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Entertaini 0071 Dune ha' By DAVID BAKER Luke Skywalker, Han Solo, Indiana Jones and Superman* are consistently interesting, perpetually en tertaining and undeniable heroic, but I'll take James Bond over any of them, even though "For Your Eyes Only" is hardly the best 007 movie in the now 18-year-old series. Like the 11 Bond pictures it* that preceded it, "For Your Eyes Only" features spectacular stunts, marvelous machinery and a I - A I A < 1 utivy oi oeauuiui women. But the movie seems totally uninspired; perfunctory. The reason, perhaps, is in producer Albert R. Broccoli's choice of directors. "For Your Eyes Only" is the directorial debut of John Glen, who previously served as editor and spcond unit director on "On Her Majesty's Secret Service," "The Spy Who I^oved Me" and "Moonraker." ACCORDING to studio press releases, Glen directed the still-astounding opening sequence of "The Spy Who Loved Me," wherein Bond skis off a snow-covered cliff IT, onH naronKiifnc fa rU/\ / i, ?4iiu j/ui uv^nuvvo iv oaiuij , IIU also directed the opening freefall parachuting scene in "Moonraker." Glen does seem to be more than at home with the stuntwork in "For Your Eyes Only," but when mere s no spectacle onscreen, there's very little of anything else. It's par ... tWIi i<11nil-^iiifiTrjii'i iT^jy HMMHBBMBHBnBH ment Refill 12th ticulary evident that Glen has had little experience working with actors, for with the exception of Roger Moore as Bond, the cast of "Eyes" seems forever to be in need of someone to tell them what to do, where to go and how to deliver their lines. Glen's direction isn't so much bad as it is befuddled. With more experience, he could develop into a very capable helmsman. I just hope his second effort isn't another Bond picture. The co-writers of "For Your Eyes Only", Richard Maibaum and Michael Wilson, have a good handle on what the Bond series is all about and well they should: Maibaum previously having written or co-written eight 007 screenplays. Wilson has no previous credits as a scriptwriter, but it's unlikely that his hand in the scenario for "Eyes" is evident. FOR THE FIRST time in the series, Bond's work looks more like work than it does play. For lack of anyone else to blame. I'll eive Wilson the dubious credit. Both Wilson and Maibaum, however, should share responsibility for not having the good sense to provide Bond with a suitable nemesis. For flights of fantasy like this to work, we need to have a truly despicable villain. Instead, the writers provide us with one who looks and acts as it he's stepped out of I I ^^^IWBSBB^BL ***v. I ' jgSBK^^ HHHHHHHI -ns In J. ( his artist's studio and, on a whim, decided to take on the world's best secret agent. This villain, Kristatos he is called, doesn't even want to rule the world. He's simply a smuggler who wants to sell a British computer containing imnnrfonf mipvi miih ucicuac uciut IU the KGB. Ho-hum. AS FOR THE acting, is there ever acting in a Bond picture? Suffice it to say that none of the new supporting players come off as badly as did Lois Chiles in "Moonraker," but none of them are as impressive as either Jane Sevmnnr in "Live and Let Die" or Barbara Bach in "The Spy Who Loved Me," the only Bond heroines ever to maintain even remotely respectable careers after their brushes with 007. The series' returning characters (Lois Maxwell as Moneypenny and Desmond Llewelyn as Q) are as urbane as ever in their usual small amount of screen time, but Bernard Lee, who recently passed away, is sorely missed as M. Moore, _ ^ _ i _ ? * " as aiways, is picture perfect as Bond. Deserving special mention is Janet Brown, a heretofore unknown actress who, in what has to be the most uproarious scene in any Bond movie yet, lampoons Margaret Thatcher to a farethee-well. The title sequence of "For Vrtnr F.vpq Hnlu" ic * u 1*1 JUIJ VII4J TSJ magnificent to behold and, in ^ nn. v "*v ' " yj ' ^jjgs -, -\~\- - ?1111^^*4 wr - '.' a .- x- i'i "' i<kA< a twist from the previous Bond title sequences, we actually see lovely Sheena Easton singing the lyrics to the title song. Thank heaven it resembles neither of the young lady's excruciatingly frifn fnn Af\ KUn 4***" ; v? iiv wj/-iv 11110, mui mug Train" and "Modern Girl." The remainder of the score, however, leaves much to be desired, as does practically every score ("An Unmarried Woman" being the sole exception) written by the talentless Bill Conti. "LIVE AND LET Die" is :~ iL-i _1 A iiuiuvie uiai auuosi suigiehandedly brought about my " Va ,J85g l'I J- _ ; ">_-r--^. - .^ \~-i~ ??..J x''*. A r i *v I H. < t h " i WilipMpil 4 *.. / /^: V;^^c I :j|^ interest in films and no 007 movie with Moore has missed being mentioned on my year-end "10 Best" lists. So if I've come to expect the 007 series to be the be-all and end-all of moviemaking, it's nnlv luuiaiica if'o nmmr lat Vtuj WVUUi^V U O llVVVi 1UV me down before now. Still, don't let my mild Roger Moore and Carole Boq B t** > j>iv ^ j^| kSI ftjSSfip r:; T:/'- ^ ;V^ dissapointment with "For Your Eyes Only" discourage you from seeing it, for it remains one of the most rousing entertainments of 1981. Just don't go into the theater expecting perfection. In any event, bring on number 13! met in "For Your Eves Onlv.w