MASTER PLAN: get a special device (the ATAC) to the Soviets. By this point in the Bond film series, one can see an odd pattern, in that the Moore Bonders either follow or parallel the Connery Bonders, in order: Live and Let Die, Moore's first, parallels Connery's first, Dr. No, returning to the Caribbean locations and including a character named Quarrel. The Man With the Golden Gun is similar to From Russia With Love, in that the plot is small scale, with hardly any gadgetry. The Spy Who Loved Me is Moore's best, as grand as Connery's Goldfinger, with a similar megalomaniac villain. Moonraker followed the outer space theme of You Only Live Twice, with a huge budget.
And now we have For Your Eyes Only, which follows up On Her Majesty's Secret Service with the same ski chases & stunts, and the teaser begins with Bond visiting his wife's grave-site - the wife who was killed in On Her Majesty's Secret Service. The teaser, where-in Bond has his final encounter with Blofeld (also from the earlier film, but he's not named & his face is not shown here), ends on a very tongue-in-cheek note, but most of the film after the credits is fairly serious in approach, with just a few small silly unobtrusive jokes here and there. Sheena Easton sings the title song; it's fairly well done, smooth, but unspectacular. This is probably Moore's 2nd-best Bonder after The Spy Who Loved Me, but one must keep in mind that most of Moore's Bond films were sub-par.
This was John Glen's first directing job after editing several of the previous Bonders; he'd return for the rest of Moore's run and both Dalton efforts. He brings a steady, assured hand to the proceedings, a 'back-to-basics' approach after the excesses of Moonraker. And, it's probably a bit too basic - quite professional, but there do not seem to be any scenes which really stand out, as in a few of the better Bonders. M is 'on leave' here (actor Bernard Lee passed away around this time), and Bond is raked over the coals by a couple other high ranking Brits; Bond is barely tolerated in this one. Q has some extended scenes; there's a now-crude display of computer technology involving an 'identigraph' which must have looked cool back then.
Bond travels to Greece to seek out a sunken ship and runs across a femme fatale (Bouquet) whose parents were killed by an assassin employed by the main villain. The locale is nice and Glen stresses a lot of chasing on narrow roads and on the ski slopes (in Italy now). The villains, like everything else, are not very memorable, including a Nordic super-henchman, but the plot and suspense engage the viewer while the story proceeds at a fairly good pace and you won't get too bored. Moore was now in his early fifties and while his scenes with the in-her-mid-twenties Bouquet may still work with the more open-minded, the subplot of the teen played by actress Johnson wooing him will probably make most viewers cringe a bit - if they're not grinning and shaking their heads. Moore was at his best when with the more mature Countess character and pushing bad guys off cliffs. He would return in Octopussy.