CommanderBond.net
  1. Christoph Waltz signed for BOND 24 as “nemesis”?

    The “Daily Mail”´s Baz Bamigboye has apparently revealed another important cast member of BOND 24: Two-time Oscar winner Christoph Waltz (“Inglorious Basterds”, “Django Unchained”).  He is supposed to play a “nemesis” for Bond (hey, didn´t write John Logan a movie with that title?), and the cunning nature of that character seems to be a wonderful fit for Waltz since he has demonstrated time and again how well he can play that kind of role.

    Bamigboye´s track record is pretty good – so this rumor seems to be solid.  Which would result in another German-speaking actor becoming the opponent in a Bond film – and after Javier Bardem another Oscar winner.  Coincidence?  Nah…

    See the whole story here: http://www.dailymail.co.uk/tvshowbiz/article-2833780/BAZ-BAMIGBOYE-Tarantino-villain-Bond-s-cunning-nemesis.html

    Stefan Rogall @ 2014-11-14
  2. Léa Sedoux rumored to be female lead in BOND 24

    Bond connaisseur Baz Bamigboye broke the news in the Daily Mail that French star actrice Léa Sedoux will play opposite Daniel Craig in BOND 24.

    Sedoux has become an international star after her Cannes winner “Blue is the warmest color” and starring in Quentin Tarantino´s “Inglourious Basterds”, Brad Bird´s “Mission: Impossible 4: Ghost Protocol” and Woody Allen´s “Midnight in Paris”.  Details about her role are still under wraps – but rumor has it she is playing a femme fatale.  Hey, aren´t femmes always fatale for Bond?

    Stefan Rogall @ 2014-10-10
  3. Anthony Horowitz to write new James Bond novel

    Anthony-HorowitzIn an interview with The Guardian earlier this year, bestselling author Anthony Horowitz stated that he’d love to write an adult James Bond novel. Looks like his wish came true, as IFP today announced him as exactly that: the author of the new adult James Bond novel. A worldwide release date has been fixed for September 8th 2015, and it’ll be based on “previously unseen material written by Ian Fleming” – an unused screen treatment for an episode of Ian Flemings planned James Bond TV series named “Murder on Wheels”.

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    Heiko Baumann @ 2014-10-01
  4. BOND 24 will be shot by Hoyte van Hoytema

    With Roger Deakins unavailable Sam Mendes seems to have offered one of the most celebrated new talents to take over as director of photography for BOND 24.  Hoyte van Hoytema recently filmed Christopher Nolan´s upcoming sci-fi film “Interstellar” and received international acclaim last year for his breathtakingly beautiful work on Spike Jonze´s “Her”.  He also shot Tomas Alfredson´s “Let the right one in” and his LeCarré adaptation “Tinker, Tailer, Soldier, Spy”.

    While these news are not yet officially confirmed, you can read all about the industry mumblings here: http://www.hitfix.com/in-contention/her-cinematographer-hoyte-van-hoytema-to-fill-roger-deakins-shoes-on-sam-mendes-bond-24

    Also, thanks to our valued Shrublands for the heads up.

    Stefan Rogall @ 2014-09-17
  5. The 007th Paragraph: For Your Eyes Only

    A literary meditation by Jacques Stewart

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    What’s on television? You might be wondering the same. Touch harsh considering you’ve only read a dozen words. C’mon, Babycakes, make an effort and stick it out. You’ll make an old man very happy.

     

    What’s not on telly is James Bond; at least, not in an original capacity. Ah me, my salad days, those dappled sprigs of youth long-mildewed at the back of the ‘fridge alongside the quince jelly and the postman’s head, a time when a Bond film on tv was a gleesome treat, a highlight of a week already brimful with the underappreciated sunshines of First-World childhood freedom and parental love. Even in one’s teenage years, a Bank Holiday or – especially thrilling – a past-bedtime school night Bond would dissolve my truculent rebellion and pretence of liking poor garb, hair worn below the collar and horrid music.

