007 (or so) observations about Moonraker

A "guilty pleasure" for some 007 fans

A “guilty pleasure” for some 007 fans

Wednesday, June 29, was the 37th anniversary of Moonraker’s U.S. debut. The 11th James Bond film doesn’t get much love from fans in the 21st century. Yet, it was a huge financial success in the 20th.

With that in mind, what follows are some observations about the film:

001: Drax’s disdain for Britain: This may reflect a few bits of Ian Fleming’s third Bond novel that made it into the movie.

The nationality of Drax (Michael Lonsdale) isn’t specified but he clearly isn’t British. He keeps a British butler around, mostly to boss around.

The Moonraker villain also tells Bond that “afternoon tea” is the U.K.’s greatest contribution to Western civilization. Later (after Bond has investigated Drax’s Venice facilities), Drax makes a comment about not understanding British humor.

002: Bond’s physical stamina: As Bond (Roger Moore) agrees to take a ride in Drax’s centrifuge, Holly (Lois Chiles) says “even a 70-year-old” can take “three Gs” (the force of takeover). Holly says most people “pass out” at seven Gs. Bond withstands *13 Gs* before activating a device he got from Q to escape.

003: One of the best (unheralded) scenes of the movie: Bond further investigates Drax’s Venice facilities. For the Moore version of Bond, this represents one of his deadliest miscalculations.

Bond briefly observes two of Drax’s scientists at work. Visually, there are a number of things to catch the viewer’s eyes. When the scientists briefly walk away, 007 moves in further.

Unfortunately, Bond didn’t leave everything as he left it, and the two scientists die as a result. One of the best shots of the film is one of the scientists dying while Bond watches on the other side of a Plexiglass barrier.

Yes, this sequence included the joke that draws groans from hard-core Bond fans (the John Williams theme from Close Encounters of the Third Kind is the entry code). Still, overall, the sequence is a mostly serious one for a very lighthearted movie.

004: The minister of defense (defence to our British friends) plays Bridge with Drax: Others have made this observation long ago, but it is one of the few direct references to Ian Fleming’s 1955 novel. So we thought we’d mention it here.

005: Bond is a cheapskate! No tip, James? You get to stay in the President’s Suite at an expensive hotel in Rio and you stiff the guy on the tip. In From Russia With Love, Bond (Sean Connery) stuffed his tip in the suitcoat pocket of the guy who took him to his Istanbul hotel room. He shows his contempt while *still* giving a tip.

But here? Come on, Bond! The guy is just trying to make a living!

006: Bond’s brief moment of compassion for a fellow MI6 agent: After almost getting killed by Jaws, the MI6 agent in Rio offers to still help bond. He declines, saying she should get some rest.

007: Bond’s cable car reaction: Only 007 would react to a stalled cable car by going to the car’s roof. Only a CIA agent (Holly in this case) would have a first reaction to grab the nearest chain. Also, how many cable cars have a chain laying around?

008: The special effects of the boat chase weren’t that good, even in 1979: Friend or foe of the movie, this was not a highlight.

Seriously, the Spy Commander saw the film five times in the theater and you can could discern what was real and was special effects.. But Albert R. Broccoli & Co. had the good sense to keep up the pace to get past that.

009: Bond momentarily loses his cool: It only lasts a few seconds, but Bond really is annoyed with Jaws (Richard Kiel) after the henchman fishes 007 out of Drax’s pool.

0010: Some of the walls of Drax’s space station seem to be made of cardboard: Ken Adam (1921-2016) was one of the greatest production designers in the history of film. But a few shots in the climatic space station fight indicate the budget was running low.

0011: John Barry deserves every compliment he’s ever gotten for this film: The veteran 007 composer improves almost every scene in the movie with his score. It might not be his best Bond score, but Barry elevates the film throughout.

0012: This film is unique in the 007 film series:  It’s the one time that Eon Productions founder Albert R. Broccoli more or less didn’t have to worry about the budget.

In the 1970s, United Artists and Eon had to confront whether the 007 film series could continue after Sean Connery left for good and after Eon co-founder Harry Saltzman sold his interest to United Artists.

In the 1980s (and beyond), Eon had to deal with budget issues after Metro-Goldwyn-Mayer acquired UA in the early part of the decade.

