James Bond 007 – Liebesgrüsse aus Moskau
Regie:
Terence YoungKamera:
Ted MooreMusik:
John BarryBesetzung:
Sean Connery, Daniela Bianchi, Pedro Armendáriz, Lotte Lenya, Robert Shaw, Bernard Lee, Eunice Gayson, Walter Gotell, Francis De Wolff, Lois Maxwell (mehr)Inhalte(1)
Während böse Kräfte den russischen und den britischen Geheimdienst gegeneinander ausspielen wollen, behauptet sich James Bond an allen Fronten, ob in Istanbul oder im Orient-Express.
James Bond (Sean Connery), Top-Agent Ihrer Majestät, der Königin von England, wird in die Türkei geschickt mit dem Auftrag, dort eine Dechiffriermaschine aus der russischen Botschaft zu stehlen. Die Briten befürchten zwar, ihr Agent könne dort in eine Falle laufen, doch die Mission ist wichtig genug, das Risiko einzugehen und den besten Mann zu entsenden. Die russische Agentin Tatjana Romanova (Daniela Bianchi), eine vermeintliche Überläuferin, soll Bond helfen. Doch Tatjana ist nicht wirklich eine Verräterin, und weder sie noch Bond wissen, dass Tatjanas Chefin Rosa Klebb (Lotte Lenya) mit dem Gedanken spielt, sich in den Westen abzusetzen. Klebb hat sich von der geheimen Terrororganisation "Spectre" anwerben lassen und will den russischen und britischen Geheimdienst gegeneinander ausspielen, um Bond kaltstellen, das heißt, töten zu lassen. Bond und Tatjana verschlägt es in den Orient-Express und auf eine abenteuerliche Flucht über Bulgarien und Venedig bis nach Schottland - zu Lande, zu Wasser und in der Luft, immer verfolgt von dem Killer, den "Spectre" auf 007 angesetzt hat.
(ZDF)
Kritiken (13)
007__#2__One of the best Bond films. It has an interesting compact plot by Bond standards, cool villains (the girl with the bayonet in her shoe is great, Martin Shaw as a straightforward killer), and the few action scenes are pretty good and brisk (well shot train fight). A big improvement compared to Dr. No.
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For a film that takes nearly an hour to really get going, and that the villains don't come up with a megalomaniacal plan to destroy half the world, it's still interesting throughout. This fact is aided by Young's brisk direction and the cleverly simple script that doesn't offer much in the way of action sequences, but I give respectful kudos for those few bits; particularly Bond's fight with Grant on the train is something that, given its physicality, is something that Bourne needed to rediscover 40 years later.
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Nach dem phänomenalen Erfolg von James Bond 007 jagt Dr. No fragte sich das Saltzman-Broccoli-Duo, welches Buch sich am besten für eine Fortsetzung von Agent 007s triumphaler Reise über die Leinwand eignen würde. Ein eher unerwarteter Faktor sprach schließlich für James Bond 007 - Liebesgrüße aus Moskau... J. F. Kennedy erklärte das Buch zu einem seiner Lieblingsbücher, die Verkaufszahlen stiegen sprunghaft an, und die MGM-Meister hatten ausgesorgt. Und so kam sechs Monate nach der Kuba-Krise ein Film in die Kinos, in dem Russland und der Westen unwissentlich auf der gleichen Seite der Barrikade stehen, manipuliert durch den geschickten Schachzug von Kronsteen und SPECTRE, angeführt von dem geheimnisvollen Blofeld (man beachte das Fragezeichen neben seinem Namen im Abspann). Die Handlung ist diesmal sehr anständig verworren, wirkt aber dadurch etwas "verloren" (oder besser gesagt, verloren für die nächsten Folgen). Der Mythos des Superagenten James Bond nimmt allmählich Gestalt an: Q, ein vielseitig einsetzbarer Aktenkoffer und ein Kamerarecorder tauchen auf, doch dieser Film ist noch mehr ein klassischer Spionagefilm. Viele Dialoge, einige nette Actionsequenzen (vor allem der Faustkampf mit Grant im Express lohnt sich), noch mehr kitzlige Szenen als in James Bond 007 jagt Dr. No, ein schönes Bond-Girl mit russischem Akzent... und ein etwas schwächerer Connery, dessen Leistung im Schatten der aus dem ersten Film steht. Allerdings hat Liebesgrüße aus Moskau eine der am besten gezeichneten Geschichten aller Bond-Filme und natürlich einen reinen 60er-Jahre-Vibe, weshalb ich ihm nicht weniger geben kann als James Bond 007 jagt Dr. No bekommen hat... nun, eigentlich konnte ich das nicht, ein Debüt ist ein Debüt. Terence Young wusste einfach, wie man Bond-Filme macht. ___ Bond-Song: "From Russia with Love" (Matt Monro)
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The best Bond movie with Sean Connery. Or rather... The best Bond movie ever. Significantly different that the rest and more of a classic cloak-and-dagger movie. However it’s the most serious one and thrilling at the same time, a bit tongue in cheek with a lot of action and also quite realistic in places. For instance the fight in the train compartment is the type of a physical action which you don’t usually find in a standard Bond movie (well at least not until Craig’s arrival).
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A deviant contribution to the British film crown jewels, but one that brings a heap of contradictions. For some, this is the very signature of Bond, one they would like to see more often, and I acknowledge that the tough battle with the cold spy adversary is among the best that the sixties adventures could offer. However, watching it with the removal of six decades is sometimes painful because a disastrous first half precedes a thrilling second half. In the first half, empty dialogue is carried out, episodic scenes are chained together, and opponents of 007's sexist face have a field day. The highly positioned female antagonist is portrayed as an ugly box, and as a reward for saving the group, the main hero is reluctantly offered two women from the local community. And there are lots of other things that are too much a product of their time, causing my smile to twist into a cringe unnecessarily often. Sean Connery himself, of course, plays it with a charm all his own, but this time it almost wasn't enough.