     

    Progress may have benefits – I now tolerate the wheel, and my loom-smashing days have ceased – but I can’t help feeling that direct access to Bond films via multitudes of electrical thingy (and corresponding immediate opportunity to bitch about them anonymously) has eroded the pleasure of seeing how ITV had butchered a film, lest it corrupt impressionable minds into hollowing out a local volcano, cultivating an additional nipple or flying jetpacks without a helmet. My offspring can up / down / sideload the things immediately (along with stuff I’d prefer not to know about) and the special scarcity of Bond – and equivalent scarcity of good behaviour on my part allowing me to watch it – evaporates. Instantly available, there’s nothing of the (harmlessly) illicit about them any more, presumably why ITV has the temerity to show Licence to Kill at 4 p.m. on a Sunday afternoon, an extraordinarily irresponsible act given that there might be people watching. For that “film”, no butchering’s enough. Mid-afternoon schedule fillers, because we can get them by so many other means, the lustre dwindles. A direct consequence of giving votes to women and ‘sex equality’.

     

    What could have been on television are these stories, although Quantum of Solace needs energising to render it watchable; I’d suggest shaking the camera about. Apparently unwavering in a belief that 007 was fit for tv despite the Card Sense Jimmy Bond shambles, and doubtless associated with the marvellously snobby letter to CBS about Bond’s appeal to poorly-educated Bs and Cs, 1958’s aborted thirteen-episode Bond series finds itself novelised two years on. The clever / lazy trick of adapting abandoned projects Fleming would pull again with Thunderball, albeit “quite a” poor decision with a corrosive legacy.  Whilst it would have been a shame to have some of these tales lie abandoned in first-draft screenplays, the practice suggests increasing frustration in replenishing ideas and authorial interest the more vocal the demand for annualised Bond became.

     

    More benevolently, the short-story format trims the outré excess that dragged Goldfinger down, the brevity emphasising the duality of high living and low killing without pausing for wheezy deliverance of tart opinion. To an extent this succeeds: From a View to a Kill and The Hildebrand Rarity are contained, terse yet characterful admixtures of business and pleasure, with only occasional hiccoughs of pastoral digression, sexual unrealpolitik and dodgy racial observation. For Your Eyes Only sprawls slightly (not totally convinced why it shifts to Canada other than giving Ivar Bryce’s farmhouse a role, presumably jealous that a thinly-disguised Goldeneye kept appearing) but is blessed with a terrific conclusion. Risico is as loose as Ms. Baum herself but again delivers a stirring set-piece with the Lido minefield chase, something missing from the 1981 film (along with pace) although it would have required Uncle Roger to run and, given its aura of “underage”, would have been a different minefield to traverse; one littered with yewtrees.

     

    Quantum of Solace is anomalous, and I’d guess it wasn’t one of the telemovies, although it gives Eon Productions Ian Fleming opportunity to do other (better?) than the restrictive regime of “James Bond” and send a love letter to W. Somerset Maugham and quite the opposite to Mrs F. at the same time. I admire most of what he produced but Fleming himself could be a toxic measle. Writing that can’t have impressed the wife, nor could From Russia with Love’s fixing of 12th August as a day on which Bond finds himself thoroughly bored by the prospect of what it brings, utterly coincidentally Caspar Fleming’s birthday. Gee, thanks Dad. That it turned out to be Fleming’s deathdate, when the blubbery arms of the soft life caught up with him, is probably karma, along with being very weird. I’m not averring that one has to be a vindictive old chisel to write Bond “properly”, although Messrs. Benson and Deaver (inter alia) appear to be splendid, kindly chaps but their contributions… hmm…

     

