James Bond

The release this month of the 23rd Bond film, Skyfall, coincides with the 50th anniversary ofJames Bond's first appearance on the silver screen. Klaus Dodds looks back on half a century of 007.

Shaken andStirred

His word is his Bond: IanFleming photographedin 1963 and (inset) thecover of a first edition ofCasino Royaie.

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James Bond

On October 5th, 1962 Dr No premiered at theLondon Pavilion and made a relativelyunknown Scottish actor, Sean Connery astar. Sent to Jamaica to investigate a suspi-

cious disappearance, the British spy James Bond (007)eventually tracks the killer and a previously unknownsecret organisation to Crab Key. With the help of aninnocent girl called Honey Ryder, famously dressed in awhite bikini. Bond confronts the first of many evilgeniuses intent on implementing plans for globaldomination. Dr No, a disfigured but gifted scientist,reveals that he works for SPECTRE (Special Executivefor Counter-Intelligence, Terrorism and Revenge andExtortion). The organisation is planning to sabotagethe US space programme in nearby Florida in order towreak havoc and trigger a conflict between East andWest. SPECTRE hopes the United States will attack theSoviet Union in retaliation. Bond, after evading captureand assassination, kills Dr No and scuppers the plot.

The film was a commercial success, even if thetrade press reviews were mixed. With a budget of $1million it generated nearly $60 million in box officereceipts and thus initiated an extraordinary chapter incinematic history. This is all the more remarkablegiven that there were disagreements over who shouldplay James Bond, arguments over the rights to theoriginal novels and unease among some Hollywoodstudios that the film was both 'too British' and exces-sively'sexualized'. It would have taken a brave personto predict with confidence at that time that Dr Nowould lead to over 20 other films, making Bond aBritish icon admired and imitated around the world.Since 1961 Bond has been watched in some form oranother by over one billion people. Bond is big busi-ness. The latest production will have a budget of $ 150-$200 million and will expect to earn around $550-$600 million in global box office takings. As a filmicformula the Bond series has proven remarkablyresilient over 50 years.

Emerging BondBut why has Bond proven so popular? Created by IanFleming ( 1908-64) on the basis of his wartime experi-ence in Whitehall in the Naval Intelligence Division(NID) ofthe Admiralty, James Bond made his debutin the novel Casino Royale (1953). The activities ofBond, a field agent, stood in contrast to Fleming'sown wartime career that had been largely desk-bound. Nevertheless it had given him an opportunityto observe and even help plan daring intelligenceoperations involving highly trained men in France,North Africa, Sicily and Germany at the tail end ofthewar. A man's man. Bond was tough, resourceful andwilling to carry out his orders with ruthlessness.Written for apparently 'warm blooded heterosexuals'waiting for their trains and planes, the women in thebooks are portrayed either as simple love-interests ordevious, hideous threats (such as Colonel Rosa Klebbin From Russia with Love, for example). Morecomplex female characters only emerged in the laterfilms, such as Grace Jones' Mayday {A View to a Kill),Halle Berry's Jinx {Die Another Day) and Eva Green'sVesper {Casino Royale).

A gamble: Sean Connery as007 in the first Bond film,Dr No, 1962.

Penned at Goldeneye, his Jamaica home. CasinoRoyale was not an immediate publishing sensation.Sales were indifferent, even with the introduction of acartoon strip in the Daily Express. Paul Johnson,writing in the New Statesman in 1958, was sharplycritical of Fleming's descriptions of what he termed,'sex, snobbery and sadism'. {Casino Royale has anexplicit description of Bond's grisly torture by hisenemies.) What helped to turn indifference intoworldwide popularity was an endorsement by the USpresident John F. Kennedy. A wartime hero and hyper-masculine figure, it was perhaps not surprising thatKennedy should admire James Bond (he particularlyliked From Russia with Love, 1957). His brotherRobert was also a fan and the two of them helped tomake Bond a household name on both sides oftheAtlantic. In her published letters (1985), Fleming'swife Ann provides some memorable accounts of herhusband meeting with the Kennedys and their sharedpassion for this fictional man of action who enjoyedthe good life. In stark contrast to the grim experiencesof austerity and drabness, both Bond and theKennedys stood for something altogether moreexciting, chic and virile. The president later arrangedfor a private showing of Dr No in the White Houseand Fleming got to share with the CIA his ideas abouthow to deal with Castro's seizure of power in Cuba.Sadly, John Kennedy did not live long enough to seethe premiere of From Russia with Love (1963) and IanFleming was dead by the time Goldfinger appeared inSeptember 1964.

