A Bond movie's pre-title section often indicates how the rest of the movie will be. There are a few exceptions; "Moonraker" is not one of them. James Bond (Roger Moore) is on the "last leg" of a mission, introduced with the first of many genuinely funny puns in this movie. Naturally, the unnamed villains plan to eradicate Bond, leading to an action scene in free fall with one parachute too few. It is nonsensical, but genuinely entertaining, thanks partly to composer John Barry's music. This scene is not fitting in a James Bond movie, yet, like the rest of the movie, it is great fun to watch.
Goofiness has decimated more than a fair share of Bond movies. "Moonraker" does not fall victim itself because the filmmakers did not try to mix silly with serious, and never made a mockery of their characters. That is the reason I was pleasantly surprised on my first viewing. I responded negatively after my second because I started to analyze it. I should not have been so serious. The enjoyment I felt the first time gave me all the information I need. Just because I did not understand why I enjoyed it the first time does not mean I have to hate it.
"Moonraker" is one of the two least popular Bond movies among the series' hardcore fans. It also made the most money until "GoldenEye," and drew the most viewers and repeat viewers of all the Bond movies between Sean Connery and Pierce Brosnan. No matter how different the movie's tone is from the "James Bond standard," it has enough positives to stand on its own. That is why both critics and audiences in 1979 voiced approval with their money and keyboards.
Its production set at least three world records that are still unbroken: most break-away glass in one fight, largest sound stage ever used in France, and the greatest number of actors in simulated weighlessness. Ken Adam became a legendary production designer with his work on the James Bond movies. "Moonarker" is his final, and he saved his best for last. The fact that the two-time Oscar winner was not even nominated for his work in "Moonraker" is a sad example of how political the Academy is. Like the movie or not, the Venice, Amazon, and space station sets are more than likely to impress even the most skeptical Bond fan.
After reporting to his boss's secretary (Lois Maxwell) that he fell out of a plane without a parachute, Bond is tasked with investigating the loss of an American space shuttle that disappeared en route to England. He first visits Hugo Drax (Michael Lonsdale), the shuttle's owner. When informed that the shuttle itself was not destroyed, Drax offers full co- operation, then orders Bond's elimination as soon as the latter leaves the room. I have either discussed or viewed this movie with a number of people. Even though this twist occurs less than 20 minutes in, the movie conceals Drax's villainy so well that none of these people suspected him.
Drax's plot takes implausibility to its highest level. I will give no details except to say that it makes Karl Stromberg's grand scheme from the previous movie look sophisticated and sane. As advertised, the story boldly takes 007 where no British spy has gone before. Drax's space station remains the coolest set in the series. The simulated weightlessness remains impressive to watch more than 30 years later.
In tune with the movie's comical nature, Drax is often unwilling to harm Bond unless he can amuse himself with the creativity of it. Drax has more off-beat lines than the next two or thee Bond villains combined. I am not sure there is anybody who would seriously say, "you appear with the tedious inevitability of an unloved season" or greet a stranger with, "you have arrived at a propitious moment," but Drax has at least a dozen such lines. Lonsdale adds surreal humor to his role by speaking them with an almost bored somberness. A majority of actors work a whole career without having to say anything so weird. If Lonsdale realized that back in 1979, he certainly was not going to let anybody know.
In the meantime, Jaws (Richard Kiel) from the previous movie is back. Jaws' outrageous physical power and invulnerability made him a liability in the previous movie. "Moonraker" stretches it and uses it as a reliable comic device. In one scene, he stops a gondola wheel with his bare hands. The wheel starts to move again, but one look from Jaws makes it think twice about being rebellious.
The gadgets feature not one, but two special made boats. The first can convert to a hovercraft. Of course, Bond takes advantage of it, just in time for Victor Tourjansky to make another appearance as The Man with the Bottle in arguably the best running joke in the series. Q (Desmond Llewelyn) tops off his contribution by ending the movie with one of the cleverest double entendres in history.
Does all of this lavish praise equal a recommendation? Perhaps it does. My girlfriend condemned "For Your Eyes Only," Roger Moore's most serious Bond movie, as too cheesy. "Moonraker" joined "Tomorrow Never Dies" and "From Russia with Love" as her favorites. That told a lot to me about how the casual Bond fan views "Moonraker." It does not deserve elite status because it does not deliver the excitement a Bond movie should, neither is it an example of great movie-making even with numerous strengths. That noted, it sells out completely to its premise and is not reluctant to take the extra effort to entertain. I disagree with the filmmakers' comedic approach, but they did aim to entertain. In that area, they succeeded. For that, I give "Moonraker" seven out of ten stars.