    Mid-period Bond – 1959 to 1962 – delivers four odd books, each offering different things to varying degrees of success, searching for settled identity, striving to establish where Bond goes, the cash cow’s milk at risk of turning sour if Goldfinger’s tone were to demonstrate a trend.  The sequence has a parallel. Starts with a story delivering crowd-pleasing tics, an Aston Martin and unworkable economic meltdown devised by a British citizen of Eastern European heritage in league with Russians; an adventure that has, on reflection, dated pretty badly. This is followed by an episodic affair in which Bond rides a motorcycle, provokes marital jealousy and spends time in Paris. Next one has 007 starting off unfit for service, something something something about stolen nukes and a conclusion justifying a submarine. Finally, in a wild but wisdomless last gasp, going utterly, utterly mad and unleashing Madonna and an invisible car a female narrator, Bond a bit-part-player in his own life story and secondary to curious artistic decisions. All existing to satisfy the obligation to produce James Bond material, but swerving wildly in the pursuit of a consistent approach. A whiff of going through the motions before roaring back with three tales in which Bond falls in love and is bereaved, goes a bit odd (personally and structurally) in the pursuit of revenge and then, having been missing presumed dead, is sent on an impossible mission against a potentially homosexual foe. So – Fleming’s patchy run of Goldfinger to The Spy who Loved Me inclusive = the Brosnans? OK, so this is wretchedly strained, but that’s in keeping with the Bonds at this juncture, treading water and – whilst not unentertaining and sporadically magical – muddled in moving forward coherently. James Bond’s there, lovely to see him, but hazy what he’s there for.

     

    An alternative view is that these books’ variations, rather than bored attempts to realign, show confidence by an author whose stuff sells regardless, adventurously upholding his underappreciated penchant for experimenting, and the For Your Eyes Only collection is a microcosm of his seriously underestimated breadth, capable of demonstrating five differing characteristics of written 007. Insofar as establishing ingredients of a Bond through spot-testing the seventh chapters was the excuse for this smug prolix dross, there’s a bijou problemette here. For Your Eyes Only has no chapters. If the experiment is worth inflicting, a solution lies in channel-surfing the episodes. Let’s go with paragraphs 1 to 7 of From a View to a Kill; 8 to 14 of For Your Eyes Only; 15 to 21 of Quantum of Solace, with 22 to 28 and 29 to 35 of Risico and The Hildebrand Rarity respectively, to polish us off. This might not work, being too short a selection to demonstrate “range”, or five manifestations of it but, with another portmanteau to come, even this approach might leave insufficient prose to carve into for the likes of the extremely / mercifully brief 007 in New York. That might prove headachey but I’ll burn that bridge when I get to it. Sometimes you have to take the rough with the smooth.

     

    You’ll definitely make an old man very happy, doing that.

     

    The First 007th Paragraphs – From a View to a Kill: “The eyes behind the wide black rubber goggles were cold as flint…”

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    Helmut Schierer @ 2014-09-16
  6. Richard Kiel dies aged 74

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    Richard Kiel, the man who will always be ‘Jaws’ to Bond fans, has died Wednesday at the age of 74 in a hospital in Fresno, California. He was staying there for treatment of his leg he broke the week before. The hospital gave no further details on grounds of patient confidentiality.

     

    Despite being best known for his role as Jaws in The Spy Who Loved Me, Richard Kiel used to be a prolific actor with credits in 65 TV series and 20 feature films, among them The Man from U.N.C.L.E. and Silver Streak. His role of a bizarre steel-toothed henchman in The Spy Who Loved Me is one of the most memorable villains in the long history of the Bond series and was so successful with audiences that the character returned in 1979’s Moonraker. To this day Jaws remains a favourite character in polls and millions of Bond fans all over the world will remember Richard Kiel for the striking intensity he gave this part.

    Team and members of CommanderBond.net want to express their sympathy to the family.

    R.I.P.

    Helmut Schierer @ 2014-09-11
  7. BOND IN MOTION – EXHIBITION IN LONDON

    After the wonderful exhibition “Designing 007″ two years ago, London is once again offering a brilliant chance to see James Bond artifacts up close This time, the exhibition “BOND IN MOTION” concentrates on every Bondian transportation device: the cars, the motorcycles, the planes, the boats, the submarines.  They are all there: the Aston Martin in its many forms, the Lotus Esprit and the Wet Bike (from “The Spy Who Loved Me”), Little Nellie (from “You Only Live Twice”), the Acrostar (from “Octopussy”), heck – everything is here, even the cello case (from “The Living Daylights”), the Burial Bed (from “You Only Live Twice”) and the Honda all-terrain motorcycle (from “Diamonds Are Forever”)!  (Also, you can see some chosen storyboards and Bond´s many passports.)