Who dares winsTwo men, Albert Broccoli and Harry Saltzman wereinstrumental in bringing the Bond phenomenon tothe big screen. In 1961 they bought the rights to all the

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James Bond

Love interest: SeanConnery and UrsulaAndress in Or No.

Charles Gray playing thevillain Ernst Stavro Blofeld,head of SPECTRE, inDiamonds are Forever,1971.

Fleming novels with the exception of Casino Royale.Under the auspices of EON productions. Broccoli andSaltzman co-produced all the Bond filins until 1975, withthe exception of Thunderball, which involved a thirdparty, Kevin McClory, and was the subject of a contro-versy over film rights. Broccoli and his family directedsubsequent productions. United Artists in alliancewith EON productions distributed the films worldwidefor several decades. Others were also instrimiental in

the success of the films. Both the screenwriter, RichardMaibaum, and the designer. Ken Adam, had a longassociation with the Bond series, bringing to theproductions expertise and stunning designs, vividlyconveying to audiences the threats and dangers Bondfaced when confronting ruthless enemies.

The Bond films are action thrillers with genericqualities that follow a clear formula. A simple butdramatic narrative arc was established from the

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James Bond

outset. A film opens with a scene setter giving back-ground information and establishing some of the keyplayers. Bond is often shown completing anothermission. Thereafter he is informed of his new missionby his controller M in his London office. After somebrief exchanges with M's secretary. Miss Moneypenny,and sometimes with Q, head of Q branch andsuppliers of bespoke agent equipment. Bond sets outinto the field. There, while gathering intelligence andconfronting dramatic situations, he encounters acoterie of allies, lovers and enemies. Mission comple-tion is signalled by his killing the evil genius andthwarting a fiendish plan. Bond then has time to re-engage with his love interest, usually in some romanticor remote location.

A very British snobberySean Connery's portrayal of Bond (1962-67 and1971), with due emphasis on his physical presence,masculine prowess and sardonic wit, established thisgeneric identity. A very British kind of snobbery wasinjected into the conventions ofthe Cold War spythriller (as seen in Erom Russia with Love, regardingdrinking wine). This was to change somewhat withGeorge Lazenby's only performance as Bond in OnHer Majesty's Secret Service {1969), which depicted 007as far more vulnerable and genuinely struggling tocombine his love for a woman, Tracy, with his duty asa professional spy. The box office takings for this film,however, were noticeably lower than those ofConnery's era and, after recalling Connery for a lastouting in Diamonds are Eorever ( 1971 ), the franchise

A design by Ken Adam forthe set of Vou Only LiveTwice, ^967.

turned to a successful television actor, Roger Moore,who made seven Bond films between 1973 and 1985.

Timothy Dalton's brooding and embittered Bond(1987,1989) replaced the smooth-talking comedieone-liners associated with Moore, who had investedthe character with an unstinting sense of loyalty toQueen and country. In Licence to Kill {1989), Dalton'sBond defies an order from M and ofî ers his resigna-tion. Angry at the loss of his fi-iend, Felix Leiter, heembarks on a mission designed to exact revenge on adrug dealer. Pierce Brosnan's Bond, the final 007before Daniel Craig's emergence, returns to a moreup-beat version of Bond and British identity.Brosnan's Bond is more spectacular and dramatic - heflies planes and drives more dangerously, escapingfrom ever more challenging situations, including adoomed submarine ( The World is Not Enough, 1999)and a disintegrating aircraft {Die Another Day, 2002).

Gadgets, girls and glamourOver the years a balance has been struck betweenrespecting the defining elements ofthe genre and re-working the character of Bond. But while he can bemoodier, darker and at times witty. Bond's hetero-sexual nature and heroism remain consistently intact.He is on the face of it a very English/British hero, butone in which the Bond franchise has been keen not toalienate the North American market by investing toomany British mannerisms in his character. Represen-tations of central London, such as Wliitehall, the MI6buildings. Houses of Parliament and Trafalgar Squarereinforce Bond's association with Britain. But if Bond

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James Bond

can represent Queen and country then he is also ableto do so in a knowing and, at times, callous manner.

