Moonraker

Following the triumphant success of The Spy Who Loved Me, producer Albert R. Broccoli and his crew set their sights on going even further with 1979's Moonraker that starred the excellent Roger Moore once again as 007. The previous film was an adaptation of Ian Fleming's novel in name only and the same can almost be said here as the franchise once again took inspiration from what was popular at the time and in 1979 that was Star Wars. So instead of an action climax along the white cliffs of Dover as seen in the novel, Bond would instead do battle with the maniacal villain in space! Was this a step too far for the franchise or a useful means of keeping 007 popular with audiences? 

Aside from the late Michael Lonsdale's villain sharing the same name as his literary counterpart and some business involving rockets, Moonraker takes a lot of liberties as it sees Bond sent to investigate the theft of a space shuttle which puts him in the crosshairs of Lonsdale's Hugo Drax. The book was set entirely within England but here director Lewis Gilbert takes the film through California, Venice, Rio de Janeiro and then into the cold vacuum of space which is something the series has yet to replicate. 

Much like Gilbert's previous two Bond films with You Only Live Twice and The Spy Who Loved Me, Moonraker is a visually thrilling, high-stakes action adventure with plenty of great Bond moments to make for an exciting ride. Moore is on top-form again and is supported by another great Bond girl with Lois Chiles' Dr. Holly Goodhead. The two make for a fun dynamic and Lonsdale is also perfect as Drax with a number of memorable lines that balance the serious moments with some of the more comedic parts. 

And yet Moonraker doesn't always receive a lot of love from fans and is sometimes derided for the outlandish idea to go against Star Wars at its own game. The novel is certainly one of Fleming's stronger entries in the series but I had a blast with this and feel the story here is better suited to Moore than if Gilbert and Broccoli went with a straight-forward adaptation. Not to forget, the use of practical effects during the climax is just so mesmerising and enjoyable to watch while complimented by another terrific John Barry score. With that said, the tone isn't always quite perfect and that seen with Jaws and his new-found love interest comes to mind but for entertainment value, this is right on the money. 

Sadly Moonraker marked the end of an era for the franchise as this was to become Bernard Lee's final performance as M. He was there from the beginning and is always a joy to watch but he sadly passed away before the subsequent film went into production. Thankfully, the story here allows for a little more screen time between him and Moore, who by this point share a more amicable relationship. This was also Gilbert's last time directing a Bond film, and production designer Ken Adam would also leave after this having been behind so many films in the franchise since Dr. No. It's a shame Adam decided to leave after this as his work had been so influential and a key part in giving each film he worked on a distinctive style which would be missing two years later in For Your Eyes Only. 

Despite some criticism thrown its way, I still find Moonraker to be showing Moore at his peak and another fine addition in the franchise that isn't afraid to reach for the stars, if you forgive the pun. The action and stunt work is thrilling to see, Shirley Bassey's more chilled opening song pleasantly sets the stage nicely and Lonsdale's underrated performance as Drax all help to make Moonraker an easy watch for anyone in search of a light-hearted James Bond escapade.