
Octopussy (1983) was the second film of the series for director John Glen and also the second appearance for actress Adams, who first starred in 1974’s The Man with the Golden Gun. Octopussy is best remembered -- aside from a title that makes most people blush -- for its release in the same year as an “unofficial” Bond film, Never Say Never Again, starring Sean Connery as 007. The latter film was brought to the screen by producer Kevin McClory, who had worked with Bond creator Ian Fleming and Jack Whittingham on an original story for 007’s cinematic debut. The project was abandoned, resulting in Fleming’s Thunderball, which, in turn, resulted in seemingly endless legal disputes. McClory and Whittingham received credit for additional printings of the novel, as well as the 1965 Broccoli/Saltzman adaptation, and McClory was allowed to make his own version of the movie. The year of 1983 became known as the “Battle of the Bonds.” Both movies performed well, although Octopussy ended with a slight lead, making it into the Top 10 films that year in the U.S. Never Say Never Again performed well and reached the Top 20. (For more on the Thunderball legal wrangling, read about the 1965 film.)

A substantial entry in the series, Octopussy retains a energetic style throughout, and Moore, in his sixth turn as the beloved spy, is just as diverting as when he first stepped into the role. Following the previous Bond film, For Your Eyes Only, in 1981, Moore had technically fulfilled his contract, and EON Productions searched for an actor to portray 007. American actor James Brolin filmed screen tests, including one with Maud Adams (in a scene from 1963’s From Russia with Love) and another with Vijay Amritraj, who stars in Octopussy as Bond’s ally in India. Moore, however, was reportedly asked to return to battle any competition from Never Say Never Again and Connery, the cinematic Bond original. Like the solid For Your Eyes Only, Octopussy keeps the gadgets to a minimum -- the highlight of Q’s (Desmond Llewelyn) anticipated “presentation” of gadgetry is a simple tracking device. In a particularly entertaining sequence, Bond manages to board a speeding train, conceal himself inside a compartment to attain details of a criminal plot, and combat a henchman atop the train still in motion, with nothing more than his expertise and a little savoir-faire.

In spite of its ingenuity, Octopussy does stumble before making it to the closing credits. The most significant drawback of the film is its length. It might have benefited from an abridgement, especially considering that the basic plot is finished with approximately 40 minutes remaining, almost giving the impression that the filmmakers were biding their time until they made it to an excess of two hours. There is additionally a rather asinine sequence of Bond being hunted in the jungle, facing such perils as spiders, a snake and a tiger, and all of it culminating in 007 swinging on vines with the Tarzan cry.

The song that opens the film is “All Time High”, sung by Rita Coolidge and written by composer John Barry and award-winning lyricist Tim Rice, who is a frequent collaborator with Andrew Lloyd Weber. It’s a lovely number, reinforced by Coolidge’s warm and resonant voice. At the film’s end, a disclaimer insists that “James Bond Will Return in ‘From a View to a Kill.’” He did indeed, but with a minor title revision.

Certainly not as strong as other Bond outings with Moore, such as The Spy Who Loved Me (1977) and For Your Eyes Only, Octopussy will nonetheless quench a 007 thirst. Along the way, fans will find accomplished stars and noteworthy action scenes. And most viewers will welcome the opportunity to watch Octopussy’s girls employ their skills as circus performers or a villain treat a circular saw like a yo-yo.
Bond Is Forever will return next month with Die Another Day (2002).