Goofiness has decimated more than a fair share of Bond movies. "Moonraker" does not fall victim itself because the filmmakers did not try to mix silly with serious, and never made a mockery of their characters. That is the reason I was pleasantly surprised on my first viewing. I responded negatively after my second because I started to analyze it. I should not have been so serious. The enjoyment I felt the first time gave me all the information I need. Just because I did not understand why I enjoyed it the first time does not mean I have to hate it.
"Moonraker" is one of the two least popular Bond movies among the series' hardcore fans. It also made the most money until "GoldenEye," and drew the most viewers and repeat viewers of all the Bond movies between Sean Connery and Pierce Brosnan. No matter how different the movie's tone is from the "James Bond standard," it has enough positives to stand on its own. That is why both critics and audiences in 1979 voiced approval with their money and keyboards.
Its production set at least three world records that are still unbroken: most break-away glass in one fight, largest sound stage ever used in France, and the greatest number of actors in simulated weighlessness. Ken Adam became a legendary production designer with his work on the James Bond movies. "Moonarker" is his final, and he saved his best for last. The fact that the two-time Oscar winner was not even nominated for his work in "Moonraker" is a sad example of how political the Academy is. Like the movie or not, the Venice, Amazon, and space station sets are more than likely to impress even the most skeptical Bond fan.
After reporting to his boss's secretary (Lois Maxwell) that he fell out of a plane without a parachute, Bond is tasked with investigating the loss of an American space shuttle that disappeared en route to England. He first visits Hugo Drax (Michael Lonsdale), the shuttle's owner. When informed that the shuttle itself was not destroyed, Drax offers full co- operation, then orders Bond's elimination as soon as the latter leaves the room. I have either discussed or viewed this movie with a number of people. Even though this twist occurs less than 20 minutes in, the movie conceals Drax's villainy so well that none of these people suspected him.
Drax's plot takes implausibility to its highest level. I will give no details except to say that it makes Karl Stromberg's grand scheme from the previous movie look sophisticated and sane. As advertised, the story boldly takes 007 where no British spy has gone before. Drax's space station remains the coolest set in the series. The simulated weightlessness remains impressive to watch more than 30 years later.
In tune with the movie's comical nature, Drax is often unwilling to harm Bond unless he can amuse himself with the creativity of it. Drax has more off-beat lines than the next two or thee Bond villains combined. I am not sure there is anybody who would seriously say, "you appear with the tedious inevitability of an unloved season" or greet a stranger with, "you have arrived at a propitious moment," but Drax has at least a dozen such lines. Lonsdale adds surreal humor to his role by speaking them with an almost bored somberness. A majority of actors work a whole career without having to say anything so weird. If Lonsdale realized that back in 1979, he certainly was not going to let anybody know.
In the meantime, Jaws (Richard Kiel) from the previous movie is back. Jaws' outrageous physical power and invulnerability made him a liability in the previous movie. "Moonraker" stretches it and uses it as a reliable comic device. In one scene, he stops a gondola wheel with his bare hands. The wheel starts to move again, but one look from Jaws makes it think twice about being rebellious.
The gadgets feature not one, but two special made boats. The first can convert to a hovercraft. Of course, Bond takes advantage of it, just in time for Victor Tourjansky to make another appearance as The Man with the Bottle in arguably the best running joke in the series. Q (Desmond Llewelyn) tops off his contribution by ending the movie with one of the cleverest double entendres in history.
Does all of this lavish praise equal a recommendation? Perhaps it does. My girlfriend condemned "For Your Eyes Only," Roger Moore's most serious Bond movie, as too cheesy. "Moonraker" joined "Tomorrow Never Dies" and "From Russia with Love" as her favorites. That told a lot to me about how the casual Bond fan views "Moonraker." It does not deserve elite status because it does not deliver the excitement a Bond movie should, neither is it an example of great movie-making even with numerous strengths. That noted, it sells out completely to its premise and is not reluctant to take the extra effort to entertain. I disagree with the filmmakers' comedic approach, but they did aim to entertain. In that area, they succeeded. For that, I give "Moonraker" seven out of ten stars.