it is among the best for films in general as well. One of the memorable pieces includes when Bond is put on the military/diplomatic plane to Afghanistan. You see a visual of the big plane in the air where Barry's score hints at the tension ahead and marks a change in direction in the film. In a way, reminding of the segment in [I]Apocalypse Now[/I] where the boat heads into Cambodia. 

 

The film is also notable for being the last Bond film about the Cold War era shot during the Cold War period. 

 

Some may point to the villains being a weak area of the film. However, the film is about deception, and only Bond seems to suspect it. In that sense, the key villain character works well. Bond films have a history of using a group of villains (used that concept earlier in [I]Octopussy[/I] for e.g.) and this film falls into that segment, after banking on "Zorin" in the preceding [I]A View to a Kill[/I]. 

 

Overall, this can be considered as a near-perfect (or even perfect w/o putting it under the microscope) espionage/intrigue Bond film with great acting (for the genre), stunts, story, and score!

 

Edited August 8 by zen

[bharathh]

4 minutes ago, zen said:

My notes on the Living Daylights: 

 

The Living Daylights (1987)

Director: John Glen

 

The 1980s was an interesting period for Bond films. First, all of them were directed by John Glen. Second, 3 of the 5 films showcased some of the best work of John Barry. And finally, the period was still influenced by the Cold War, where the Berlin Wall fell in 1989 when the last Bond film of the 80s,[I] Licence to Kill[/I], was released. 

 

Challenges included a) finding suitable scripts for an aging Roger Moore, and b) bringing in Moore's replacement that could also provide a new direction to the franchise, which tends to reinvent itself from time to time to remain relevant. 

 

Another interesting aspect of the 1980s was returning to utilize/build on Fleming material versus the 1970s, where we saw a relative departure from Fleming books apart from mostly using titles, characters, and locations. 

In 1987, the post-Moore era, which also aimed at a new direction, began with The Living Daylights. Timothy Dalton played the Bond that is relatively closer to the Bond in Fleming's books. This remains one of the most impactful performances by a Bond actor. You only have to see the segment where Dalton's anger flows off the screen in Vienna where his associate is killed. 

 

The film also displayed how excellently a Fleming short story could be developed. "The Sniper was a woman" segment utilized Fleming's work and the rest of the film brilliantly built upon that short story. 

 

Additionally, the film sports memorable stunts including the Ice Chase and Hercules segments. The locations include Gibraltar, Austria, and Morocco, along with the Northern parts of the Indian subcontinent. Surrounding Bond are interesting characters such as Kara Milovy, General Koskov, General Puskin, Kamran Shah, etc. 

 

Above all, John Barry goes out in style with the score, which is among the best for the franchise, meaning that it is among the best for films in general as well. One of the memorable pieces includes when Bond is put on the military/diplomatic plane to Afghanistan. You see a visual of the big plane in the air where Barry's score hints at the tension ahead and marks a change in direction in the film. In a way, reminding of the segment in [I]Apocalypse Now[/I] where the boat heads into Cambodia. 

 

The film is also notable for being the last Bond film about the Cold War era shot during the Cold War period. 

 

Some may point to the villains being a weak area of the film. However, the film is about deception, and only Bond seems to suspect it. In that sense, the key villain character works well. Bond films have a history of using a group of villains (used that concept earlier in [I]Octopussy[/I] for e.g.) and this film falls into that segment, after banking on "Zorin" in the preceding [I]A View to a Kill[/I]. 

 

Overall, this can be considered as a near-perfect (or even perfect w/o putting it under the microscope) espionage/intrigue Bond film with great acting (for the genre), stunts, story, and score!

 

I like License to Kill a lot as well. More kitschy but one of my fav Bonds. 

 

My fav Bond movies in no particular order - Goldeneye, License to Kill, Living Daylights, Casino Royale

[zen]

4 minutes ago, bharathh said:

I like License to Kill a lot as well. More kitschy but one of my fav Bonds. 