For Moonraker, Broccoli really had (almost) Carte Blanche for making a Bond movie. This really was “the money’s up on the screen.”


Live And Let Die: a soundtrack to listen without earmuffs

Design for LIve And Let Die's soundtrack album

Design for LIve And Let Die’s soundtrack album

By Nicolas Suszczyk, Guest Writer

George Martin was the first composer to face the challenge that would later come to Marvin Hamlisch, Bill Conti, Michael Kamen, Eric Serra, David Arnold and Thomas Newman: to replace the role of John Barry in a James Bond movie.

The soundtrack is an important part of every movie, and the James Bond films are not an exception. From Dr. No to Diamonds Are Forever, Barry had put his talent to the service of Eon Productions and set the standard for “the spy music,” either with dramatic sounds for Thunderball, funny melodies for Goldfinger or an Asian flavor for 007’s incursion into the east with You Only Live Twice. No matter what vibe he took, the John Barry cues always fitted the words “spy music.”

But in 1973, John Barry was busy composing a musical and unable to score Roger Moore’s debut in the franchise, Live and Let Die. He suggested George Martin, who had been producer of The Beatles.

It was a huge challenge: a new Bond had to be introduced and a new era in the series had begun. And every time a new actor is seen in the 007 gunbarrel logo, the composer has to adapt his tunes to the interpretative style of the new Bond and other topics of the movie: the script, the settings and the period of time.

George Martin was the first to take up the challenge of following in Barry’s footsteps and passed with flying colors. The score for Live and Let Die is explosive, adrenaline filled and exotic.

Tracks like “Trespassers will be Eaten,”, “Bond to New York” and “Whisper who Dares” capture the adventurist feeling of Roger Moore’s Bond adding an atmosphere of thrills and excitement. “Bond meets Solitaire” and “The Lovers” accentuate the delicateness of Jane Seymour’s Solitaire.

The Caribbean flavor of the film is transpired in tracks like “San Monique,” “Sacrifice” and “Baron Samedi’s Dance of Death” while the main motif of the title song is repeated often through the album, either to cue action sequences like the boat chase or as a source music, in a soul version performed by B J Arnau as James and Felix visit the Fillet of Soul bar.

The main title song, Live and Let Die, was also produced by George Martin who insisted to producer Harry Saltzman to hire Paul McCartney for the title song, warning him he’d drop the project if he refused.

Saltzman, a man hard to convince, went for the deal and Martin wasn’t wrong: the song, written by Paul and his wife Linda the same day they finished Ian Fleming’s novel, was the first Bond theme to get an Oscar nomination and it’s widely admired by Bond fans, brilliantly striking with Maurice Binder’s terrifying and colorful main title sequence.

Just like You Only Live Twice’s Asian feeling, Goldfinger’s swinging melody and Diamonds Are Forever’s luscious sound, Live and Let Die lets the influence of the new decade (the 1970s) fill into the soundtrack in a clever and representative way.

George Martin proved indeed the golden sound of Bond, established by John Barry, could be provided by many talented composers.

TCM has a night of spy films on Jan. 25

TCM logo

Turner Classic Movies will show five spy films the evening of Jan. 25 and early-morning hours of Jan. 26.

Here’s the lineup. All times EST.

8 p.m.: Arabesque (1966), directed by Stanley Donen: Donen had a success with 1963’s Charade, a suspense film that included a bit of humor. That movie also included a score by Henry Mancini and titles by Maurice Binder.

Mancini and Binder reunited with Donen on Arabesque, with Gregory Peck as a university professor who gets involved with spies as well as a woman played by Sophia Loren.

Also present was Charade scripter Peter Stone. However, Stone took an alias (Pierre Marton) and shared the screenplay credit with Julian Mitchell and Stanley Price.

 10 p.m.: The Ipcress File (1965), directed by Sidney J. Furie: James Bond co-producer Harry Saltzman launched a second, less flamboyant, spy film series based on Len Deighton’s novels. This was a source of tension with Saltzman’s 007 partner, Albert R. Broccoli.

The name of Deighton’s spy wasn’t disclosed in the novel that’s the basis of this movie. The character, as played by Michael Caine, was christened Harry Palmer for the film.

