A View to a Kill is not one of the more widely discussed Bond films, although it closed the Roger Moore era entire style of Bond movie produced since 1973. portrayal of Bond may be eternally debated by 007 aficionados. However, for younger fans, Roger Moore was James Bond, a as Sean Connery was to the "oldsters".

Prior to filming, Moore announced his retirement from the role, and on this occasion he appeared adamant. However, Cubby
Broccoli's determination to test other actors for the 007 role, Roger decided to enlist for one last hitch as Bond. What motivated Moore's turnaround? It's easier to sweat top secret information out of Bond than it is to get a straight answer from Moore. Commenting the press, he explained: "Actually, I'm playing Bond again because feel sorry for Cubby. He'll have a terrible job finding someone else who works as cheaply as I do." He then added with characteristic self-mockery, "I'm glad people are still misguided enough to employ me!" As usual, contractual challenges were merely the tip of the iceberg in bringing the story to theatre screens. Just before production began Eon received the shocking news that the 007 Stage at Pinewood had been burned to the ground, jeopardising the start date for filming. Due to the sheer scope of the film, no other sound stage could accommodate the requirements of the filmmakers. Yet, postponing production could have been catastrophic, as the cast and crew would be moving on to other projects. The solution? In an incredible feat worthy Bond himself, Broccoli insured that the entire stage was ready within four months. To honour Cubby, Pinewood renamed resurrected work, "The Albert R. Broccoli 007 Stage". The press attended the Grand Re-opening ceremony, hosted by Roger Moore and Tanya Roberts.

Typically, the logistics of bringing a Bond film to the screen proved enormous. Witness the pre-credit sequence, set in Siberia. Bond must escape his pursuers by utilising skis, snowmobiles, and finally a snow surfboard, allowing him to coast atop the frozen tundra. The sequence was filmed at Glacier Lake in Iceland, and Vadrietta di Scersen, a locale in the Swiss Alps. The snow-surfing double for Roger Moore was a young American named Steve Link, a world champion in the sport. His task was Herculean, as the cavernous openings in the ice were capable of swallowing an unsuspecting skier. Other challenges came in the shape of the Eiffel Tower, California's Golden Gate Bridge, and downtown San Francisco.

In Paris, city officials were understandably reluctant to grant permission to film Bond's chase of May Day up the Eiffel Tower, where the villainess was to parachute off the edifice onto a waiting boat on the Seine River. But Broccoli carried enough prestige, and gained permission to film the sequence in the early morning hours with the minimum disruption to traffic. In true Bondian fashion, one take proved to be all that was necessary.

San Francisco City officials delighted Eon by co-operating fully. Permission was granted for City or to be set ablaze (under close control) and for a spectacular chase in which the police force is practically demolished while pursuing a fire truck commandeered by 007. For the film's breathtaking climax Bond dangles perilously from a tow rope attached to Zorin’s blimp as it approaches the Golden Gate Bridge. The stunt was achieved by Moore’s double, wearing a harmless as he was swept through the sky at 750 feet above San Francisco Bay. For camera close-ups of the principles, who engage in a struggle to the death on top of the bridge, three duplicate stage sets were built at Pinewood, each of which was fifty feet high.

View’s production schedule accelerated at a whirlwind pace, with up to six units shooting simultaneously. extensive time and effort were required or an "explosive" sequence where Walken double crosses his men by detonating a series of bombs in a silver mine, causing the river above to come flooding through - one million gallons of water stored in a specially constructed reservoir were used.

The casting in this film is almost perfect - the key word being almost. Tanya Roberts’ performance inspires unintentional laughter, despite her earlier assurances that Stacey Sutton would not be just another dumb blonde. That bravado gains little support when she must be warned that Zorin’s blimp is "sneaking" up on her. One might ask how a blimp the size of a tennis stadium can sneak up on anyone; but it seems logical for Roberts’ character.

Far more interesting is Grace Jones as May Day. Lean, mean and Herculean in stand-off, she is one of the most fascinating Bond villains in recent years. Jones is every bit a match for Bond both on the battlefield and in the bedroom. There is a hilarious scene as Bond attempts to seduce Jones, only to have the latter seem a position dominating the world's greatest chauvinist. As Zorin, Christopher Walken plays the villain in an affable, boyish way. His plan - to gain a monopoly of the world's micro chip market by destroying Silicon Valley - is less than an obsessive dull an amusing time-killer for a filthy rich psychopath. Zorin is a product of obscene genetics experiments undertaken by his mentor, a Nazi war criminal.

On the supporting front, View marks the last Bond film blessed with Lois Maxwell’s portrayal of Miss Moneypenny. it is touching to watch the by-play between Moore and Moneypenny, and one is grateful for the wonderful scenes Lois has contributed to the Bond saga. Patrick MacNee, a special agent in his own right via The Avengers, has a rather brief role as Bond’s confederate helping to penetrate Zorin’s lair. Unfortunately, McNee is strangled by Grace Jones as his Rolls Royce enters a car wash, no less! Worthy of special mention is Duran Duran’s title song which is one of the most inspired and exciting of the series.

View clicked at the box office, particularly in markets outside of the United States. Some critics, however, were unfairly harsh in their treatment of Roger Moore. As for the continued success of the series, Cubby Broccoli said: "It seems to work. [The formula] has been going on now for twenty-four years. Maybe we’re doing something right." How is that for an understatement!