The Spy Who Loved Me (In Tribute to Richard Kiel)

In tribute to the great Richard Kiel, who passed away on the 10th of September (his 75th birthday would of been on the 13th) I have decided to review my favourite James Bond film starring Roger Moore as the eponymous hero. I refer to 1977’s ‘The Spy Who Loved Me’ which launched the late Richard Kiel into stardom in the role of the professional killer Jaws, a part that ably utilised his 7 foot 2 frame, complete with steel dentures to complete the image, hence ‘Jaws’.

Roger Moore and Richard Kiel as Bond and Jaws in a still from 'The Spy Who Loved Me'

It was the first Bond film not to feature a Harry Saltzman producer credit, Saltzman having split from his long term business partner Albert R. ‘Cubby’ Broccoli following the release of ‘The Man With the Golden Gun’ in 1974. Broccoli produces this film alone. It is also the first film to feature German actor Walter Gotell in his regular role as General Gogol, head of the KGB and English actor Geoffrey Keen as Frederick Gray. They’d both become regulars in the Bond series for 10 years, bowing out in ‘The Living Daylights’ in 1987 featuring Timothy Dalton as 007. It is also the second Bond film not to feature any involvement in terms of music score from John Barry, the makers favouring a disco score provided by Marvin Hamlisch, who’d even arrange a new Disco version of the famous Bond Theme entitled ‘Bond77’ and also a faithful arrangement of Maurice Jarre’s ‘Lawrence of Arabia’ theme during a parody sequence.

A handful of spoilers do follow here!

‘The Spy Who Loved Me’ is undoubtedly the best Roger Moore Bond film as it plays to the actor’s strengths. Gone are the forced Connery-esque moments of his first two films, instead greater emphasis is placed on humour, Q’s gadgetry and the quintessential Englishness of the character. It also features (in my opinion) the greatest opening ten minutes in any Bond film, starting with the capturing of an English submarine, literally being swallowed up by Stromberg’s Super-tanker, in a scene reminiscent of ‘You Only Live Twice’ a Sean Connery Bond picture from 1967 also directed by Lewis Gilbert who also assumed directorial responsibilities for this film. The pre-title sequence also features the first appearance of Barbara Bach as Agent Triple XXX, who is initially seen with her boyfriend (fellow KGB Agent Sergei Barsov) played by actor Michael Billington, of whom many will be familiar due to his regular role of Colonel Paul Foster in the Gerry Anderson live action series ‘UFO’. He is swiftly killed off by Bond during the spectacular opening ski sequence set in Austria (but filmed in Canada) in which stuntman Rick Sylvester ski’s off a cliff (as Bond in his banana outfit) only for his parachute to open in the nick of time, displaying of course, the union jack! Somehow it is all pulled off beautifully, and Roger Moore’s hilarious banana skin ski gear doesn’t detract from this wonderful moment, even though he looks like a stealthy slinky skiing banana man. It should be noted that as Sylvester loses his ski’s in the stunt and begins to freefall the aforementioned ski’s catch up with him and one of them goes straight through his parachute as it opens. Had it become tangled we may have not had a stunt to wonder at....or a stunt man for that matter!

The parachute moment starring Bond. Banana Bond. 

Then we are of course treated to another Bond theme and another famous title sequence designed by the originator of the 007 sequences Maurice Binder. The theme by Hamlisch ‘Nobody Does it Better’ sung by Carly Simon is one of the best of the franchise, a simple love song with a wonderful leading piano part, probably the only part of the soundtrack that has a timelessness. The sequence by Binder also showcases the designer at his most creative; the trademark naked ladies in silhouette being used to great effect, particularly when there are several marching toward Moore’s Bond silhouette, only to fall in unison as he approaches them, a brilliant touch!