For the first of three Palmer films, Saltzman hired a number of 007 film crew members, including composer John Barry, production designer Ken Adam and editor Peter Hunt.

12 a.m.: Our Man Flint (1966), directed by Delbert Mann: The first of two spy comedies with James Coburn as Derek Flint.

The movie takes nothing seriously, with an organization called ZOWIE (Zonal Organization for World Intelligence and Espionage). ZOWIE is headed by Kramden (Lee J. Cobb), who gets exasperated when he’s forced to recruit Flint (who wouldn’t follow orders when Kramden knew him during their military days). Kramden has no choice because ZOWIE computers have pinpointed Flint as the only man who can foil a plot by Galaxy.

The best things about the movie are Coburn’s winning performance as Flint and Jerry Goldsmith’s score. Goldsmith’s music elevates the proceedings. In terms of production values, it looks only slightly more expensive than the television series produced at the time by 20th Century Fox.

2 a.m.: Our Man in Havana (1959), directed by Carol Reed:  The director again collaborates with Graham Greene, who adapts one of his novels. Vacuum cleaaner salesman Alec Guiness is recruited by British spook Noel Coward to do some spying in Cuba before the revolution. The cast includes Maureen O’Hara, Burl Ives and Ernie Kovacks.

4 a.m.: The Prize (1963), directed by Mark Robson: A spy tale starring Paul Newman centered around the Nobel Prizes being awarded in Stockholm. The script is by Ernest Lehman, who wrote 1959’s North by Northwest. Here Lehman adapts an Irving Wallace novel. The cast includes Leo G. Carroll, who was also in North by Northwest and who would shortly take the role of Alexander Waverly in The Man From U.N.C.L.E. Jerry Goldsmith provided the score.

Shoutout to Mark Henderson who brought this up on Facebook.


REVIEW: a look at SPECTRE’s soundtrack

SPECTRE promotional art

SPECTRE promotional art

By Nicolás Suszczyk, Guest Writer
Thomas Newman became the third composer to do more than one Bond album after John Barry (11 007 scores and David Arnold (five). It happened when Sam Mendes returned for the 007 director chair for SPECTRE, after the success of Skyfall.

With the son of the legendary Alfred Newman being one of Mendes’ favorite musicians, it was almost predictable that Newman would be coming back as well.

By the beginning of October, two tracks from SPECTRE were released through the British radio, disappointing many people as they sounded too similar to Skyfall.

Of course, both Barry and particularly Arnold repeated some of their previous films cues into the Bond film in hand, yet the SPECTRE soundtrack seemed almost a remix of the Skyfall score.

However, when watching the movie, the soundtrack effect grows.

The gunbarrel –back at the beginning for the first time since 2002’s Die Another Day – has a sound reminiscent to Tomorrow Never Dies and The World is not Enough, with the last bars of the James Bond Theme as the blood drips down. It was, unfortunately, discarded from the commercial album, which starts with a track titled “Los Muertos Vivos Están” (The Dead Are Alive).

Track 1 is a pretty cool rendition of the James Bond Theme accompanied by the drums of a Mexican band known as Tambuco.

Something very important to say is that Newman, this time, seems more confident when using the Bond Theme, using it prominently and in full, unlike his previous job where he seemed a bit afraid to repeat his predecessor’s expertise in handling the piece attributed to Monty Norman.

Thomas Newman

Thomas Newman

More effective uses of the James Bond Theme are heard during the last seconds of “Detonation” (track 23) and “Westminster Bridge” (track 24, very similar to Skyfall’s “The Moors”). An unreleased Bond fanfare is heard at the end of the helicopter fight during the pre-credits sequence, with a piano orchestration leading us to Smith’s theme.

As Vauxhall Bridge (track 2) reminds us to “New Digs” from Skyfall (funnily enough, Bond points out the CNS building as “C’s new digs” in the scene), the third track is almost a cut and paste version of “Brave New World,” also from Skyfall. Yet, Newman manages to change the epic Hans Zimmer-esque sound for a lyrical chorus to enhance Bond’s arrival to Rome aka “The Eternal City,” which is the title given to the track.

The use of the chorus, also present in “Backfire” (track 6) and the end titles (track 26) were perhaps the best thing Newman did and one of the strongest points of the score.

