#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – James Bond is back again and his new mission is to find out how a Royal Navy Polaris submarine holding sixteen nuclear warheads simply disappears whilst on patrol. Bond joins Major Anya Amasova and takes on a a web-handed mastermind, known as Karl Stromberg, as well as his henchman Jaws, who has a mouthful of metal teeth. Bond must track down the location of the missing submarine before the warheads are fired.
Plot: Russian and British submarines with nuclear missiles on board both vanish from sight without a trace. England and Russia both blame each other as James Bond tries to solve the riddle of the disappearing ships. But the KGB also has an agent on the case.
Smart Tags: #official_james_bond_series #jaws #007 #british_secret_service #russian_spy #cult_film #spy_film #secret_service_agent #sardinia #gadget_car #world_war_three #1970s #vodka_martini #miss_moneypenny_character #james_bond_character #major_boothroyd_character #m_character #good_versus_evil #evil_man #evil_woman #heroine
|7.1/10 Votes: 99,508|
|6.8 Votes: 1241 Popularity: 16.475|
Great Globe-Trotting, Spectacular Locations, thrilling action and fun vibe
Roger Moore did more official James Bond films as secret agent 007 than any other actor. He started the role when he was almost 45 years-old and ended his 7-film stint at 57. His third Bond film was “The Spy Who Loved Me” released in 1977 and it’s one of the most entertaining movies in the series.
The plot revolves around 007 teaming up with female Russian agent XXX (yeah right) to prevent world-hating Karl Stromberg (Curd Jürgens) from starting World War III by stealing nuclear subs. Stromberg doesn’t care if the world kills itself because he lives as a mad recluse on a crab-like submersible dream home called “Atlantis.” The giant steel-toothed Jaws assists Stromberg along with the beautiful raven-haired Naomi.
The top item I demand in any Bond flick is exciting globe-trotting and, consequently, great locations. “The Spy Who Loved Me” delivers on this front in spades. Right out of the gate there’s a rousing ski chase that culminates in a spectacular jump from Baffin Island’s Mt. Asgard (Canada), substituting for the Austrian Alps. It’s an incredible stunt and easily one of the best openings in the franchise. From there we get the Sahara desert, Cairo, the Nile River and the great pyramids of Giza, as well as the Italian Mediterranean island of Sardinia, Scotland (Royal Naval base) and the waters of the Bahamas. These are all fabulous locations to say the least.
Richard Kiel as the 7’2” Jaws is both intimidating and amusing. The on-going joke is that NOTHING can stop or kill him.
Barbara Bach is good as Agent XXX and certainly possesses an exotic beauty, similar to Britt Ekland from the previous movie, but watch her get blown out of the water by the stunning Caroline Munro when she’s introduced as Naomi. Many cite Ursula Andress’ coming out of the water in a white bikini in “Dr. No” (1962) as the ultimate ‘Bond girl’ moment but Caroline’s introduction here is a serious rival; it’s, at least, the second best one. The only problem is that Caroline’s role is too brief. Check her out in “The Golden Voyage of Sinbad” (1974) to see her in a more prominent part. Some editions of the DVD include an over 40-minute documentary that includes an interview with Ms. Munro. She was still beautiful over 25 years after the movie was released.
Another great aspect of “The Spy Who Loved Me” is that the fun, adventurous vibe and globe-trotting sequences give it an undeniable Indiana Jones feel, even though it was made four years before the first Indiana Jones flick. WATCH OUT for the great sequence where Bond’s car morphs into a submarine as he attempts to flee Naomi in a helicopter.
Many compositions in Bond films are relatively timeless, like “For Your Eyes Only” from 1981, but the disco elements in the score for “The Spy Who Loved Me” are horribly dated. This doesn’t bug me that much. I can live with it; others can’t.
As for Roger Moore’s take on Bond, I guess you either like him or you don’t. I do. Regardless of his age Moore always looked great and was perfectly convincing as 007 throughout his run.
IMHO Moore’s seven films are the most consistently entertaining. Yes, Sean Connery is great and his stint is generally more serious (albeit with the typical Bond cheese), but who can deny the color and vibrancy of the Moore films? All of his pictures are very entertaining and were hugely successful at the box office. Even the heavily maligned “Moonraker” (1979) and “A View to a Kill” (1985) are great. They may have more goofy or amusing elements, which are actually funny by the way, but they remain essentially serious stories; they rarely go overboard into the rut of parody or camp. Seriously, I weary of hearing all the complaints about Moore’s stint in the series. All of his films are quality Bond adventures. There’s not a dud in the bunch.
The movie runs 2 hours, 5 minutes.
Commander James Bond, recruited to the British Secret Service from the Royal Navy. License to kill and has done so on numerous occasions.
The Spy Who Loved Me is directed by Lewis Gilbert and adapted to screenplay by Christopher Wood and Richard Maibaum from the novel written by Ian Fleming. It stars Roger Moore, Barbara Bach, Curt Jurgens, Richard Kiel and Walter Gotell. Music is scored by Marvin Hamlisch and cinematography by Claude Renoir.