Roger Moore as Bond with Barbara Bach playing Russian Agent Triple XXX

The film boasts strong performances from Roger Moore and the supporting regulars, but also worthy of note is Vernon Dobtcheff’s superb slimy performance as Max Kalba, owner of a club Bond visits to extract information, Robert Brown’s performance as Admiral Hargreaves (the actor would take over from actor Bernard Lee following his death in the role of M) and Shane Rimmer (former voice of Scott Tracy in ‘Thunderbirds’) appearing in his third Bond film, this time in the sizeable role of US Submarine Commander Carter. Curt Jurgens makes for a superb Bond villain in Karl Stromberg, ruthless, brutish and slightly unhinged but with a clashing aura of class, sophistication and grandeur he is suitably unnerving when dispatching one of his agents into a pool containing a hungry shark because of her betrayal, overseen by two freelance associates (played by familiar actors Cyril Shaps and Milo Sperber) whom he owes 20 million dollars each for their services. They initially think they will receive the same treatment until they are escorted to the safety of a helicopter taking them from Stromberg’s Atlantis city (an impressive bit of model work by former Gerry Anderson special effects wizard Derek Meddings) only for him to blow up the helicopter shortly after takeoff. My only minor reservations about Stromberg are his disappointing death scene (his last breaths being inhaled on a tray of cabbage leaves!) And one moment when Jurgen's heavy German accent causes this line "Observe Mr. Bund, the instruments of armageddon" It is nonetheless a memorable and effective performance. Barbara Bach’s character Triple XXX is interesting as she remains Bond’s equal for the entirety of the film, even outshining him on occasion. She also looks the part but Bach is unfortunately hindered by the necessity of a Russian accent (which all too easily leans into her natural American tones) and is as wooden as a trusty garden shed at some points.

The Supertanker swallows a submarine

The aforementioned model work is generally excellent in this picture, although the shot of Stromberg and Triple XXX leaving in a speedboat after being ejected out of the Supertanker looks a bit naff. The Supertanker shots are very impressive and fooled many into believing they had used a real tanker for the film and Marvin Hamlisch’s score is very competent, even if he gets a bit carried away during some of the pyramid scenes running up to Feckesh’s death. The look of ‘The Spy Who Loved Me’ (like many other Bond films) is greatly enhanced by the incredible design work of Ken Adam, whose set for the Supertanker is one of the series best (they built a brand new soundstage to accommodate it at Pinewood Studios). Its scale is incredible and its sparse use ensures it never loses its impact.

A quite literally gripping scene from 'The Spy Who Loved Me'

To conclude this review though I must focus on Richard Kiel, quite literally a giant of the cinema. His great height and features were caused by a condition called acromegaly which causes abnormal bone growth. This didn’t hinder Kiel of course, who found himself very much in demand for roles, inevitably many of them were very similar and verging on the ghoulish. One of his first roles was the titular role of ‘Eegah’ released in 1962 in which he starred as a giant cave man. It is considered one of the worst films of all time and even made it onto an episode of ‘Mystery Science Theatre 3000’. Thankfully he’d also except classic roles in ‘The Twilight Zone’, ‘The Man from U.N.C.L.E’, ‘I Dream of Jeannie’ and ‘Barbary Coast’ before being given the role of Jaws. In his later career he’d star in ‘Happy Gilmore’ in 1996 but is almost certainly Jaws that he will be most remembered for. He was a regular face at James Bond Conventions and Film and Television events for many years and was dearly loved by his fans, often being described as a true gentleman. He was active in this capacity until just a month ago but had unfortunately recently broken his leg, which caused complications from which he did not recover. Kiel and Roger Moore had taken part in a BBC Radio 4 interview about the Bond franchise just 3 days before his death, with Moore at the Radio studio in London and Kiel calling in from a hospital near his home in Fresno, California. 

Overcoming the obvious limitations of the Jaws role, Kiel injected into the character a sense of humanity and humour which is evident from many touches (notably when he dusts himself off and adjusts his tie after Bond throws him out of the window of a high speed train). Fortunately, albeit briefly, he was able to show off his resonant voice in the follow up to this film ‘Moonraker’ released in 1979. But that’s another story.

From a long term fan, all the best Richard and rest in peace. 

Richard Kiel with his close friend Sir Roger Moore 

NOTE: All production stills and photographs used in this review are copyrighted to United Artists. The next review will focus on the third series of the classic BBC science fiction series 'Blake's 7'.