“Donna Lucia” (track 4), used for 007’s seduction of Monica Bellucci’s character, reminds us a bit to Die Another Day, particularly the scene where Pierce Brosnan’s Bond is visited by Peaceful Fountains of Desire.

Romantic pieces are Newman’s strong point as he proves in “Madeleine” (track 9) and “Secret Room” (track 13). The piano notes and the strings make us fall in love with the leading lady and feel some empathy for the death of her father, as she observes her childhood photos on Mr. White’s hidden room in an African hotel. A choral version of Madeline’s theme is reprised during the end credits.

The North African sounds combined with Hoyte Van Hoytema’s shots of the train through the desert are perhaps one of the best audiovisual moments in the whole franchise.

Track 15 is the only time when we hear a rendition of Sam Smith’s theme song, “Writing’s on the Wall”. Newman made his own instrumental version (the first minute sounds very similar to the original) for Bond’s intimate moment with Madeleine Swann on the train.

As Bond escapes a horrid torture by Oberhauser, a piece titled “Tempus Fugit” (track 19) is heard for the second time. Closely similar to another track from Skyfall titled The Bloody Shot, this track first appears as Bond fights Sciarra inside an helicopter atop Mexico City, at the very beginning of the film.

Perhaps the least interesting piece is the atonal “Snow Plane” (track 11), where it seems Newman tried to imitate Bill Conti’s For Your Eyes Only disco score. This scene – where 007 chases Hinx and his goons with a plane across the snowy Austria — needed a more John Barry or David Arnold like sound, a closer feeling to On Her Majesty’s Secret Service, way more darker.

Apart from that, it was a nice nod of Newman to add a source piece in the score. Track 18, “Day of the Dead”, features Tambuco and has the actual chorus from the festive mourners, cheering up for the “resurrection” of their deceased ones.

Before the end titles, the composer closes with “Out of Bullets” (track 25), which is a very beautiful version of the romantic piano cue from “Secret Room” and “Madeleine”, combined with a lush sound reminiscent to David Arnold’s romantic sounds from his Tomorrow Never Dies and Die Another Day scores.

In conclusion, the SPECTRE score is indeed special and fits with the conclusion of the story opened in Casino Royale, almost ten years ago. A needed criticism has to be made to the way Newman made that cut-and-paste to the Skyfall score (he should have used the cues in a more subtle way), but it indeed achieves the objective of transporting us to the magic atmosphere of the film’s locations –from the lyrical Rome to the exotic Tangier– in a very pretty way.

Does the title song of a Bond movie really matter?

New SPECTRE poster

New SPECTRE poster

In the past few days, there have been reports, speculation, etc., about who may be perform the title of SPECTRE, the 24th James Bond film.

Here’s a question that isn’t being asked much: Does the title song, or the selection of a title song performer, really matter that much for a James Bond movie?

For example, the 2006 Casino Royale got a lot of good reviews and is held is high opinion by a lot of fans. But very little of that has to do with “You Know My Name,” the song played over the main titles.

Meanwhile, the title song to 1967’s You Only Live Twice, written by John Barry and Leslie Bricusse and performed by Nancy Sinatra, is considered one of the best 007 title songs.

Yet, a lot of fans feel the film You Only Live Twice isn’t up to the standards of the first four Bond films made by Eon Productions. Part of that stems from how it was the first movie to throw out the main plot of an Ian Fleming novel.

For that matter, 1969’s On Her Majesty’s Secret Service is another highly regarded Bond film. It didn’t even have a title song. Instead it had a Barry instrumental for the main titles. It was the last time the main titles didn’t feature a song.

Yes, a good title song can enhance the movie (“Nobody Does It Better” for The Spy Who Loved Me being an example), but it’s rarely make or break. In the 21st century, however, the sort of perspective is in short supply.

An announcement may be coming Tuesday. Meanwhile, over at the MI6 JAMES BOND WEBSITE there’s an attempt to make sense of the latest news.

Daniel Pemberton: U.N.C.L.E. score avoids 007 sound

Daniel Pemberton's Twitter icon

Daniel Pemberton’s Twitter icon

Composer Daniel Pemberton said that director Guy Ritchie wanted The Man From U.N.C.L.E. movie score to avoid the James Bond film sound.