    To see all those legendary vehicles right in front of you will certainly give any fan goosebumps.  It´s one thing to admire them on the big screen – but to actually have them on display in your reach… well, you obviously cannot touch them.  But you can go around them, marvel at the detailed design (or in the case of the “Quantum of Solace”-Aston Martin DBS feel shocked at the level of damage it has suffered during the PTS).  Also, you wonder how uncomfortable it must be for the actor to actually sit in these cars and mini-planes.  Especially the Acrostar must have given Sir Roger some claustrophobic moments. Housed in the LONDON FILM MUSEUM in Covent Garden, “BOND IN MOTION” is an absolute must-see for any fan or film buff.  It is splendidly presented and absolutely worth the price of admission.

    See details here: http://londonfilmmuseum.com/visit/

    BIM

    Stefan Rogall @ 2014-08-18
  8. Today 50 Years ago: exit Ian Fleming

    ian_flemingOn this day, 12th August 2014, it is 50 years since Ian Lancaster Fleming finally fell victim to a heart attack. With him the world lost a unique writer whose influence on modern pop culture only unfolded its full impact after his death. Fleming himself would have been surprised about the success and longevity of his work. Even half a century after his death one would have to travel to the remotest corners of our globe to find a person not familiar with “James Bond 007″; telling in a time where fame lasts a full five minutes until the next big thing enters the stage and where fashions and fads chase each other around the clock.

    Despite various efforts and contenders the genre of the suspense thriller, literally Fleming’s own, never found an adequate successor for him.

    Ian Fleming remains in a class of his own. He is sorely missed.

    Helmut Schierer @ 2014-08-12
  9. The 007th Chapter: Goldfinger – Thoughts in a DBIII

     

     

    A literary meditation by Jacques Stewart

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    Why write?

     

    To make money? Presumably. Not all do. Fewer should. Colossal drivel out there. In here, too, although you get this for free. Like roadkill, or the ‘flu.

     

    To influence? Goldfinger was my first exposure to anything Bond. Made me the creature I am today. I blame Ian Fleming rather than take any individual responsibility.

     

    To better the world with the outflow of their creativity and express the innermostest innermost of their tortured, yearning souls? Arguable, albeit pretentiously.

     

    To annoy, and have a right old go at people they don’t like so narrative credibility can go boil its bum in Bovril? On the evidence of this novel, undeniable. Insofar as applying to these pieces too, see “influence”, above.

     

    The 007th Chapter of the 007th book. If one believes weirdo Black Magic demented claptrap, this “lucky number seven” stuff promises good fortune. It’s no more weird, blackly magical nor demented as claptrap than the belief that spits diametrically opposed propositions about a man marrying another man (a heinous obscenity) and a man marrying his own rib (obviously totally unmental and the basis of a secure family unit). Should you choose to be offended by that, you’ve probably come to the right place, and definitely so if you:

     

    • are Korean and/or
    • smell of “zoo” and/or
    • drive slowly, be it in either/both the motoring or golfing context and/or
    • are Mexican and/or
    • are teetotal and/or
    • are a pansified Italian and/or
    • are around five foot tall and/or
    • are euphemistically probably Jewish despite unconvincing protestations to the contrary and/or
    • are fat and/or
    • are Chinese and/or
    • are wealthy and/or
    • [… is there anyone interesting left? If you’ve been playing along with “and” rather than “or”, we definitely need to meet; you sound scrumptious]

     

