Moore’s trip to India is too much, too much of good stuff- well, not technically- and too much of bad, and still it isn’t perfectly balanced.
Glen is back with a more raunchy version. Think of that, more raunchy than what we saw previously, so I guess that’s a first. The director John Glen, as always has his track mapped out perfectly in his film. There is no doubt about that. In fact, accounting in both of his project, we can easily say that he likes to go deep, deep in his self-created maze. And just that bit, that very middle chapter is undeniably exhilarating. For as soon as you think, that Roger Moore, the Bond, won’t go lower than this, this bottomless pit keeps sucking him or more importantly us, in its exotically well choreographed tricks and treats.
The humor is once again, an issue in here, especially the branches it spirals out, it never feels like a part of the narration and surprisingly coming this from a director who at first was an editor ought to be shocking. Digging out another new culture to explore upon, this gives the writers enough space to distract the viewers with stunning set pieces brimmed with colorful lights and embroideries that somehow represents the rich culture along with the staged traditions of India.
Similar to previous cliff hanging climax there is another antic like such that is more complex and nail biting than that one, which frankly is the film’s double edged sword, for as soon as you start expecting things, it will let you down, even they can promise that. The Bond girl syndrome is respected and given both the title and agenda to run towards or more precisely backwards for Moore’s characteristics in the film overpowers every motive and temptations in the film, which I can see that it might be a great idea to glorify the character, but the film suffers in doing so, for you can’t take down the title, not even in this franchise, not Octopussy.