Also, in an interview with The Spy Command, Pemberton said Jerry Goldsmith’s theme to the original 1964-68 television series is present in the film, but only makes a cameo appearance.

Pemberton joins a long list of U.N.C.L.E. composers, including Goldsmith and Lalo Schifrin, who scored two episodes and did the second-season arrangement of Goldsmith’s theme.

Pemberton’s U.N.C.L.E. score received a rave review July 29 on the Films on Wax website, which said the score included “wonderful music that is a hell of a lot of fun.”

Here’s the text of the interview.

SPY COMMANDER: How did you become involved in scoring The Man From U.N.C.L.E.?

PEMBERTON: I’d just finished the Ridley Scott film The Counselor and as a result there was a bit more interest in me as a composer suddenly. I had a meeting at Warner Bros. in the US and they mentioned that Guy (Ritchie) was doing U.N.C.L.E. I was a big fan of the idea so they asked me to get a showreel together.

So I did that but I didn’t think my reel was actually that good. It certainly wasn’t ‘Hollywood slick’ — it had a load of crazy stuff I’d done for TV and video games more than my movie scores. This, however, turned out to be a blessing in disguise. Basically, Guy had heard pretty much every showreel in Hollywood and he was fed up because he said they all sounded the same. Mine was the only one that sounded different apparently. So we had a meeting, I hung out on set and was offered the job. Wowzers.

QUESTION: You’re on record as being a fan of Lalo Schifin. How would you describe the influence Schifrin had on your work?

PEMBERTON: I really love Lalo’s stuff. I actually met him when I was 21 and interviewed him for a magazine called The Wire. He was such a charming guy. Kinda weird when I think about it now — I am a fellow U.N.C.L.E. composer! I would have never have guessed at the time.

I think it was the mix of great grooves and musicality mixed with all that exotic instrumentation of those scores of his that really connected with me. One of my fav cues was always ‘Jim On The Move’ from the M:I TV series. It had such a cool piano solo. I made sure we got one track on the U.N.C.L.E. album (Escape From East Berlin) that had a crazy keyboard solo on it — you can’t beat ’em!

QUESTION: The original U.N.C.L.E. series included scores by a number of talented composers. Did you research the series any before doing your score for the U.N.C.L.E. movie?

Not that much. I saw a few and was familiar with some of the music already. There’s that slightly ouch one (Spy Commander note: The Return of The Man From U.N.C.L.E. TV movie in 1983) where George Lazenby turns up but they obviously can’t call him James Bond so they come up with all these slightly amusing ways to insinuate that yes, it’s James Bond and not basically George Lazenby in a tuxedo. But Guy wanted a fresh take on it so it wasn’t a vital part of the process. I wanted to respect what I thought were the cool aspects of the series musically but give them a new twist rather than slavishly replicate them, as I think any composer of the time would have done as well.

QUESTION:  The Man From U.N.C.L.E. movie is a period piece, set in the 1960s. Did you do any research concerning the ’60s before scoring the movie?

PEMBERTON: Oh yeah. Well I had been a massive fan of all the ’60s spy scores anyway growing up so there wasn’t a lot of research to do on that front. I’d already done it. But in terms of getting a really great authentic ’60s sound, yes I did tons.

I hooked up with a great engineer and mixer at Abbey Road called Sam Okell. Sam is basically a complete gear nerd and is really into 1960s recording processes. So we did tons of research on those. What would be cool? Which ones are worth spending the time on and which ones could we do better now?

We used so much great gear — old REDD mixing desks (look it up!) which are these insane mixers that look like they are from a Soviet nuclear facility. You’d record stuff through them and it would sound fantastic. We did stuff down to tape, even used the echo chamber room in Abbey Road to get reverb on a few tracks.

I also did lots of research into getting the sounds right. I remember really loving the bass sound on Serge Gainsbourg’s Melody Nelson album and by a really weird coincidence a friend of mine is married to Jane Birkin’s brother. He’s this hive of info on everything and he had a load of stuff about the recording process on that album in his giant shed. So I said, ‘Thank you very much,’ and sat down with that for quite a while!