 

My fav Bond movies in no particular order - Goldeneye, License to Kill, Living Daylights, Casino Royale

Almost all Bond films are my favorites, which is why I mostly comment on quality, impact, etc. 
 

[bharathh]

8 minutes ago, zen said:

Almost all Bond films are my favorites, which is why I mostly comment on quality, impact, etc. 
 

Not a big fan of the later Moore, Connery, Brosnan movies. The middle set of Craig weren't that great either. Liked the last movie though

[zen]

1 minute ago, bharathh said:

Not a big fan of the later Moore, Connery, Brosnan movies. The middle set of Craig weren't that great either. Liked the last movie though

Bond films such have a wide following that there are big fans of every actor and almost every film. 
 

There are people who love even relatively low rated Bond films like Diamonds Are Forever, A View to a Kill, License to Kill (now rated high), Quantum of Solace, etc. 
 

On Her Majesty’s Secret Service was considered a black sheep by many for a long time but now rated among the best. 
 

I like all the Bond actors. They all bring their respective styles to the role. 

[zen]

I have many Bond soundtracks on iTunes. Talking about Octopussy’s below is a cool track:

 

 

Among Moore 007 films, OP probably has the best score!

[Gollum]

Tennis player Vijay Amritraj was in this movie. Have to watch it. 

[zen]

2 minutes ago, Gollum said:

Tennis player Vijay Amritraj was in this movie. Have to watch it. 

Yeah. And his character is interesting! 
 

[coffee_rules]

28 minutes ago, zen said:

Yeah. And his character is interesting! 
 

Meh. Sub-servient Brown man role.  Kabir Bedi as the main henchman of the villian had a great role and he did it with poise. Guy who played the Kamaal Khan is not Afghan exiled prince,  but a French actor.  

[zen]

3 hours ago, coffee_rules said:

Meh. Sub-servient Brown man role.  Kabir Bedi as the main henchman of the villian had a great role and he did it with poise. Guy who played the Kamaal Khan is not Afghan exiled prince,  but a French actor. 

The film is set in India so obviously the “agents” there would work under Bond. Same is the case with Leiter or Wade for CIA. The Southeast Asian team in TMWTGG. The Italian Lui in FYEO. And so on.

 

Vijay’s was a sweet likeable role. It is a popular character. 
 

Louis Jourdan did well as the prince. Jourdan has worked in hits such as Gigi. Bond villains tend to be well known actors. English actors have been cast as Germans for e.g. 

In an Indian spy film shot in a foreign location, the foreign actors would be helping the main Indian spy. 
 

In many Hollywood films, Russians are shown as villains. Earlier, Germans used to be villains. In Indian films, Pakistanis or Chinese are shown as villains. In many Indian films, people of particular religions are villains. 

 

No need to worry about such things. The characters are based on the location where the story unfolds. 
 

Let’s not forget that Octopussy shows beautiful Indian palaces, mesmerizing locations, the prince with a Rolls Royce and his private plane, etc.  Udaipur was highlighted on the global tourism map because of this film. 

Enjoy!

Edited August 8 by zen

[zen]

Most of the Bond films, esp. Connery and Moore’s, I have probably watched each of them for at least 50 times.

 

My dad used to have video cassettes of many of them, so during school vacation each movie used to get played like for 4-5 times. He also had records of the soundtrack that he had brought from the US (He studied at MIT or something like that). And then I have had all of them on Blu-ray and 4K where applicable. 
 

My vacation spots are also usually Bond like destinations esp. in Europe. Udaipur is like 250-300 kms from my home in India and used to be a popular destination for me. 
 

 

[Ranvir]

Live and Let Die was his best film, it had the hardest edge, the rest were too campy. I liked the voodoo angle with Baron Samedi and Jane Seymour was stunning. 

[zen]

The classic Merc on rail sequence: 

 

 

Merc would have been modified to run on rails. There is also a generous use of the 007 theme in the score.
 

Barry made that decision as Octopussy was competing with Never Say Never Again that year.