FYEO plays more like a drama than the previous science fiction attempt, and there's not too much humour - and certainly no slapstick as found in other Moore movies. I didn't remember much about this Bond going in to watch it for the first time as an 'adult', but when watching I did recall various action sequences - such as 'Blofeld's' curious pre-credits death - although I'd have been hard pressed to say that they came from FYEO. That's not because the film lacks action, drama or memorable moments, but because the plot is a little more low key it's not as easy to call to mind. There are a few things to cringe at about this one, mostly how 70's a lot of things are (I know it was released in 1981 but it takes a while for a decade's defining features to disappear, or appear), for example the 70's sounding music (a bit Starsky & Hutch in places), Roger Moore's often terrible wardrobe (when did ski suits ever look classy?), and the fact that Moore looks to be in about his 70's! Seriously, how did he age so much since Moonraker, he was only in his early 50's! At one point, 007 runs up a huge set of steps to catch a villain - I was concerned for the health of poor Moore, he looked like he'd pass out half way up. Having said that, Moore still has the voice and the charm to pull of 007 in his 50's. It's sensible that he turns down young Bibi's advances though, he did look old enough to be her (grand)dad.
I liked the moment at the very start of the film when Bond visits his wife's grave, showing continuity right back to OHMSS. It was sad that Bernard Lee passed away before this movie, and so it's nice that M is written out of FYEO. Interestingly, Miss Moneypenny is ageing along with Bond, but then that makes sense as she's been the same actress since Dr. No. It's good to have Q on location, even if only for brief seconds in a confessional booth.
For Your Eyes Only could be the Mediterannean Bond as the action takes place in Italy and Greece for the most part. The locations are beautiful and the direction shows off each wonderfully. Bringing Bond back down to Earth works wonders after the overblown finale of Moonraker, and the double-crossing storyline is nicely played. I think that when I've seen FYEO previously I would've been too young to appreciate the subtlties here as Bond is played off between two old friends, one of whom is the villain, and one a friend. It's just not clear which is which until halfway through the movie. Also, it's nice to see Bond exercising some restrain when it comes to the women in this instalment - he turns down 1, beds another, and then has to wait until the end of the mission before he can bed Melina Havelock, who is not just eye candy, she's also a capable and integral cog in the story. In fact, Bond is involved in quite a bit of 'group activity' and doesn't always come across as an impervious solo action hero. He does get some great action scenes though, as he's chased down a snowy mountain on skis by men on motorbikes (in stunts that recall OHMSS' ski sequences) or when he's scaling a huge cliff face at the climax. A more realistic Bond, with a believable villain and exciting action adds up to an excellent installment in the franchise. In fact I reckon that the tone and style of For Your Eyes Only (if you forgive some of the 70's trappings and the hugely dated Identigraph machine...) could sit nicely alongside Daniel Craig's latest offerings.
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