Bond 10. Allied and Soviet nuclear submarines are mysteriously disappearing from the waters and causing friction between the nations. MI6 and the KGB have a notion that a third party is responsible and stirring up trouble for their own nefarious means. 007 is partnered with Soviet spy Major Anya Amasova (Agent XXX) and the pair are tasked with getting to the bottom of the plot before the crisis escalates.
During the whole run of the James Bond franchise there have been a few occasions when it was felt it had run out of steam. 1977 and on the back of the mediocre reception and by Bond standards the poor box office return of The Man with the Golden Gun, now was one such time. With producer Albert Broccoli striking out on his own, the stakes were high, but with a determined vision forming in his head and a near $14 million budget to work from courtesy of United Artists, Broccoli went big, and it worked magnificently. The Spy Who Loved Me is Moore’s best Bond film, not necessarily his best Bond performance, but as a movie it’s near faultless, it gets all the main ingredients right. Gadgets and humour were previously uneasy accompaniments to James Bond as a man, but here they serve to enhance his persona, never taking away his tough bastard edge. The suspense and high drama is back, for the first time in a Roger Moore Bond film things are played right, we don’t think we are watching an action comedy, but an action adventure movie, what little lines of humour are here are subtle, not overt and taking away from the dramatic thrust.
For production value it’s one of the best. Brocoli instructed the great Ken Adam to go build the 007 Stage at Pinewood so as to achieve their vision for The Spy Who Loved Me. At the time it became the biggest sound stage in the world. With such space to work from, Adam excels himself to produce the interior of the Liparus Supertanker, the home for a brilliant battle in the final quarter. Vehicles feature prominently, the amphibious Lotus Esprit moved quickly into Bond folklore, rocket firing bikes and mini-subs, helicopter, speedboat, escape pod, wet-bike and on it goes. Then there’s Stromberg’s Atlantis home, a wonderfully War of the Worlds type design for the outer, an underwater aquarium for the inner. Glorious locations are key, also, Egypt, Sardinia, Scotland and the Bahamas are colourful treats courtesy of Renoir’s photography. Underwater scenes also grabbing the attention with some conviction.
The film also features a great cast that are led by a handsome, and in great shape, Moore. Barbara Bach (Triple X) is not only one of the most beautiful Bond girls ever, she’s expertly portraying a femme of substance, intelligent, brave and committed to the cause, she is very much an equal to Bond, and we like that. The accent may be a shaky, but it’s forgivable when judging Bach’s impact on the picture. Jurgens as Stromberg is a witty villain, but he oozes despotic badness, sitting there in his underwater lair deliciously planning to start a new underwater world. Kiel as Jaws, the man with metal teeth, he too moved into Bond folklore, a scary creation clinically realised by the hulking Kiel. Gotell as Gogol is a presence and Caroline Munro as Naomi is memorable, while Bernard Lee’s M and Desmond Llewelyn’s Q get wonderful scenes of worth. They forgot to give poor Moneypenney something to chew on, but in the main it comes over that the makers were reawakened to what made Bond films great in the first place. There’s even a candidate for best title song as well, Nobody Does it Better, delivered so magically by Carly Simon.
The grand vision paid off, handsomely. It raked in just over $185 million at the world box office, some $87 million more than The Man with the Golden Gun. Not bad considering it was up against a record breaking Star Wars. Critics and fans, too, were pleased. It’s not perfect. It’s ironic that director Lewis Gilbert returned for his second Bond assignment, because this does feel like a rehash of his first, You Only Live Twice, only bigger and better. Hamlisch underscores it at times and John Barry’s absence is felt there. While if we are being particularly harsh? Then Stromberg could perhaps have been a more pro-active villain? He makes a telling mark, we know he’s a mad dastard, but he only really sits around giving orders and pushing death dealing buttons. But small complaints that fail to stop this Bond from being one of the best. Hey, we even get an acknowledgement that Bond was once married, and the response from Bond is respectful to that dramatic part of his past. 9/10
“Nobody does it quite the way you do”
You don’t review James Bond movies, you evaluate them, rate them according to how well they meet expectations. There are certain things one has come to expect, even demand of a Bond film and each individual effort either delivers or it doesn’t. So, here are ten elements that make a Bond film a Bond film and how THE SPY WHO LOVED ME rates on a scale of 1 to 10:
Title: THE SPY WHO LOVED ME: The title seems more appropriate for a Harlequin Romance novel, and if suitable at all for a Bond film, it would have been a better title for ON HER MAJESTY’S SECRET SERVICE. Yet, it does finally work the word “spy” into the title of a Bond film. 7 points.
Pre-Credit Teaser: It’s all very nicely done: Within a few minutes, we see a submarine stolen and its crew kidnapped; we meet the Soviet’s top agent, who just happens to be — surprise! — a woman; and we get the added treat of one of Bond’s greatest stunts, the great skiing-skydiving trick. A pretty cool way to kick off the film and set up the various story lines. 9 points.
