With conversation raging about who should be the next 007, the passing of the baton presents ample opportunity for audiences to reflect onwhat each actor brought to the role of James Bond.Sean Conneryis, for many, the most definitive;Daniel Craigthe most brutal and exciting whilePierce BrosnanandTimothy Daltoneach offered their own unique spins on the character. And yet, it is Roger Moore’s Bond portrayal that’s arguably the most important to securing the franchise’s longevity.
The third actor to portray Bond after Connery and a one-off performance fromGeorge Lazenby,Roger Moore’s Bond debut re-invigorated the franchisewith a new lease on life as it offered emphatic proof that Bond movies could be successful without Connery portraying the spy. Ranging from slapstick, silly, and sloppy to the stunningly suspenseful and spectacular,Roger Moore’s Bond era was defined by its erratic inconsistencyborn from a fearless sense of innovation and narrative flare.
7’Octopussy' (1983)
Director: John Glen
An uneasy blend of comedy and action with aspirations of offering tongue-in-cheek callbacks that resulted in an awkward self-parody,Octopussywas certainly not shy of experimenting with the Bond formula. However, it struggled to find many aspects that worked. Plodding along at an at-times painfully slow pace, it tracks Bond’s investigation into a shady circus operation that turns out to be harboring a nuclear threat.
The second last of Moore’s Bond films,Octopussyfailed to resonate with audiences or criticsand has come to be viewed asone of the franchise’s worst installments. Its eagerness to mock Bond only undermined the character and signaled the beginning of the end of Moore’s tenure, with the actor being 56 at the time of filming.Octopussyhas an underwhelming villain,a questionably named Bond Girl, and one of the most forgettable Bond themes, contributing to its dubious reputation.
A jewel-encrusted Fabergé egg surfaces at a London auction, catching the attention of MI6. James Bond is dispatched to investigate its origins, leading him to the mysterious and opulent world of exiled Afghan prince, Kamal Khan, and his accomplice, the enigmatic and resourceful circus leader, Octopussy.
Watch on Amazon
6’The Man with the Golden Gun' (1974)
Director: Guy Hamilton
Roger Moore’s Bond era got off to a fast start with 1973’sLive and Let Die; sadly, the franchise couldn’t maintain that rejuvenated momentum with its sequel. Bloated with narrative fluff and a misguided sense of tradition,The Man with the Golden Gunstruggled to find a spark as Moore drew criticism for his uninspired performance, unable to elevate the largely bland script.
Also bogged down by a lack of inventiveness, an underwhelming array of gadgets, and glaring chauvinism (even for its time),The Man with the Golden Gunfound its few strengths in its supporting characters. The late greatSir Christopher Leeis superb as master assassin Francisco Scaramanga, one of the all-timebest and scariest Bond villains. Meanwhile,Britt Eklanddid what she could to make her abhorrently written Bond Girl pop off the screen, but the film struggled to offer much more for audiences to enjoy. And the less said about that awful Lulu song, the better.
The Man with the Golden Gun
James Bond is pitted against the world’s most expensive assassin, Francisco Scaramanga, who uses a distinctive golden gun. Bond’s mission to retrieve a crucial solar energy device leads him to a deadly duel on Scaramanga’s private island, where he must outsmart and outshoot the lethal adversary.
5’A View to a Kill' (1985)
While an improvement onOctopussy, Moore’s farewell to the Bond franchise wasn’t exactly an outing to remember. Following 007’s investigation into a mad industrialist’s scheme to destroy Silicon Valley,A View to a Killwas yet another underwhelming entryfor what was a dwindling Bond franchise. Still, it was at least willing to embrace the self-parody that had crept into the saga, adding some points to its overall score.