Also the musicians would bring their own spin on things. The flute we used was actually the one from The Jungle Book. Dave the flautist had bought it off the guy years ago. We also hired in a great 1960s Harpsichord. I would totally buy one for myself if it wasn’t for the fact that within about three hours it was out of tune. The tuner had gone home and we were running out of time on a cue and I was like, ‘Shit!! We have to get this done before the tuning just totally goes!!’

QUESTION: How is The Man From U.N.C.L.E. movie different than James Bond films?

PEMBERTON: I’d say U.N.C.L.E. has a bit more of a heart to it in a way. I love Bond so much but it’s very aggressive in some respects. With U.N.C.L.E. I think there’s a bit more warmth and also a bit more lightness. With this film we definitely played against the action in a number of places whereas with Bond it would be played very straight.

Guy was very insistent it DIDN’T sound like Bond which I think is the template for any sort of spy cliche these days. So that was good. It meant we probably didn’t use as much brass as I originally thought we would but I think it gives our film a very different sonic palette. There’s one cue ‘Into The Lair’ which Guy was like, ‘It’s a bit Bondy – but I’ll let you have it,’ as it was all the big tremolo strings John Barry was so great at.

I think with Bond one of its greatest strengths and also weaknesses is the template for the sound is so mapped out. You know what you’re going to get pretty much before you even see the film. Whereas with U.N.C.L.E. I think you have no idea. Which is fun because it means you can always pull the odd surprise — like the screaming buggy chase cue — out of the bag! For me, I love it when a film score surprises you..

QUESTION: Were there any surprises once you started work on the U.N.C.L.E. movie?

I think originally I imagined it to be more thematic and traditional score based. But it soon became apparent Guy wanted to do it differently and make the cues more like stand alone tracks. Which, once I’d worked that out, was great!

It was a very very long process. I worked alongside the edit right from the beginning which is fantastic in that you can really help influence the movie and write original music rather than copy temp, but also very, very intense. I would actually write multiple ideas for every scene. Every scene I probably scored in about three, four or five different ways.

Guy wanted to try everything out he could. He has an amazing editor called James Herbert who is also brilliant at coming up with ideas and they would just be thrown at me all the time. So I had to work really really fast and make things appear out of nowhere, sometimes in an evening. But the end result is so good it’s a process I would definitely go through again. I am up for U.N.C.L.E. 2, 3 and so on if they do them!

QUESTION: Besides Lalo Schifrin, are there any other composers you’d consider an influence?

Oh so many. OK here we go with just some random names: John Barry, Edwin Astley, Ennio Morriconne, Serge Gainsbourg, Nina Rota, Francis Lai, Quincy Jones, Jerry Goldsmith, The Beatles, erm this could go on for ages…

QUESTION: Were you able to incorporate Jerry Goldsmith’s U.N.C.L.E. theme into your score?

Ah! The million dollar question! I was keen to get it in somewhere and for a while it was at the end of the film. But a lot of people — and I think these were people and an audience who were not familiar with its history — felt it didn’t feel right for the tone of the rest of the film. They didn’t know the track or recognize it.

Guy was very keen for this to be a fresh new take on U.N.C.L.E. and you have to respect his vision as a director on that. But I was still keen we got it in there somewhere as Jerry is one of the greats and I know the fans would want it.

At one stage, we had a couple of the bad guys whistling it — I’d recorded it in a session and everything. But that got ditched. It was last minutes before we hit the sound stage and I was bemoaning the fact it wasn’t in there at all to James the editor and he came up with a genius idea — the radio!

There’s a scene where Solo switches stations on a radio. So we got one of the stations playing the Hugo Montenegro version. He hears it but decides, this time, it’s not for him and changes the station. So I like that because this is a new Solo, a new U.N.C.L.E., but there’s a homage in there to the past — it’s really like a musical cameo rather than a starring role.

And put it this way — you can go rewatch The Avengers or The Saint which both really got the theme in there but were, for me, somewhat suspect films. Or you can just absorb the fun of this film because I think everyone has done a great job. SO yeah do the last one..!

Note from the Spy Commander: Daniel Pemberton’s current project is scoring the film Steve Jobs.

