1967 Directed by Lewis Gilbert
A mysterious spacecraft captures Russian and American space capsules and brings the two superpowers to the brink of war. James Bond investigates the case in Japan and comes face to face with his archenemy Blofeld.
Sean Connery Akiko Wakabayashi Mie Hama Tetsurō Tamba Teru Shimada Karin Dor Donald Pleasence Bernard Lee Lois Maxwell Desmond Llewelyn Charles Gray Tsai Chin Burt Kwouk Michael Chow Ronald Rich Jeanne Roland Anthony Ainley Frazer Hines David Toguri Paul Carson Norman Jones George Roubicek Bill Mitchell Laurence Herder Richard Graydon Ed Bishop Robin Bailey Shane Rimmer George Murcell Show All…
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77
The Temple of Doom of Bond ventures - cluelessly seeped in exoticism and otherization, with its hero rampaging through the proceedings on autopilot, yet deeply silly and wonderful to sit back and bask in. Moves at a steady clip, never fails to entertain in spite of itself, and the production design is a forever stunner. Bonus points for the volcano lair.
Somehow one of my favorites of the Bond films despite being possibly the most overtly racist / orientalist. There is a certain 'commitment to the bit' that I overwhelmingly applaud in spite of occasionally coming too close to abject goofiness that threatens to tip the careful balancing of tone a pre-Craig Bond film requires. And until now the setpieces have always remained in the realm of the relatively-serious; here, the popularity of the franchise shows in the budget it's afforded and the assumed western audience's fascination with the 'Land of the Rising Sun' is supposed to excuse the ridiculous exoticist shenanigans that ensue. They don't for me, but the sheer scale of it all does.
I... love you.
The firing power inside my crater is enough to annihilate a small army.. you can watch it all on TV. It’s the last program you’re likely to see!
I seem to be in the minority on this one but I think this is an all-time great Bond. With massive sets, beautiful Japanese locations, and Blofeld!
Shot by Freddie Young of Lawrence of Arabia fame this movie looks stunning! They chose some amazing locations in Japan and Hong Kong. One of my favorite sequences is the mini-helicopter chase near the end.
By far the best evil lair in any Bond movie! They built a massive set with multicolored jump suits, a monorail, and piranhas SET INSIDE A VOLCANO! So fun. Donald…
"I have much, much better. Ninjas. Top-secret, Bond-san. This is my ninja training school."
You Only Live Twice is the goofiest of the Bond movies until at least Moonraker (also directed by Lewis Gilbert), and even then I think it might give Roger Moore a run for his money. It's 007 with ninjas and spaceships. Technically, Bond and the ninjas never go into outer space (as if that makes the premise any less silly), but they do raid the volcano being used as a launching platform for the spaceships. MI6 is transplanted into an underwater submarine, which you know is a submarine because it looks exactly the same except that the doors all have metal frames. Bond is referred to…
No joke I nearly had a stroke when I saw Roald Dahl’s name come up in the credits responsible for the screenplay. I had absolutely no idea.
Despite how ridiculous, zany and problematic You Only Live Twice is, it is far from memorable. It’s definitely not a bad film per se but aside from a cool helicopter scene, the usual action heavy climax and finally getting to see the face of SPECTRE’s Number 1, Blofeld, played by the great Donald Pleasence, there isn’t much I latched onto.
I’m all for globe trotting and going to exotic places but did you seriously have to surgically ‘make him Japanese’ to go undercover. I mean cmon lol.
Now I know where the gag in Team America comes from...
Bodies in space. If there's such a thing as a vulgar auteurist work, this is one of the greatest examples.
So this is my favorite one, though I wouldn't make an argument that it's the best. I could go on at length about its immaculate production design, the foregrounding of Ken Adam's work and his constant use of hard lines and angles in almost every surface (something director Lewis Gilbert, intentionally or not, contrasts with vulnerable human bodies at any available opportunity), or the then-cutting-edge mix of FX and practical stunts, setting a rhythm for Bond action scenes that would hold into the 90s. On this particular viewing, I found its repeated examples of facades and fear of otherness and transformation (sometimes disfigurement) to be very unusual subtextual cues in a film like this, something I attribute to screenwriter Roald…
Fuera de Serie: Bond, James Bond - The International Spy, The Icon & The Once Serial Women Beater
There has been a lot of talk about the connection between the Bond films and whether they all follow the same story every time a new actor steps into 007's shoes. Even though there will be a lot of time to explore this through this marathon, already in this film there is a hint that there is a connection. Without getting much into it, the idea of this womanizer taking over and staying with one woman, perhaps planning a family, is introduced in this film when we see Connery's Bond having feelings for a girl who is posing as his wife. It does…
My chief enjoyment of You Only Live Twice was developing a better appreciation of where the Austin Powers movies came from. That sounds like a slam, but it's not meant to be--I have a big soft spot for the first Austin Powers in particular and I liked this Bond outing okay.
The Japanification of Bond is the shittiest, most embarrassing thing I've seen in the series to date. If they were going to do it, they could have had the decency to at least give it some kind of payoff, but there isn't even that. I don't remember Bond's Absolutely Seamless Disguise (ASD) fooling anyone important, and later on he's just suddenly not "Japanese" anymore. I also don't understand the…
100-word review: From their Japanese base, SPECTRE drives the American and Soviet superpowers to the brink of war by meddling in their mutual space race, stealing — yes — the spacecrafts out of the ether. James Bond goes there undercover to bring the evil organisation to a halt. Slightly less rapey than Thunderball, but make no mistake, You Only Live Twice manages to be as offensive as its predecessor through cultural insensitivity, and sheer sexism. Whatever I may like about the ridiculous story (ninjas, volcanic secret base, etc.) vicarious embarrassment ruins whenever something (objectification is key here) female (not woman) runs past half-naked.
By the fifth outing, Sean Connery was beginning to feel worn down by the role of James Bond. After five years of either working on the set, or promoting the latest release, he'd started to air his discontent at continuing in the role, and swore that You Only Live Twice would be his final appearance as 007.
Whilst this didn't end up being the case, this would have been a fitting way to end the run. After a slight downturn with Thunderball, You Only Live Twice feels far closer to the tone set by the previous films. That being the tone of "anything is possible".
Opening with a brilliant space sequence, we are back to what made the series great…
