[Originally published in Movietone News 62-63, December 1979]
The title song to Moonraker, sung by Shirley Bassey, sets the tone for the latest James Bond film: gentle, inoffensive, almost sweet. This is not the audience-affronting, brassy Bassey of Goldfinger or Diamonds Are Forever; and of John Barry’s score, even the recycled, tried-and-true music from previous Bond films fails to please. The brash, insistent guitar of Monty Norman’s original “James Bond Theme” has been traded down for gentle violin pizzicati, the tempo tripping rather than surging, more cute than clout. Like a turtle drawing in its head, the James Bond format has become systematically less and less daring with the passing years. Not only the actors but even their characters seem progressively aware of participating in a routine: Bond (Roger Moore) isn’t surprised when Drax (Michael Lonsdale), with no provocation, immediately sets about trying to kill him; and Drax himself makes no bones about wanting Bond dead. There’s no detective work, no effort to sidetrack or deceive the investigating agent. What immediately gives Drax awayâ€”to Bond and usâ€”as the archvillain is his lavish wealth. It’s become an accepted premise of the Bond film that those who have enough money to buy anything they want will inevitably build private fortresses, equip private armies, and spend their lucre on a quest for world domination.