Russian and British submarines with nuclear missiles on board both vanish from sight without a trace. England and Russia both blame each other as James Bond tries to solve the riddle of the disappearing ships. But the KGB also has an agent on the case.
Roger Moore Barbara Bach Curd Jürgens Richard Kiel Caroline Munro Walter Gotell Geoffrey Keen Bernard Lee George Baker Michael Billington Olga Bisera Desmond Llewelyn Edward de Souza Vernon Dobtcheff Valerie Leon Lois Maxwell Sydney Tafler Nadim Sawalha Sue Vanner Eva Rueber-Staier Robert Brown Marilyn Galsworthy Milton Reid Cyril Shaps Milo Sperber Albert Moses Rafiq Anwar Felicity York Dawn Rodrigues Show All…
007 - La spia che mi amava, Älskade spion, James Bond - The Spy Who Loved Me, James Bond 007 - 10 - The Spy Who Loved Me, James Bond - Spionen der elskede mig, James Bond 007 L'espion qui m'aimait, 007 - O Espião Que Me Amava, Шпион, который меня любил, Τζέιμς Μποντ, Πράκτωρ 007: Η Κατάσκοπος Που Με Αγάπησε, Джеймс Бонд. Агент 007: Шпигун, який мене кохав, Джеймс Бонд: Шпигун, який мене кохав, Agente 007 - La spia che mi amava, 海底城, 007: La espía que me amo, 007 - rakastettuni, 007 - älskade spion, Špion, který mě miloval, Spionen som elsket meg, 10탄 007 나를 사랑한 스파이, De Spion Die Me Liefhad, 007 - 10 - La espía que me amó, James Bond - 1977 - L'Espion qui m'aimait, 007: A kém, aki szeretett engem, James Bond: A kém, aki szeretett engem, 鐵金剛勇破海底城, Məni Sevən Agent, La Espía Que Me Amó, James Bond - 11 - La espía que me amó, James Bond 007 - Der Spion, der mich liebte, 007 - Agente Irresistível, La spia che mi amava, 007: Шпион, который меня любил, L'Espion qui m'aimait, Beni Seven Casus, James Bond: Spionen der elskede mig, La espía que me amó, A kém, aki szeretett engem, 007: Rakastettuni, Agent, který mne miloval, Szpieg, który mnie kochał, המרגלת שאהבה אותי, 007：海底城, 007／私を愛したスパイ, Τζέιμς Μποντ, Πράκτωρ 007: Η Κατάσκοπος που με Αγάπησε, Spionul care mă iubea, 007 나를 사랑한 스파이, 007 O Espião Que Me Amava, 007: Шпигун, який мене кохав, 007: La espía que me amó, 007: Шпионинът, който ме обичаше, Šnipas, kuris mane mylėjo, เจมส์ บอนด์ 007 ภาค 10: พยัคฆ์ร้ายสุดที่รัก, Spiegs, kurš mīlēja mani, L’espia que em va estimar, James Bond: Špión, ktorý ma miloval, James Bond: Vohun, ki me je ljubil, Điệp Viên 007: Điệp Viên Người Yêu Tôi, جاسوسی که مرا دوست داشت, Agent 007: Spioon, kes mind armastas, ჯაშუში, რომელსაც ვუყვარდი, Špijun koji me volio
UKPG
London
Italy
IrelandPG
AustraliaM
UKPG
USAPG
Denmark7
Germany12
Spain16
Sweden15
FinlandK-16
Greece
France12
Brazil12
JapanG
MexicoB
Netherlands12
South Korea15
PortugalM/12
Hungary16
Poland12
USAPG
Netherlands12
Netherlands12
Netherlands12
Australia
Brazil
Denmark
Finland
France
Germany
Greece
Hungary
Ireland
Italy
Japan
Mexico
Netherlands
Poland
Portugal
South Korea
Spain
Sweden
UK
USA
*Was a 73, now a 100*
If you can't already tell, I've fallen head-over-heels in love with this movie, which isn't really a surprise considering I already had a strong response to The Spy Who Loved Me when I re-watched it initially back in January. I'm emerging from a Bond haze and yet another re-watch to write a little, if only to point out that *this* film is the ultimate installment from the series. For me at least. From the pre-credits sequence to the Bond song to Roger Moore and Barbara Bach and Richard fucking Kiel to the UNDERWATER LAIR and the stunts and the cars and the locations. The Spy Who Loved Me just has it all, you know?…
"Moneypenny, where's 007?"