Opening Credits: Arguably the silliest of all of Maurice Binder’s efforts, the opening sequence finds 007 bouncing around on a trampoline while various miniature, and apparently naked, babes do gymnastics on the barrels of guns. (Pity he didn’t come up with that idea for THE MAN WITH THE GOLDEN GUN.) Bordering on self-parody, it is nonetheless naughty and fun and colorful and oh-so very James Bond. 9 points.
Theme Song: No beating around the bush here, the song gets right to the point: “Nobody does it half as good as you, Baby, you’re the best.” Just what Bond is best at is open to interpretation. The music by Marvin Hamlisch is swanky and matched by Carol Bayer Sager’s dreamy and only slightly sarcastic lyrics. And Carly Simon’s vocals bring it all home. Maybe not the best Bond song, but right up there. 9 points.
“Bond, James Bond”: Moore finally makes the role his. The number of smug one-liners have been trimmed, yet he still invests the character with humor — plus some warmth and charm, and unexpected sadness. And we get to see a bit of Bond’s vanity as he matches wits with a female agent who is his equal and not impressed by his stock-and-trade flirtations. Moore’s best appearance as Bond. 9 points.
Bond Babes: The prevailing notion has always been that “Bond Girl” equals “Bimbo,” which is only partly true. Most of the women Bond encounters are highly skilled professionals — as well as being bimbos. But Soviet agent Major Anya Amasova, a.k.a. XXX, is the first Bond Girl to give James a run for his money. She’s smart, sexy, capable, resourceful and it takes her almost the whole movie to actually fall in love with Bond. What will power! As played by Barbara Bach (a.k.a., soon-to-be Mrs. Ringo Starr), Anya ranks as one of the best Bond Girls, easily worthy of 9 points.
Bond Villain: Karl Stromberg (nice villainous name, by the way) is one of those mad billionaires who hopes to create a new world order by mass genocide and building a new society, this time underwater. It is pretty much a cliché character and unfortunately Curt Jurgen plays the part like a grumpy old man and can’t seem to muster up even a maniacal laugh. 5 points.
Bond Baddies: Oddjob look-a-like Sandor, played by Milton Reid, puts in an appearance long enough to die a memorable death, but it is Richard Kiel who steps into the limelight as Jaws, one of the great Bond villains. If being a hulking, seven-foot tall muscle man weren’t enough, he also has steel teeth and an amazingly obsessive desire to kill 007. Playing Wile E. Coyote to Bond’s Road Runner, Jaws earns 9 points.
Sinister Plot: Stromberg steals a Russian and a U.S. sub, as well as a British one, with the hopes of starting World War III and destroying the civilization as we know it today. Been there, done that. 4 points.
Production values: Romantic imagery, clever lighting effects and intriguing camera angles make this the most visually appealing Bond film. In the past, the emphasis was always on the most effective way to film action sequences, but here director Gilbert Lewis strives for that little bit extra as far as mood and romance. 9 points.
Bonus Points: Connery had his Astin Martin and Moore gets a Lotus Esprit. It is not nearly as snazzy, but it does turn into a submarine and you never know when that will come in handy. 5 points.
Summary: It had been hinted at in the three previous Bond adventures, but a new sense of style is fully apparent here. The roughness and grit that many of the purists loved about Connery’s films are pretty much gone in favor of a polish and panache. Whether that is being suave or merely superficial is open to interpretation, but it does set the tone and the expectations for all future Bond adventures.
Bond-o-meter Rating: 84 points out of 100.
Perfect escapist fare and classic Bond movie
This may well be the best of the Roger Moore Bond movies. Terrific action throughout, complete with many many surprises, gadgets, do anything sports car, and truly terrific sets. The main villein is perfect, and his employees are brilliant, one giant of a man being particularly macabre. True, its an old movie now, yet its just so hammy it has a timeless charm. And the locations are charming as well. The plot is classic, and resolves itself in such a brilliant way as to have one truly on the edge of one’s seat (certainly by the all explosive end, if not way before). Roger Moore is debonair and slightly restrained with plenty of silly one liners. His beau is magnificent, also restrained but with real charisma. No wonder she married a Beatle. One simply cannot go wrong with this gem.
Original Language en
Runtime 2 hr 5 min (125 min), 2 hr 3 min (123 min) (cut) (Sweden)
Genre Action, Adventure, Thriller
Director Lewis Gilbert
Writer Christopher Wood (screenplay by), Richard Maibaum (screenplay by)
Actors Roger Moore, Barbara Bach, Curd Jürgens, Richard Kiel
Awards Nominated for 3 Oscars. Another 3 wins & 8 nominations.
Production Company United Artists, Danjaq Productions
Sound Mix Mono (35 mm prints, original release), 4-Track Stereo (London premiere print), 6-Track Stereo
Aspect Ratio 2.39 : 1
Camera Arriflex 35-III, Panavision C-Series Lenses, Panavision Panaflex Gold, Panavision C-Series and Cooke Lenses, Panavision Panaflex X, Panavision C-Series Lenses, Panavision Panaflex, Panavision C-Series Lenses
Laboratory DeLuxe, Hollywood (CA), USA
Film Length N/A
Negative Format 35 mm (Eastman 100T 5247)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm