On Her Majesties Secret Service (1969)

Overview

On Her Majesty’s Secret Service (OHMSS), released in 1969, is the sixth official James Bond film and a remarkable outlier in the series. It was the first (and only) appearance of George Lazenby as Bond and marked a return to Ian Fleming’s source material with greater fidelity. Directed by Peter R. Hunt, who had edited earlier Bond films, OHMSS eschews the gadget-heavy spectacle of You Only Live Twice and delivers a more grounded, emotionally charged story — one where Bond falls in love and, for the first and only time, gets married.

Initially divisive due to the casting of a new and unknown actor, OHMSS has grown considerably in stature over the decades. Today, it’s frequently cited as one of the best and most daring Bond films — rich in character, mature in theme, and anchored by one of the most powerful endings in cinematic spy history.

Plot Summary

The film opens with James Bond saving a woman, Tracy di Vicenzo (Diana Rigg), from suicide. She’s the daughter of crime boss Marc-Ange Draco, who offers Bond help in finding Blofeld if Bond will continue courting his troubled daughter.

Bond agrees and soon finds himself falling genuinely in love with Tracy. Meanwhile, MI6’s search for Blofeld leads Bond to the Swiss Alps, where Blofeld (Telly Savalas) has set up a research institute atop Piz Gloria. Posing as a genealogist, Bond infiltrates the facility, discovering that Blofeld is brainwashing a group of young women — his “Angels of Death” — to unwittingly unleash biological warfare across the globe.

After escaping the mountaintop fortress with Tracy’s help, Bond teams up with Draco’s private army to assault Blofeld’s base in a thrilling climax. But in a heart breaking final twist, just after Bond and Tracy are married, Blofeld exacts revenge — killing Tracy in a drive-by shooting.

Direction and Cinematic Style

Peter R. Hunt brings a distinct visual style to OHMSS, combining classic Bond glamour with documentary realism and kinetic editing. He employs whip pans, freeze frames, fast zooms, and point-of-view shots — giving the film a brisk and tactile energy. The action sequences are among the most visceral of the era, with a greater emphasis on physicality and practical effects.

Hunt treats the material with unusual emotional depth, allowing for quiet moments of introspection, romance, and melancholy. The ski chases, casino sequences, and snowy alpine cinematography (courtesy of Michael Reed) are all masterfully executed. The film balances grandeur with grit, never losing sight of the human story at its core.

George Lazenby as James Bond

Much was made of the fact that George Lazenby was a model-turned-actor with no prior screen experience. While he lacks the suaveness and vocal presence of Connery, Lazenby brings surprising sincerity and vulnerability to the role. He’s physically convincing — handling the stunts and fights impressively — and shows real charm in romantic scenes with Diana Rigg.

His Bond is less smirking and more earnest, especially as he falls in love. His delivery falters at times, and the film cheekily acknowledges the recasting in the opening (“This never happened to the other fellow”), but Lazenby ultimately proves himself worthy, particularly in the devastating final scene where his raw, stunned grief is unforgettable.

While he would not return to the role, his single performance left a lasting legacy.

Diana Rigg as Tracy di Vicenzo

Diana Rigg’s Tracy is arguably the best Bond girl of the franchise — not just beautiful and poised, but complex, wounded, and fully realized. Tracy challenges Bond emotionally and intellectually, and their romance feels genuine, developed over time rather than sparked by convenience.

Rigg and Lazenby share real chemistry, and her character’s arc — from suicidal heiress to loving partner — is handled with care. Tracy is no damsel; she races cars, throws punches, and saves Bond’s life. Her tragic fate makes the ending all the more devastating, and Rigg’s performance is critical to its emotional impact.

Telly Savalas as Blofeld

Telly Savalas offers a different take on Ernst Stavro Blofeld — more physical, charismatic, and hands-on than his predecessors. Gone is the faceless puppet master of earlier films; this Blofeld skis, fights, and flirts.

While he doesn’t have the eerie menace of Donald Pleasence, Savalas brings a grounded, Mafioso-like presence. His plan to hold the world ransom with germ warfare is both outlandish and plausible. The only major narrative flaw: Bond and Blofeld met face-to-face in the previous film, yet neither seems to recognize the other here. This continuity lapse has long irked fans.

Still, Savalas is compelling and makes for a worthy adversary.

Supporting Characters

Marc-Ange Draco (Gabriele Ferzetti): Tracy’s father and head of the Union Corse crime syndicate, Draco is a fascinating character — charming and morally ambiguous. His alliance with Bond adds depth to the story and helps facilitate the final assault on Piz Gloria.

Moneypenny, Q, and M: All appear in smaller roles but deliver important emotional beats, especially in the wedding scene, where Moneypenny’s teary expression is telling.

Action and Set Pieces

Beach Fight: The opening brawl is brutal and dynamic, immediately setting a more grounded tone.

Bullfight and Helicopter Arrival: Gorgeous travelogue moments that harken back to classic Bond location shooting.

Ski Chase: One of the most famous Bond sequences, shot with innovative camera techniques that revolutionized action cinema.

Escape from Piz Gloria: High tension, tight pacing, and breath taking landscapes.

Avalanche: Still shocking in its execution, ending with Tracy’s capture.

Final Raid on the Lair: A thrilling, large-scale battle reminiscent of You Only Live Twice, but with more emotional weight.

Wedding and Aftermath: The most powerful ending in the series. Bond cradling Tracy, murmuring, “We have all the time in the world,” as the camera lingers — it’s tragic, poetic, and unforgettable.

Music and Score

John Barry’s score for OHMSS is one of his greatest accomplishments. The main title theme — a stirring instrumental — pulses with urgency and elegance. It’s one of the few Bond films without a lyrical title song, though Barry compensates with:

“We Have All the Time in the World”, performed by Louis Armstrong — a tender love theme that bookends the film’s romantic arc. It’s a heart breaking counterpoint to the film’s climax, and one of the finest musical moments in the franchise.

Barry’s use of Moog synthesizers and layered orchestration gives the film a modern (for the time) edge, while still evoking classical Bond motifs.

Themes and Subtext

Love and Loss: The central romance is not just a narrative device, but the emotional core of the film. Bond’s decision to marry represents his vulnerability and longing for something beyond espionage.

Identity and Humanity: Lazenby’s Bond is more “human” than his predecessors — not invincible, but scarred, in love, and ultimately broken by loss.

Duty vs. Emotion: Bond must constantly choose between the mission and his feelings — and when he finally chooses love, the universe punishes him.

Legacy and Influence

Initially misunderstood and commercially underwhelming compared to Connery’s films, On Her Majesty’s Secret Service has since been re-evaluated as a masterpiece by critics and fans. It’s one of the most faithful Fleming adaptations, with direct dialogue, themes, and structure from the novel.

Its influence is enormous:

Casino Royale (2006) borrows heavily from its emotional tone and character arc.

Spectre references Tracy’s death and features a mountaintop clinic reminiscent of Piz Gloria.

Daniel Craig cited OHMSS as his favourite Bond film, and its impact is clear in the more grounded, serious tone of his tenure.

Final Verdict

On Her Majesty’s Secret Service is a bold, emotionally rich, and elegantly crafted Bond film that dared to show 007 as a human being, not just a super-spy. While George Lazenby lacks Connery’s polish, his sincerity adds depth, and Diana Rigg delivers the franchise’s finest female performance. With its tragic ending, breath taking action, and sumptuous score, OHMSS stands as a testament to what Bond films can be when they trade swagger for soul.