It’s a strange coincidence that Sir Roger Moore, 007 No. 003, died only about 48 hours after the premiere of the very funny Hulu documentary Becoming Bond, about one-and-done 007 George Lazenby — who, incredibly, landed the most sought-after role in showbiz (circa 1968) with double-oh-zero prior acting experience.
I’ll never get tired of this real-life story. And the Bond flick that resulted, On Her Majesty’s Secret Service, is in my Bond Top Five, way above of any of the Moore entries. Anyway, I wrote about all this for the weekend crowd. And I fan-casted Matt Gourley, again.
I wrote this piece quickly, and it occurred to me only after I’d send it off to my editor, the great Linda Holmes, that I might’ve mentioned the passage of the documentary wherein Lazenby explains the discovery that turned him from a failing salesman into into a successful one. He might’ve been talking about acting.
I enjoyed X-Men: Days of Future Past, Bryan Singer’s return after a decade-long absence to the surprisingly resilient superhero franchise he originated. This movie is based on a 1981 story from The Uncanny X-Men comic book that I first read when it was reprinted in probably 1989 or 1990.
The movie alters the tale as necessary to unite the cast of 2011’s 60s-set X-Men: First Class with the players from the earlier X-pictures, set in the present day — or rather, as a title card at the top of 2000’s X-Men tells us, “the not-too-distant future.” I’d feared this timeline-straddling — Days of Future Past is set in some unspecified year in the 2020s, -ish, and in 1973 — might make the movie as dull and incoherent as the Star Wars prequels, but it’s funny and light on its feet.
The soundtrack album for On Her Majesty’s Secret Service, the once-reviled 1969 James Bond film that’s enjoyed a critical reappraisal among fans in recent decades, isn’t a Christmas record, true. But the film, which starred George Lazenby — a handsome and hardy but unengaging Australian model with no prior acting experience — in his single appearance as 007, is set at Christmas.
Its soundtrack features some of the best music in the entire 50-year franchise. You’ve got John Barry’s kinetic opening title theme (reprised in Brad Bird‘s The Incredibles, among other places). You’ve got its elegiac love theme, “We Have All the Time in the World,” with lyrics by Hal David, beautifully sung by Louis Armstrong.
And as I discovered only weeks ago, you’ve also got Nina‘s (whose?) “Do You Know How Christmas Trees Are Grown?”