Released: December 1969

Directed by: Peter R. Hunt

Cast: George Lazenby, Diana Rigg, Telly Savalas, Gabriele Ferzetti, Ilse Steppat, Lois Maxwell, George Baker, Bernard Lee, Desmond Llewelyn.

Yup, spoilers.

Ernst Stavro Blofeld has no redeeming qualities, save one, he is not a quitter. Like his contemporary, Wile E. Coyote-Super Genius, he continues to plot, scheme, and execute said plots. His operative in Jamaca, Dr. No was charged with toppling U.S. missiles and failed. In a revenge, extortion scheme, Rosa Klebb set out to steal a Russian Lektor decoding machine, while simultaneously embarrassing the British Secret Service. The plan, though perfect, failed. A ransom scheme under the direction of Emilio Largo ended in humiliating disaster.

Taking matters into his own hands, Blofeld set up shop in Japan, in a lair beneath a volcano, and decided to inaugurate a little war between Russia and the United States. The scheme blew up in his face, and Blofeld disappeared. The 1960s were not kind to Ernst Stavro Blofeld. But were good for one man, the source of all Blofeld’s failure. James Bond Agent 007 (with assistance from some friends).

Although continuity never seemed important to the James Bond films, it seems that all was building up to 1969’s On Her Majesty’s Secret Service, the first 007 film to give the world’s most famous secret agent an emotional story arc.

In one of the most faithful adaptations of any Ian Fleming novel, On Her Majesty’s Secret Service finds Bond (George Lazenby) falling in love, while trying to locate the elusive Blofeld (Telly Savalas). The film is unique in the catalogue of James Bond films, as well as the most beautiful, making it the ultimate and essential James Bond film.

With a first-time director, Peter Hunt, and first-time actor, George Lazenby as Bond, the planets aligned to bring us an extraordinarily unique action thriller. John Barry, the very best Bond composer, brings quite possibly the finest score of the series. Far from generic, music cues from the opening title theme as well as Louis Armstrong’s We Have All the Time in the World infuse the visuals with movement, emotion, and heartbreak.

Michael Reed’s cinematography is exceptional with unexpected use of light and composition. John Glen’s editing is equally unexpected and extraordinary, bordering on surreal, giving On Her Majesty’s Secret Service a singular look separating it from the Bond films that preceded it.

Then there is Diana Rigg as Tracey. Although not in the spy business, she is every bit Bond’s equal. Fiercely independent, embracing freedom, but lacking discipline. She embodies the characteristics of all the previous Bond women, yet is so different, deeper, and far more complex as well as troubled. She is not the kind of woman that Bond can make love to and abandon after the movie has ended. Tracey and Bond are destined for each other.

Breaking from formula, Bond isn’t simply sent off on a mission. The mission, Operation Bedlam, the search for Blofeld, is ongoing and 007 isn’t making headway. Bond saves Tracey from a suicide attempt, much to the gratitude of Marc-Ange Draco (Gabriele Ferzetti), Tracey’s father and a major European syndicate crime leader. Draco also has leads to Blofeld, providing Bond will take Tracey as his wife. Destiny is playing its hand, as Bond and Tracey do indeed fall in love.

In the meantime, Bond has his sights set on Blofeld, who is hatching a diabolical plan using a group of beautiful women to destroy the world’s food supply, providing a substantial ransom is not paid. Tracey is eventually drawn into the action, saving Bond from Blofeld’s goons, and ultimately being captured by Blofeld. Bond not only has to save the world, but his fiancé as well.

Despite the stakes, Bond conducts himself as a professional, and as a badass. Sliding on his stomach while firing a machine gun, doesn’t get much cooler than that for a secret agent. It goes without saying that Bond, and the small army provided by Draco, thwart Blofeld’s dastardly scheme, destroying his mountaintop lair saving the world’s food. Blofeld, despite a serious neck injury, escapes.

In the most tragic events in all of Bond history Blofeld scores his only substantial victory. It is more than an act of revenge and is the last scene of the film.

For the first time it can be said that James Bond is portrayed at his most human. Not just a cold-blooded servant of Her Majesty out to protect the empire from diabolical threats, but a man who is capable of feelings, true love and loss.

As much as I enjoy the escapism of 1971s Diamonds are Forever, it’s a shame that Bond’s emotion wasn’t carried over from On Her Majesty’s Secret Service. Worst still, Ernst Stavro Blofeld becomes a cartoon character rather than the murderer of James Bond’s wife.

On Her Majesty’s Secret Service is brilliant.

On Her Majesty’s Secret Service is available on physical media and is streaming on Amazon Prime.