The film states its intentions right up front with its pre-credits sequence, which begins with flowers placed at the grave of Bond's wife Teresa and ends with 007 dropping his archnemesis Blofeld (John Hollis, uncredited) down a smokestack. Perhaps it was a declaration that the character's over-the-top SPECTRE days were behind him--or maybe it was just a blatant middle-finger directed at Kevin McClory, who was in the early stages of producing Never Say Never Again by this point--but, apparently, it didn't discourage anyone from regurgitating themes that had been exhausted almost twenty years before. (Maybe it's a statement on how the appearance of Reagan and Thatcher signalled the end of the détente between East and West, what with a look-alike for the Prime Minister appearing at the finale to congratulate our hero. But the fact that the film usually acts as if that détente never actually happened speaks volumes.) No longer facing crazed billionaires seeking to exterminate the human race, Bond is charged with recovering the ATAC, a missile guidance system lost to the Ionian Sea, before a mysterious Greek smuggler gets his hands on it and sells it off to the Russians. Traveling through Italy and Greece, he teams up with Melina Havelock (Carole Bouquet), whose parents were killed before they could definitively locate the ATAC; her quest to avenge them with a carefully-aimed crossbow leads Bond to offer a few stern sentences of warning.
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Declassified: MI6 Vault houses "Deleted Scenes and Expanded Angles"--that is, two of the former and one of the latter. Glen provides non-optional intros and the whole megillah is in 1080p despite its workprint quality. More interesting than 007 dumping a load of snow on his hockey-playing adversaries (seriously: this was their idea of a Bond we could take seriously?)--a gag that was cut for time--is the moment where Melina grills James about his sex life. Glen says this "took away from [Carole Bouquet's] character," but no, it takes away from Moore's, perilously deromanticizing our secret agent. It always makes me feel skeevy to think of Bond working through the Kama Sutra with one of his conquests, and this elision has a similar impact. Meanwhile, "expanded angles" describes a multi-angle feature giving us wider views of Locque's death. It's awfully pointless. Moving on, "Bond in Greece" (6 mins., 480i) is the first of three home-movie-type reels narrated by Wilson that together manage to encapsulate the upcoming making-of. Wilson spoils the surprise of future Bond Pierce Brosnan having been on set in the company of then-wife Cassandra Harris, who played Topol's mistress; and he touches on the issues with the monastery that would see the production hassled by monks. A humorous story of backgammon wagers is unique to this piece, though. "Bond in Cortina" (4 mins., 480i) is more of the same, with Wilson quoting Glen's utterly un-quote-worthy assessment of Bouquet's most striking feature: "As John Glen put it, 'Those wonderful eyes.'" Lastly, in "Neptune's Journey" (4 mins., 480i), Wilson tells the tale of a modest fake personal submarine that went on to fame and fortune and now resides in a museum devoted to props from the 007 film series. 2ff7e9595c
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