The film wasn’t helped by an almost 60-year-old Moore’s efforts to deliver the action, but it did have some other characters who were noteworthy.Christopher WalkenisA View to a Kill’ssole salvation, as his Max Zorin has a typical eccentricity for a Bond villain, but his tech-based plot is interesting to revisit retrospectively.Grace Jones' Mayday still stands as one of the franchise’s most iconic characters, often stealing the screen from Moore. Duran Duran’s theme song is also a standout, contributing toA View to a Kill’srespectable reputation today.
A View to a Kill
Watch on Max
4’Moonraker' (1979)
Director: Lewis Gilbert
How does one even begin to summarize and evaluate anaction movie as ridiculous asMoonraker? The most narratively ambitious Bond movie to date, its blending of spy movie mayhem with elevated accents of end-of-the-world science-fiction villainy made for a highly theatrical experience.Moonrakercould be either praised for its gonzo ambition or panned for its ludicrous plot.
Following Bond as he investigates a hijacked space shuttle, most of the film transpires in space as an immensely powerful industrialist orchestrates the destruction of all human life. A memorable highlight of the franchise’s penchant for spectacular gadgetry, incredible set pieces, and high-stakes action,Moonrakeris Bond at its most spectacularly imaginative. Time has been quite kind to it, as its campy elements are now appreciated. Furthermore, its opening sequence, in which Bond gets thrown off a plane and must secure a parachute mid-air, is widely considered among the best in the series.
3’For Your Eyes Only' (1981)
The immediate successor toMoonraker, it is plain to see the producers wanted to abandon the franchise’s erring toward science-fiction fantasy and return to its roots. Thus,For Your Eyes Onlyis one of Moore’s most grounded and somber Bond movies, with its entertainment value steeped in espionage thrills, blockbuster action, and underlying themes of revenge.
It follows Bond as he searches for a missing weapons command system with help from the vengeful daughter of a murdered marine archeologist. While never skimping on the fun-fuelled entertainment spectacle,For Your Eyes Onlyis defined by its distinctly grittier tone. A worthy villain inJulian Glover’s Aristotle Kristatos anda memorable Bond GirlinCarole Bouquet’s Melina Havelock makeFor Your Eyes Onlystand as one of Moore’s best Bond movies in the eyes of franchise traditionalists.
For Your Eyes Only
2’Live and Let Die' (1973)
Not onlya sensational Bond debut for Roger Moore, but the film that proved the Bond franchise could thrive in life after Connery,Live and Let Diesuccessfully ushered in a new era for 007. Set largely in New York City and New Orleans, it follows Bond as he investigates the deaths of fellow British agents, leading him to the small Caribbean Island of San Monique.
Moore immediately made an impression with a slightly different take on Bond—one that boasted a nonchalant wit and an elevated sense of humor as his deadliest weapons. However, he exhibited the slick and already iconic style that made the character an instant icon. In fact, he made such an impact that the film’s less-than-impressive villain and, at times, convoluted story were easily overlooked in lieu of the protagonist’s captivating presence. Coupled with a spectacular Bond theme courtesy of Wings,Live and Let Diebecomes one of the best entries in 007’s long canon.
Live and Let Die
1’The Spy Who Loved Me' (1977)
The best of Roger Moore’s Bond films isThe Spy Who Loved Me. It showcases so many integral elements of an old-school Bond movie being done incredibly well. The action is scintillating, the story lively and pacy, it boasts one of the franchise’s best Bond girls, and, while its major villain isn’t the most striking antagonist, it introducedRichard Kielas the iconic evil henchman, Jaws. It also features a truly incredible Bond theme, thanks to Carly Simon’s talents.
The Spy Who Loved Meis alsoamong the wittiest Bond movies. This razor-sharp humor, paired with its cunning self-awareness, ensured its adventurous plot concerning stolen nuclear warheads was constantly underscored by a sense of fun and excitement. While its inflection of absurdity would prove to be what eventually derailed Moore’s tenure as Bond, the flare of ridiculousness worked a treat in this case and is a major reason whyThe Spy Who Loved Meis celebrated as his greatest Bond picture.