Three elements of the James Bond series have espe-cially helped broaden its reach in terms of globalmarkets. The first involves Bond's relationship to tech-nology and gadgets, in particular. While the filmsoften feature spectacular aircraft, ships and cars,gadgets serve a number of different crucial purposes -they facilitate his missions, impress his friends andstun his adversaries, they save his life and sometimesthey save the world. Bond's understanding of tech-nology is vital to his success and durability. Whenissued with new kit by Q Branch, he may be initiallyinsolent about the special pistol, explosive fountainpen. X-ray glasses or miniature breathing unit but, outin the field, he quickly shows a capacity to masterthese devices. However Bond's occasional dependenceon gadgets in no way undermines his masculineprowess: in his capable hands objects are, in effect,expressive of his capabilities.

The second element that has helped the popularityof the franchise has been the role of locations in thefilms. Bond travels often and the audience isfrequently transported to famous sites or attractivelooking settings. From the outset the films have show-cased exotic locations. By 1967 Connery's Bond hadcompleted missions in Jamaica, Turkey, Yugoslavia,the Bahamas and Japan, when for most people at thetime international travel was the preserve of the richand famous. In the Roger Moore era ( 1973-84) thefilms incorporate an A-Z of magnificent destinations,fi-om the Arctic {A View to a Kill) to Thailand {Liveand Lei Dî'e), while taking in Brazil {Moonraker),Egypt and Sardinia {The Spy who Loved Me), Greece{For Your Eyes Only) and India {Octopussy). Thisfeature has continued. Locations are rarely drab unlessthey are conveying Cold War Eastern Europe or theSoviet Union.

The locations also allow the staging of dramaticaction with notable structures (such as buildings andbridges) employed to animate the storyline. Lesspicturesque settings are also significant; for example,M's office. Here, behind the façade of'UniversalExports', Bond picked up his instructions and enjoyedflirtatious banter with Miss Moneypenny for many years.

Albert Broccoli and HarrySaltzman with RogerMoore on the set of Liveand Let Die, ^973.

From the Archive

\ The Search for the( Real James BondJ Andrew CookH7

relates the story of SidneyReilly - the inspiration forthe fictional James Bond.www.historytoday.com/archive

Audiences came to expect and enjoy this element,which disappeared with the introduction of a new M(played by Judi Dench) in a very different kind ofoffice in the Brosnan and Craig eras. The shift helpedto propel Bond into a new, post-Cold War era,refreshing the Bond storyline at the same time.

The final element of the Bond success storyinvolves the so-called Bond girls. Critics havefrequently derided the films for their sexist, evenmisogynistic, qualities. At their worst, women werepresent either to be saved by Bond or to act asromantic interest. In the earliest phase, the girls werevery much identified as British (for example. HonorBlackman and Diana Rigg) and culturally aligned withBond. This changed in the 1970s when a new genera-tion of females often acting as allies, were introduced,in the aftermath of the CIA agent Felix Leiter. Both thecharacters Rosie Carver {Live and Let Die, 1973) andHolly Goodhead {Moonraker, 1979) embody Amer-ican interests, even if they eventually succumb to 007'scharms. Later films such as Licence to Kill (1989)maintained the presence of a female American ally butone less tied to the CIA.

The 1990s onwards marked a distinct shifttowards Bond girls who were more of a physical andintellectual match for Bond. The best example is Jinxin Die Another Day (2002), who acts as a protagonistin her own right, rather than simply following Bond.The very English character Vesper Lynd in CasinoRoyale (2006) also avoids the earlier stereotype. In astriking encounter with Bond on a train she estab-lishes her intellectual and psychological credentialsby identifying him insightfully as someone burdenedby emotional baggage. Lynd proves herself to be bothloyal and affectionate to Bond, yet she is far fromsimple eye candy. If anything, it is Daniel Craig'scharacter (and indeed body) that is the object ofconsideration. Memorably, the camera lingers onBond's naked body during a torture session with hisadversary, LeChiffre.

Radical departureThe James Bond phenomena persists not only becauseit rests on a successful formula but because of the will-ingness to adapt that formula. There are elements ofcontinuity and change. The introduction of DanielCraig was significant in re-booting Bond and Craig'sperformance was on the whole critically acclaimed.Casino Royale and Quantum of Solace are a differentkind of Bond film, released in an era of high quality,spy-based television dramas (such as 24 and Spooks),many of which were inspired by 9/11 and the onset ofthe War on Terror.

Mindful of the criticisms of Die Another Day, thepublicity leading up to the release of Casino Royaleprepared audiences for a shift in mood by depicting abrooding and introspective Bond. The CIA's FelixLeiter is played by the African-American actor JeffreyWright. The relationship between the two men is moreprominent even to the point of Leiter saving Bond's lifefi-om a CIA assassination plot. Both Craig films payhomage to the Bond legacy through references to pastcharacters and incidents. In Quantum of Solace (2008)

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James Bond

Thrill of the chase: anaction shot from the SpyWho Loved Me, ^977.