"He's on a mission sir. In Austria."
"Well, tell him to pull out. Immediately."
My favorite of the Roger Moore Bonds.
If you ever need proof for the theory that the Bond movies work as time capsules, transforming the formula to fit the tastes of the time, you need look no further than The Spy Who Loved Me. It screams late 70's the same way the tacky special effects of the Brosnan Bonds scream late 90's. The cinematography is dark and stylized, imitating the neo-noir aesthetic of directors like Alan Pakula (The Parallax View). The soundtrack is a blend of funky slide guitar and early synth, marking the height of disco's popularity. There's even an undefeatable character…
M here again. As you were. Been pulling some overtime here to catch up. The Spy Who Loved Me is everything you want out of a Bond film and is nearly flawless. Though the plot seems oddly familiar and has absolutely nothing to do with the book from which it is based, there is a ton to enjoy and the tropes are operating to perfection. With memorable music and characters, this film will be tough to beat. What follows is my mission debriefing, I hope you enjoy.
The Opening: Some submarines get jacked, dammit I’m going to have to deal with the Russians again. Bond is pursued in a ski chase that culminates with one of the greatest stunts from…
ROGERTAINMENT at its purest form. Every scene is a delight in some way. I never tire of this completely fun, blast of a film.
Widely regarded as Roger Moore’s best Bond — and, therefore, if you’re a Moore fan, one of the best Bond movies period. And yet the villain is an absolute stiff, and Barbara Bach always strikes me as miscast as a tough-as-nails (not to mention Russian) secret agent. Can’t beat disco Bond music, Carly Simon, and a car that turns into a submarine, I guess.
73
For all the dizzying gadgetry and love for Bond, this is surprisingly elegant. Kept me captivated the whole way through.
first time on 35mm.
a virtual remake of my favorite Bond, YOU ONLY LIVE TWICE (even the same director), this is aggressively silly and ridiculously entertaining. positively packed with superb big-budget location photography, then state-of-the-art special effects, and practical stunts (helicopter vs. Lotus Esprit being a highlight). and then there's Ken Adam's truly outstanding tanker/fortress set, according to myth lit by Kubrick himself. i make a lot of fun of Roger Moore, but this may be his best performance as 007. so i prattle on. if it hasn't become obvious to all of you, i take a great deal of pleasure from these films and this is no exception.
They can afford an extravagant underwater hideout but not a decent dental plan for their employees
Fuera de Serie: Bond, James Bond - The International Spy, The Icon & The Once Serial Women Beater
I have yet to see four of the Bond films starring Roger Moore, but this one is my favorite so far. It's not just because of the entertaining script that manages to balance humor with the spy thriller the franchise has developed to date. For characters and scenes that have managed to stay in the pop conscious such as Shark Man. It is Claude Renoir's cinematography that captures the film's high level of production the best, as the camera finally moves further away from its protagonists to show us the surroundings better, with the sequence in the desert and between the pillars being…
A meh movie up until the last 40 minutes, this one redeems itself with one of the best villain lares and fight sequences in the franchise.
Introducing us to Jaws and Ringo Stars wife are both also pluses, Roger Moore seems most in his flow here. He’s witty, but feels more comfortable with the title of Bond, but hasn’t gotten to old for it yet.
Jaws has really grown on me as time has gone on. While he seems like a remnant of a more campy Bond franchise, he’s one of the better remnants of this time, with his fight scenes always being super fun.
I love the underwater lare! I love windows that look at fish! It feels so evil.
Also I should say, the ski jump into the parachute opening with the Union Jack may be Bond’s best precredit sequence.
While a bit rocky, it’s ultimately a fun entry in the Bond franchise.
My favorite film from my favorite franchise. Moore was the first Bond I knew, Octopussy was the first Bond film I saw in the theater, and I saw Spy and For Your Eyes Only a dozen times on cable as a kid. While not considered by most as cool or as 'Bond' as Connery, he was Bond to me despite appearing in 2 of the worst films in the franchise. RIP Sir Roger. Martini's tonight.
the question of whether less is more or more is more may be up to debate, but when it comes to Bond films, I'm really wishing there was less of Moore