Another View (to a Kill): Roger Moore’s farewell

A View to a Kill's poster

A View to a Kill’s poster

By Nicolás Suszczyk, Guest Writer
Three decades have passed since Roger Moore bid farewell to the role of James Bond with A View to a Kill, directed by John Glen.

The film had a striking marketing campaign, an effective cast and realistic action sequences, but nowadays it remains hidden in the hall of shame by many Bond fans.

There are issues: Roger was getting old, turning 57 during production. The film is way too Americanized. See the “Dick Tracy” police captain lifted out of an Police Academy film. Bond has lost his mystery and his lethal side compared to the Sean Connery days, perhaps.

But why is it that some Bond fans still keep A View to a Kill close to their heart?

Maybe because it’s Roger Moore’s Bond farewell party – and it is done with a lot of style: KGB, explosions, ski chases, dances into the fire, lots of women, luxury, exotic locations. Moore said goodbye in his way.

Delivering punches to his adversaries like when he played The Saint, drinking his trademark Bollinger champagne, smiling to young ladies with his rather evident wrinkles and adopting a snobbish alias (James St John Smythe, pronounced Sin-jin Smythe), the third official 007 threw out a party and we were all invited, before the dark side of Timothy Dalton’s dangerous Bond debuted onscreen in 1987.

Music is a key element of every party. In the case of A View to a Kill we had not only master composer John Barry, but the popular teen idol band Duran Duran, with a rocking main title song that reached No. 1 in the U.S. charts.

Band member John Taylor confessed to be a Bond and Barry fan and approached the composer to sing the title song. Barry, surprised by the young man knowledge of his career, agreed. It was a hit. Every trailer and TV spot voiceover reminded the audience Duran Duran performed the title song.

Former KGB agent Max Zorin was effectively played by Christopher Walken, providing the first ruthless and fiercely violent villain on the series. He guns down his accomplices while trying to escape from a flooding mine and enjoys it. He orders an intruder thrown alive into a propeller. He tires to maim 007 atop the Golden Gate with an axe.

Grace Jones as May Day also provided a shake off as an exotic beauty, a deathly henchwoman who gets close –- literally — with the aging Moore. She was prominently featured in advertisements for the film which asked if James Bond had finally met his match.

On the other side, we had Stacey Sutton, portrayed by Tanya Roberts. Irresistible and charming, Roberts was perhaps not so memorable in acting, but definitively memorable in beauty and sweetness with every expression and glance with her incredible blue eyes.

The action sequences of the film took a realistic approach –- well, if we forget Moore used doubles — with Willy Bogner’s direction of the opening sequence in Siberia, where 007 escapes the KGB troops on skis, snowmobile and an improvised snowboard.

In the style of the Moore era of parodying popular culture (as the Close Encounters of the Third Kind tune in Moonraker or the Tarzan yell in Octopussy), a cover version of the Beach Boys’ “California Girls” song is heard as 007 (actually stuntman Steven Link) “surfs” the snow successfully evading the KGB, but then the dramatic John Barry tune returns as Bond down a pursuing helicopter by shooting a flare into the cockpit.

Then we have Bond pursuing May Day through the Eiffel Tower and through the streets of Paris with a destroyed Renault and escaping the incinerated City Hall in San Francisco with his girl, in a thrilling scene where you’ll seriously wonder if he’ll survive or how he will do it.

A bit satirical and gag-filled scene is the part where Bond boards a fire truck and evades the police, yet Barry’s music brings needed drama to this sequence. Besides the Police Academy films with the silly cops, this action scene is unadultered Moore Bond fun, as is the fight atop the Golden Gate between Bond and his nemesis perpetuated on the film’s theatrical poster. A scene that is not out of drama, thrills, suspense and it still has Moore’s humorous touch.

The very last scene of Roger Moore as James Bond harkens back to the first shot we saw of him in 1973’s Live and Let Die: with a woman.

In his debut, Moore was with Italian agent Miss Caruso in his apartment following a mission. Unlike Sean Connery’s and George Lazenby’s detail close ups before their “Bond, James Bond” moment, Moore let himself be introduced in his incurable playboy fashion.

In A View to a Kill, 007, presumed missing, is sharing a shower with Stacey as Q’s robotic dog observes them. He throws a towel right over the device’s camera-eyes.

It’s pretty logical. The playboy won his girl on his farewell party.