Octopussy
The James Bond movie franchise took a peculiar turn in 1983 with the release of Octopussy, directed by John Glen, previous director of For Your Eyes Only and three more Bonds. Starting with the title, the mind runs through fantastic possibilities. Octopussy herself (Maud Adams, a five foot nine Swede, thirty-eight when she filmed it) has a light brown soft-looking mane atop and surrounding a face with perfect bone structure, eyes pale blue and piercing. Octopussy (a nickname given to her by her father, nothing weird about that) operates a society of beautiful young women out of an island in the middle of a lake in northern India. Where else would a rich Swedish woman who runs a secret society live? She's doing a job with Kamal Khan (Louis Jourdan playing the role primly, a master backgammon player, only seemingly, a cheater with loaded dice always turning up the needed number 12).
Spectre is nowhere to be seen, heard, or intuited in this film. Nuclear terrorism by a rogue Russian Army officer, Orlov (the Englishman Steven Berkoff--also, like Maud, five nine), looking like he's pissed off at Popeye half the time, will smuggle by train into an American Air Force Base in West Germany a medium yield nuke to go off at a circus.
Octopussy's gang, with their little Octopussy tattoos, masquerade as circus performers (their day job) but use these skills in their capers. At the end, these acrobatic ladies in tight red leotards take on Kamal Khan's men, with the help of Bond and Q in a balloon decorated with the Union Jack. It's a scene right out of a Michael Moorcock alternate history novel.
More weirdness includes Roger Moore piloting a mini-submarine shaped like a crocodile; killing a knife-throwing assassin, taking his distinctive circus clothes, and stuffing him into the performance cannon used to propel a man onto a big net.
Bond fucks two women: Octopussy, on a bed with frame shaped like an octopus, and Magda (Kristina Wayborn, another Swede, younger than Maud, five eight, shaped like and with the graceful moves of a model, high forehead, elegant). In a film taking place mostly in India, Bond bangs two Swedes. He likes white European ladies.
I saw the film when it came out and was disappointed. I must've enjoyed the feminine content, but the movie wasn't enough of a plausible story to impress me. I ridiculed it with my friends as we watched.
Many years later I saw it a second time, a library VHS. Much better, didn't mind the hokeyness, enjoyed the women. This time, same feeling as with my second viewing.
Octopussy, the Bond film going for laughs. A fantasy with an excess of beautiful women and a stepping up of the danger in stunts, set pieces more similar to the antic moods of Around the World in Eighty Days (1956).
Vic Neptune
The James Bond movie franchise took a peculiar turn in 1983 with the release of Octopussy, directed by John Glen, previous director of For Your Eyes Only and three more Bonds. Starting with the title, the mind runs through fantastic possibilities. Octopussy herself (Maud Adams, a five foot nine Swede, thirty-eight when she filmed it) has a light brown soft-looking mane atop and surrounding a face with perfect bone structure, eyes pale blue and piercing. Octopussy (a nickname given to her by her father, nothing weird about that) operates a society of beautiful young women out of an island in the middle of a lake in northern India. Where else would a rich Swedish woman who runs a secret society live? She's doing a job with Kamal Khan (Louis Jourdan playing the role primly, a master backgammon player, only seemingly, a cheater with loaded dice always turning up the needed number 12).
Spectre is nowhere to be seen, heard, or intuited in this film. Nuclear terrorism by a rogue Russian Army officer, Orlov (the Englishman Steven Berkoff--also, like Maud, five nine), looking like he's pissed off at Popeye half the time, will smuggle by train into an American Air Force Base in West Germany a medium yield nuke to go off at a circus.
Octopussy's gang, with their little Octopussy tattoos, masquerade as circus performers (their day job) but use these skills in their capers. At the end, these acrobatic ladies in tight red leotards take on Kamal Khan's men, with the help of Bond and Q in a balloon decorated with the Union Jack. It's a scene right out of a Michael Moorcock alternate history novel.
More weirdness includes Roger Moore piloting a mini-submarine shaped like a crocodile; killing a knife-throwing assassin, taking his distinctive circus clothes, and stuffing him into the performance cannon used to propel a man onto a big net.
Bond fucks two women: Octopussy, on a bed with frame shaped like an octopus, and Magda (Kristina Wayborn, another Swede, younger than Maud, five eight, shaped like and with the graceful moves of a model, high forehead, elegant). In a film taking place mostly in India, Bond bangs two Swedes. He likes white European ladies.
I saw the film when it came out and was disappointed. I must've enjoyed the feminine content, but the movie wasn't enough of a plausible story to impress me. I ridiculed it with my friends as we watched.
Many years later I saw it a second time, a library VHS. Much better, didn't mind the hokeyness, enjoyed the women. This time, same feeling as with my second viewing.
Octopussy, the Bond film going for laughs. A fantasy with an excess of beautiful women and a stepping up of the danger in stunts, set pieces more similar to the antic moods of Around the World in Eighty Days (1956).
Vic Neptune
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