| "The name's Bond.. James Bond" is quite possibly one of the most famous
phrases in film history.
James Bond is a cinema institution; it has been estimated that at least three quarters of the world's population have at one time or another seen a Bond movie, almost single-handedly responsible for the whole spy craze of the nineteen sixties, not only redefining the genre, but in himself inventing a whole new genre, that of the action movie. Bond first sprang onto the screen in the 1962 film Dr No (Terence Young), played by Sean Connery, who continued in the role for a further four films, before hanging up his Walther PPK, only to subsequently return to the role a few year later, Connery is arguably the definitive Bond, though prior to this there had been a little remembered TV version of "Casino Royale "(1954), with Barry Nelson playing Bond. However, neither of these actors appear in On Her Majesty's Secret Service (Peter Hunt 1969), but instead onetime male model George Lazenby. Australian born Lazenby sprung to prominence, after having been spotted by a photographer who persuaded him that he should take up modeling as a career. By 1969 Lazenby was the highest paid male model in Europe, and according to Peter Hunt was a natural for the part of Bond. Said Hunt, "I aim to make people forget Connery as James Bond once they see Lazenby." Lazenby's own view of his casting was " I had no acting experience, I was coming from the male model point of view. I walked in looking like James Bond, and acting as if that's the way I was anyway. And they thought 'all we have to do is keep this guy just the way he is and we'll have James Bond.' " Peter Hunt was a key figure in the casting of Lazenby, and it is reputedly a test fight sequence that eventually convinced Hunt and the producers that they had found their new Bond. Hunt's next concern was the casting of Tracy, Bond's love interest, for this part he had Diana Rigg in mind, but his concern was, would they get on well together. With this in mind Hunt took both Lazenby and Rigg out to dinner. "I said to her ' Now come on, I'm going to take you to dinner with George. I want you just to be with him and talk with him, we'll make it a perfectly sociable evening, but afterwards you have to tell me the truth, whether you think you can work with him and do the part.'" The following day when Hunt spoke to her, Diana Rigg accepted the part: "No trouble at all. It will be marvellous". Diana Rigg was a year older than Lazenby, but unlike him she was already a well established actress, having been RADA trained, she was fresh from an extremely successful stint in "The Avengers" TV series were she played Emma Peel. George Lazenby's biggest problem, and one that would have faced any actor taking over from Connery, was that for the general public Connery was, and for many still is James Bond. Still OHMSS was the most successful film to be released in the UK in 1969. Indeed this film constantly heads the chart amongst members of the James Bond Fan Club, as the most popular Bond movie. Why? A great deal of this credit must go to the lead actor. As Peter Hunt said, "Eighty percent of the film, any film, is casting." But is acting really necessary in a film of this type? It would appear not, if anything it would appear to be a hindrance. Taking Lazenby's performance, he would appear to be a far better actor than either Connery or Moore. Both of whom are really movie 'Stars' having made a career out of playing themselves upon screen, their portrayals of Bond being two dimensional, a hero with no inner weakness or frailties, almost super human as it were.
Coming more up to date, look at the careers of Stallone, and Schwarzenegger, both have made a career from action movies. Both are considered among the most successful of screen actors. Part of the problem these two actors suffer from is that they look like they are trying to act. Which in an action film, seems not to have any adverse effect, any lack of ability compensated by the star's persona. Also, to a large degree, the actor is totally overshadowed by the increasingly large and spectacular, explosions, stuntwork, and special effects. When Stallone or Schwarzenegger is cast in a different type of film, they just look wooden and unnatural, which distracts from the film, one is unable to believe in their character. Indeed when they have made other types of film these have failed to gain an audience. In effect, by trying to act or over act, they show that they can not act. The better the actor, the less visible the acting. Much of this is irrelevant in an action movie. This type of film does not need actors. How does this apply to Lazenby? Let's look at Bond's arrival in the Swiss village, after having escaped from Piza Gloria. He is at this point still being pursued by Blofeld's men. Though much of the sequence we are looking at, are purely action scenes, we are still able to see a marked difference in Lazenby's performance at the beginning, the pursued man, in danger, to the final section of this sequence, when he proposes to Diana Rigg's Tracy. We open as Bond, having ducked into a shed, where bells are being stored, gives his hiding place away, when he backs into one, causing it to ring. This ringing bell attracting attention from one of Blofeld's men, we now have an ensuing fight scene. This opening fight in the bell room is interesting, because we are able to see that it is actually Lazenby in this fight, as opposed to being a stunt double. This is a very physical scene, requiring much work and concentration from the two actors. Many more close- ups have been used during this fight, which enable us to see both actors. This scene works well in convincing the audience that Lazenby can believably appear to fight his way out of a tight corner. Throughout we see his desperation as he tries to escape his assailant, finally managing to exit quickly through a high window. Outside, as Bond is