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Recently, I visited a museum where I could admire ladies' dresses from leading tailor salons of the First Republic, which were intended for women from higher society. I say "could admire," but I didn't, because it was clear that the ravages of time had worked relentlessly not only on the faded colors but also on the once bold patterns and cuts. What used to dazzle is now just an item in the museum's inventory. I have a similar feeling about the early Bond films. The series about the unbeatable agent of Her Majesty has always been considered by me as a purely marginal part of cinema, and above all, the films from the 60s and 70s are fixed in my mind as museum exhibits. Bond films from the 90s started to become interesting with their sets, special effects, and action, but I only fully embraced their universe with the arrival of Daniel Craig - he became the first Bond whom I believed in as this invincible action hero. The trashy nature of From Russia with Love is evident, but not significant enough to make the film entertaining in and of itself. Some detachment is noticeable in the film, but it is not sufficient. It takes itself too seriously considering how naive the whole plot appears today and how clumsily it works in terms of the action. While I can choose from four genres in the film's header, the only one that would hold up today, namely comedy, is missing and unfortunately was not intended this way. I almost dozed off during the most dynamic action scene, the attack on the gypsy camp. I give the claim that Sean Connery is the only authentic Bond the same weight as the claim that little green men from Mars control us. Overall impression: 45%.
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Classic Bond. A better script, more one liners, explosions and action; the fight on the train in particular is very good. The first villain babe, numbers, a shoe with a knife and a gorgeous Bond-girl. And JimBo comes back in Goldfinger.
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It's unbelievable how this film from 1963, which was already completely different in terms of filmmaking, managed to inspire and captivate me. Bond's lines and grimaces haven't aged even after 50 years. Some effects are naturally clunky, but the can be tolerated thanks to the pace and strong script. Excellent villains, a fantastic fight on a train, and above all, an incredible pace. Compared to the first installment, it's a huge leap forward. I expected to watch it more out of obligation, but I devoured it with unexpected enthusiasm. Even back then, they were able to beautifully utilize the settings – Istanbul and Venice – with a sense for excellent cinematography.
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Wenn ich den besten James-Bond-Film von Connery nennen sollte, wäre es James Bond 007 – Liebesgrüsse aus Moskau. Er hat die interessanteste Handlung. Actionszenen gibt es eher wenige, aber wenn schon, dann lohnt es sich. Mir fallen jetzt z. B. die legendäre (und zu Recht gelobte) Szene im Zugabteil, die Hubschrauberverfolgung oder der Überfall des Zigeunerlagers ein. Die Filmemacher haben jedes Mal ihr Bestes gegeben und eine solide Arbeit geleistet. In der Handlung findet man interessante Wendungen. Am meisten macht es aber Spaß, die Entwicklung der Beziehung von Bond und Romanova zu beobachten. John Barry, Youngs sorgfältige Regie, die zu diesem langsameren, aber spannenden Werk ausgezeichnet passt, Blofeld und die Hexe aller Hexen… Man kann einfach nicht unzufrieden sein.
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More money, more steel. After the grand success of Dr. No, the budget for the next installment was doubled, and thus could have been spent on helicopters, speed boats, multifunctional briefcases, and penicillin injections for James Bond, who this time left-handedly fucks not only his young paramours, but also a Russian agent and two rambunctious gypsies, all of which occurs with a casual flair that the makers of Fast Money could only dream of. Two-thirds of the way through, Agent 007's second adventure manages to keep you constantly on tenterhooks with its unpredictable script and a sense of omnipresent eyes and ears, thanks largely to a clever and down-to-earth screenplay that, despite the extensive exposition, doesn't drag its feet into overblown ambitions of world domination, but instead narrows its premises the more the film progresses. Except, of course, for the final helicopter and boat shenanigans, which were an afterthought to give the film an action-packed climax. Unfortunately, they also make the whole impression of the finale feel fragmented in both pace and mood, and the whole film comes out from under the Bridge of Sighs somewhat empty. The best part is once again a mentally underdeveloped Bond girl who trades a prestigious job as a spy for the chance to be the next trophy of a dude who grabs girls by the arm as a matter of course.
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Durch die heutige Optik betrachtet kam mir ein Drittel stellenweise fast lächerlich und von der Handlung her sehr verwirrend vor. Kaum dass man in den Zug eingestiegen war, ging es interessant los und weiter bis zum abschließenden venezianischen Finale. Ich mag den späteren Bond gespielt von Daniel Craig, und so kenne ich die älteren Teile. Es war somit für mich verwunderlich, dass James Bond 007 - SPECTRE auf der Bühne auftauchte.
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The most genuine spy film of all the Bond films. Connery's Bond met his match in Robert Shaw. SPECTRE and the Soviet Union got a proper hammering, without unnecessary frantic action scenes. It definitely belongs to the best of this genre.
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A much more assured film as a whole, compared to the film "Dr. No". More confident direction, but above all, a more assured performance by Sean Connery, who is fully familiar with this role and presents Bond to us as we like him - self-assured, somewhat cynical, suave, and simply someone we can easily root for. The story has the right pace and there is an excellent villain who remains hidden from us, plus there's that iconic white fluffy cat. This is a motif that has been frequently parodied, which also speaks to how iconic this installment is.
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