Packing a punch: RogerMoore in Moonraker, 1979.

the British operative Strawberry Fields is found deadon a bed covered in ou. Bond fans will immediatelyrecognise the parallel with Jill Masterson's demise inColdfinger ( 1964). Oil, however, is the new gold.

These most recent films mark a radical departurein the Bond portfolio. The biggest change is the way inwhich Bond's character is depicted. With its film noirinspired opening. Casino Royale outlines Bond's intro-duction to 00 status. His first two sanctioned killingsare vividly portrayed and Bond's psychological state isshown to be both fraught and fragile. He no longerresembles the invincible hero and is shown to bevulnerable and sensitive about his orphan back-ground. Rather than being a loyal and unquestioningsecret agent. Bond becomes a security risk to M, as his

anger over Vesper's death in Venice leads him to seekout those responsible. His violent pursuit of theQuantum network is driven more by his desire toavenge her death than by a sense of duty to complete amission for the British government. Just beforearriving in Venice Bond even resigns from MI6, amove he only considers in the original book.

Rather than depicting Bond embarking on a newmission. Quantum of Solace is a companion piecefollowing this trajectory. It traces Bond's evolving rela-tionship with M and with Leiter and reflects on Bond'sstruggle to come to terms with the loss of Vesper. Heremains an unstable secret agent and his devotion toduty is less assured, as he remains consumed withanger and hurt over Lynd's death.

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James Bond

With the introduction of Craig, the Bond franchisehas taken narrative and representational risks. Bond'scharacter is more closely aligned with contemporaryaction thrillers (such as the Batman and Bourneseries) and yet this recognisably Hollywood actionhero speaks with a British accent and retains Britishmannerisms, such as sarcasm, irony and understate-ment. But this Bond is not a traditional Britishgentleman spy.

The Bond legacyAs Bond returns this month to pursue the elusiveQuantum network in Skyfall he will be required totackle personal and professional challenges in a worlddepicted as confusing, hyper-mobile and alwaysshadowy. We can expect that the next state-sanctionedmission might well struggle to be reconciled with hispersonal mission of revenge.

James Bond's impact on popular culture remainsmulti-faceted and it is interesting, too, in relation topopular geopolitics. The Bond films helped to drama-tise and depict the Cold War around the world.Timing and prescience mattered in this regard. InOctober 1962 the world was brought to the brink of aThird World War as the two superpowers found them-selves at loggerheads over the future of Cuba and thepresence of nuclear weapons on that Caribbeanisland. The script for Dr No appeared clairvoyant, withits gloomy storyline involving two superpowerspotentially being drawn into conflict. The writers andproducers ofthe films showed how it was possible toexperiment with the geopolitical landscape and depictSPECTRE operatives working inside and outsideconventional intelligence agencies and armed forces.

The prophetic qualities of James Bond and ColdWar geopolitics endured beyond the 1960s. In Moon-raker {1979) Bond tackles a Hitler-like villain (HugoDrax) who is planning to wipe out the human race

from the vantage point of outer space. AnticipatingRonald Reagan and his Strategic Defence Initiative('Star Wars') in the early to mid-1980s, the film showsin a shocking manner the militarisation of outerspace. In a dramatic ending American space shuttlesare launched in order to confront Drax's spacestation. Bond and US space marines eventually foilthe evil genius's plan to devastate planet earth. In sodoing the Bond series reaffirmed its capacity to reflectand intervene in the contemporary world and thistrend has continued, as more recent films havereflected on such themes as the drugs war {Licence toKill), hydrocarbon resources {The World is NotEnough), criminal networks {Casino Royale) androgue states {Die Another Day).

Interestingly, when journalists were looking for waysto explain the al-Qaeda network, references to the Bondfilms involving SPECTRE in the 1960s were made as away of helping readers and listeners to make sense ofthe idea of a transnational terror/criminal network. Themore recent Bond films continue to draw upon andeven anticipate contemporary terrorism, resource warsand a world in which states and their specialist agenciesseek to secure and militarise organisations, objects andprocesses. Bring on Skyfall.

Klaus Dodds is Professor of Geopolitics at Royai i-ioiioway.University of London and autiior of Geopolitics: A Very Shortintroduction (OUP, 2007).

Further Reading

Jeremy Blaci

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