leaving, he sees a jacket hooked upon the wall. He takes it, putting it on as he looks anxiously back towards the scene of the previous action, before casually checking the pockets, only to find some keys, then walking off into the crowds gathered for the winter festival. All of the actions are very natural, not overplayed, these are just natural reactions to the situation. It is this naturalness of acting, the character appears to believe in the situation, which causes us, the viewers, to believe in the character and the situations within which, he finds himself. We believe Bond is in danger, because Lazenby as Bond appears to believe in his own situation. As Bond attempts to lose himself in the vast crowds , the tension of the scene is added to by a mixture of quickly cut shots, showing Bond, his pursuers, the crowds, etc. We see Bond as an increasingly concerned, frightened man, in fear of his life -- a desperate man, vastly outnumbered, with the enemy closing in around him. Little natural actions, or expressions from Lazenby add to the believability of the scene such as a slight hunching of the shoulders. He is tense, as if preparing for action, though at the same time trying to melt unobtrusively into the crowd, not wishing to be noticed. The look of fear in his eyes, when he spots one of his pursuers in the crowd ahead of him, closing in. The loudly playing music, taking on almost sinister feelings, despite being a merry cheerful Christmas song, these events after all are taking place upon Christmas eve. On seeing Blofeld's man, Bond turns quickly to be confronted by a flashing camera, and a man in a grotesque bear suit, there is a momentary look of fear, almost panic, or shock upon Bond's face as he is confronted by this, it is a look of startled terror. The cheerful laughing of this costumed photographer becoming grotesquely sinister. We see furtive movements from Bond, he sits in a vacant chair by the side of the ice rink, his movements are those of a dejected man, almost resigned to his fate, his pursuers closing in with what looks like no means of escape. He hunches his figure leaning forward, as he turns up the collars of his jacket, still hoping to escape, and remain unnoticed. We are being shown a real man, with all the human frailties and weaknesses inherent within everyone. This is not some kind of two-dimensional hero, with no weaknesses, but an all too real human being, a man alone, and in trouble. From this seated position, starring at the ground before him, we are presented with a point of view shot, we see two feet skate up, stopping before us, we slowly pan up this figure, as Bond raises his head to look. For the first time in this sequence we see Tracy, who's cheerful greeting, to Bond, turns to concern as she senses his worry,. She embraces him asking, as much as telling him, 'Darling, you're in trouble, what is it?' Tracy, Bond's salvation, in his expression we see the recognition, surprise and even hope, here is an answer to his prayers, 'Have you a car?' he asks in hope, 'Outside' is Tracy's response, as she hurriedly begins to change her skates before leading Bond towards the waiting car, their exit being helped by the sudden explosions of fireworks. As Bond and Tracy approach the car, Bond sees one of Bloefeld's men seated in a car, he holds Tracy back, turning to avoid being seen, Tracy tells him, "Near side door." Once in the car, with Tracy driving them away, Bond's attitude changes. He is more relaxed, though still concerned. His response when asked why they were after him, is a regretful, "SPECTRE is trying to kill me." We are also shown a more curious side to Bond's nature as he begins to question Tracy, as to why she is so close to Piz Gloria. It turns out she was looking for him. She nuzzles up to him, her attention slipping from her driving, another car hoots at them. Their is an almost Cary Grant like double take from Lazenby here as he quips, "Just keep my mind on your driving." Most of what happens next are action scenes, as we are presented with the almost obligatory car chase when Blofeld's men cause Bond to abort his attempted call to London. A chase ending when Bond's pursuers crash. Bond and Tracy driving away into the increasingly bad weather, only to stop, spending the night in a barn. It is now that we see a very different side to Bond, there is a distinct tenderness in the way Bond talks with Tracy, A caring Bond is shown, and from Lazenby's playing of this scene we can believe in Bond's proposal to Tracy. Throughout this film Lazenby gives a very natural performance, this naturalness of movement from Lazenby is a sign of his natural ability as an actor, everything he does on screen is as if he is that character, it is not a laboured performance, overacted in any way, there is no appearance of trying to act, which would destroy the illusion of the character he is playing. This in its self is a sign of great acting, being able to look and behave as if he actually is that character, in scenes with Rigg we can believe they are falling in love. Likewise we can believe in the other situations and his reactions to them, because we are able to believe in Bond being a real person, thanks to Lazenby's performance. If it looked like he was acting, the sense of Bond being a real person would be diminished, but it is possibly the naturalness and these all too human qualities, that people most dislike about Lazenby's Bond. In an action movie particularly a Bond movie, the hero may be shaken, but never stirred. This range of emotions shown is not necessary, in an action film the hero should always remain calm, collected, he does not show fear, as Lazenby does, it is not necessary to act these emotions.
Bibliography
©1998 by John Buss
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In Lazenby's performance we are presented with a much more
human Bond, not the ever-cool, almost
emotionless character we have previously seen.