Moonraker (1979, Lewis Gilbert)
“Where are you? Why do you hide? Where is that moonlight trail that leads to your side?” (from the song Moonraker, profound lyrics by Hal David, belting vocal by Shirley Bassey)
I first saw Moonraker when I was a delightfully inquisitive five-year-old. And it made about as much sense to me then as it does now, thirty years later. This is some avant-garde shit right here. Godard et al’s experimentation with the cinematic form in the late 50s and 60s doesn’t come close to mid/late period Roger Moore Bond. There is nothing in the nouvelle vague to compare with the tonal switches, stylistic lurches and complete disregard for narrative coherence you get in Moonraker, Octopussy and A View to a Kill. (For Your Eyes Only is slightly more in touch with reality and, as a result, slightly more tedious.)
So what’s the plot of this heady brew? It goes something like this…
Evil beardo Hugo Drax secretly builds a space station just off Pluto, where he assembles a group of perfect human specimens, transported there on his Moonraker space shuttles. His dastardly scheme is to wipe out the Earth’s entire population with nerve gas and then repopulate the planet with his master race. (Clearly the ‘5 GCSEs at grade c or above’ threshold wouldn’t cut it with old Hugo.) Drax’s motivation for doing this remains fascinatingly unclear, but it does sound like a great origin story for a new religion. Bond, naturally, is out to stop him. He does this with the aid of a bracelet that shoots poisoned darts, a deadly ballpoint pen and a woman.
But the thing about Moonraker is a synopsis of the plot doesn’t begin to convey the insanity that was committed to celluloid. For a start there’s the character of Jaws, last seen at the end of The Spy Who Loved Me besting a shark with his metal teeth and then swimming off to bite another day. As his previous employer, Stromberg, has shuffled off this mortal coil, Jaws is out for new challenges and throughout Moonraker moves between different employers like some kind of agency worker henchman-for-hire. By the end of the film, this fair-weather foe has made peace with JB and even got himself a girlfriend. They meet in Rio after Jaws has ploughed into a building with a cable car and somehow managed to survive with just a bit of dust on his shirt.
One of my favourite scenes in Moonraker is when Bond runs into Jaws while driving a speedboat down the Amazon (Bond’s looking for the origin of a rare orchid, since you ask). Jaws and some underlings ambush 007 in several speedboats of their own, which they’ve parked behind some river foliage. But how did they know Bond would be there? And how long are they supposed to have been staking out this particular stretch of river, hoping 007 might come by? Maybe sportsmanlike James placed a phone call to Jaws in advance, letting him know of his planned route and a rough estimate of the time. Anyway, after an exchange of hardware, Bond escapes on a hang glider built into the roof of his speedboat.
I have a theory about how to read Moonraker. Like the work of those new wave Frenchies, Quentin T, and many others, its subject matter is cinema itself. The basic plot turns a spy thriller into sci-fi, but there’s more to it than that. This movie jumps genres and styles with a thrilling disregard for logic or sense. There are scenes that jar so much with one another at times it’s like you’re flicking between channels as you watch.
Example: a scene of Bond dispatching a would-be assassin (who looks like an aging French poacher) which concludes with a moment of classic Roger comedy+eyebrow raise is followed directly by a – no bullshit – “release the hounds” moment. This turns the film briefly into some kind of Hammer horror pastiche but played totally straight.
Much later in the film, a scene of Bond escaping a dangerous paramedic aboard an ambulance is directly followed by a sequence of our hero dressed in cowboy hat and poncho, riding a horse, accompanied by the theme from The Magnificent Seven.
Oh, and there’s a bit when a Venetian gondola turns into a hovercraft.
I’m not making this stuff up.
ITV4 is having a Roger Moore Bond season for a couple of weeks. I have no idea why. Possibly because it’s summertime and the schedulers are lazy. But, whatever their motives, this decision should be applauded, and I’d like to make passionate love to all involved in making it.
Moonraker is showing Wednesday 12th August, 9pm ITV4