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Best known for character dramas such as Alfie (1966), director Lewis Gilbert made his James Bond series debut in the fifth EON and Sean Connery spectacular. In actuality, it is quite believable that Gilbert initially declined Broccoli and Saltzman's advances to direct because; obviously judging from his filmography, he is seemingly a lot more concerned with character depths rather than action extravaganzas. Nevertheless, the Londoner went on to direct three of the series' most expansive instalments with The Spy Who Loved Me (1977) and Moonraker (1979) in addition to this, Connery's first retirement vehicle from the role. The fantasist Roald Dahl doesn't include many instances of his famous dark humour in the screenplay of You Only Live Twice, but hints of his trademark imaginative scenery are very evident. Legendary production designer Ken Adam should take most of the credit however for identifying with the vision of the filmmakers, going a step further, and creating one of the greatest sets ever imagined. Pulling off the impression of having Blofeld's lair inside a volcano was always going to be risky, but the gigantic construction has resulted in one of the most iconic images of the entire James Bond franchise. This showpiece construction, erected at Pinewood Studios, and the original unveiling of Ernst Stavro Blofeld, played with the appropriate degree of menace and intelligence a criminal mastermind would possess by Donald Pleasance, make the finale the most enjoyable and engrossing segment. Ken Adam scored for the second time in the film, after his mammoth crater, for the producers when he managed to secure the services of the now legendary Little Nellie gyrocopter. The last forty years have seen the gadget become one of Bond's most adored ingenious devices, and Q's contraption delivers one of the most adventurous fighting sequences ever filmed, especially for 1967.
The extensive use of Japanese culture however throughout the film contributes to the lack of attractiveness the film possesses in relation to Connery's previous four efforts. Japan itself looks magnificent, especially the volcanic imagery, but the cross-cultural references grow tiresome with the unnecessary wedding sequence and the overt boredom Connery began to feel in the role. The heroines, Aki and Kissy, do nothing to cement a name for themselves as they deliver cringe-worthy performances which not even the grumpy Scotsman can recover. Bond's ally, Tiger Tanaka, is mediocre and could have been used more effectively if portrayed as more of a Japanese Felix Leiter instead of a more personal friend of the superspy.
Nancy Sinatra's theme song is memorable for conveying the necessary Oriental feel of the film and the presence of the rest of the soundtrack adds nicely to the visuals, especially to the interesting fight scene atop the dock facility of Osato Chemicals. Moments such as this add a dimension of much needed splendour to the film, and it's a surprise Gilbert had the perseverance to complete such a difficult picture considering the problems he faced regarding the 'involving' hospitality of the Japanese people and press.
The extras
This is actually one of the best of the 'Ultimate Edition' series. The commentary on Disc One is insightful with the usual flitting between cast and crew members which is seemingly customary on all of Connery's discs. Ken Adam's production film is an excellent inclusion as it highlights his own thoughts on his personal crowning achievement of the crater and also shows Connery clowning around. The "Whicker's World" featurette is another good addition as the audience is greeted with a rare look at Connery without his toupee on the set. The "Welcome to Japan Mr Bond" featurette steals the show however. At 50 minutes long one is treated to a great original documentary through the eyes of Miss Moneypenny on the thought of Bond getting married as she skims through all of the girls of Connery's era. Q is also very entertaining in this 1960s segment. "Inside You Only Live Twice" is the standard 30 minute documentary which delivers more insight into the production process. "Silhouettes: The James Bond Titles" is a brilliant look at Maurice Binder's achievements with the title sequences over the course of the whole franchise, ending with Licence to Kill (1989). The film has been restored wonderfully and basic television and radio spots are also available.
The summary
A decent enough outing for 007 even if Connery doesn't possess his usual bravado to fully compliment the stunning visuals. The iconic volcano and Q's Little Nellie are worthy highlights in Lewis Gilbert's Oriental Bond yarn however.