    That’s only the first few chapters, and before we’re dipped in chocolate and thrown to the lesbians. On and on this (relatively) long novel goes, with practically everyone who ever lived getting a kick in the Penfolds. Few escape without (at least) a sideways barb, Fleming injecting into the book all the bitterness of his colossally difficult struggle, that “wealthy layabout elitist journalist drinks his private income and exploits well-connected wife’s literary contacts so he can afford to pretend that all he’s interested in is tropical fish rather than the vulgarity of being seen to try” specie of colossally difficult struggle. Long, stony road from underprivilege, that. With, let’s be kind, rampagingly feeble plotting and extensive pastoral interludes extolling the latest enthusiasm, be it bullion-smuggling, golf, curable lesbians or exuberant xenophobia, it’s the grumpiest of the books, in many ways unappealing misanthropy, and needing a good shave. I know I bang on unedited, but, y’know, influence.

     

    In much the same way as (say) Die Another Day might be a good “James Bond film” because it contains the usual things but is a disastrous “film” when stacked up against anything outside the series, with its slothful pace, threadbare non-plot and appalling attitudes, Goldfinger is a ghastly novel when compared beyond its own kind, in which company it arguably polishes up reasonably well. It definitely has all the requisites exemplified in the 007th Chapters so far, and a few more that go towards building a Fleming Bond archetype:

     

    • Attitudes promulgated to provoke
    • High-living (with associated disdain), rich food (with associated disgust)and carrrdds (with associated… um… excitement, possibly, I dunno)
    • Foreigner-baiting, “exaggeration of an attitude that couldn’t possibly be held and is therefore a joke” beginning to wane as an excuse for unrepentant, attention-seeking racism
    • British Establishment snobbery (not wholly disconnected from the above)
    • Fewer bursts than one might expect of savage action interrupting lengthy digressions on “stuff”
    • A none-too-disciplined attitude towards having it convince; just rumbling towards the bits that interested the writer, and glossing over the rest with a practised aloofness
    • A nice drawing
    • Women! Know your place. Basically, a victim of childhood abuse who ends up dead, submissive or cured, or a combination of these
    • Ridiculous female names. Vesper. Solitaire. Gala. Tiffany Case. Romanova (given its context, it seems absurd). Pussy Galore. Jill.
    • Physical freaks roundly sneerbullied by a schoolboy athlete
    • American gangster clichés
    • The prospect of 007’s genitals accruing significant damage
    • Bond’s contemplation of his job, his income and disillusion with both
    • Hey everyone! It’s they United States! They have food
    • Slightly half-hearted, at-a-distance-and-can’t-really-be-bothered dipping of the toe into the waters of tradecraft, in this instance with the Identicraft and the Homer, in comparison to ages spent eating crabs, being lectured to about gold and roughly forty pages setting up and playing golf
    • Nihilistic fatalism – the first chapter with its conclusion that everyone dies anyway is tremendously bleak
    • Structure games – the Happenstance etc… is funny, and Bond being held captive for so long is a departure from an adventure norm, where the hero fights his way out within seconds
    • Product-placement. Relentless product placement
    • Gentleman’s sports described at length, at which the cheat is himself cheated
    • Name-checking one’s acquaintances, in this case the likes of Blackwell, Blackwell’s cousin’s husband Mr Goldfinger, Raymond Chandler and Alfred Blacking/Whiting. How droll
    • Bond relying on total fluke such as hiding the message in the ‘plane’s loo and Goldfinger’s baffling decision not to butcher him into cutlets but instead recruit him as a P.A following a distinctly homoerotic interview process requiring an oiled-up half-naked mute bodybuilder masseur and buzzsaw-up-the-fudgegun. Fifty Shades of Gold
    • James Bond being passive and clumsy. Fancy getting yourself caught like that
    • Returning characters (Du Pont, the Spangled Mob and a questionable Felix Leiter cameo seemingly for the hell of it)
    • The savagery of the animal kingdom; the patently subhuman zoological specimen of Oddjob being fed a cat being a “highlight”
    • Substantial sexual deviancy, in multiple manifestations
    • Ham sandwiches with plenty of mustard (not wholly disconnected from the above, if in the right mood)
    • Knocking around Kent and the posh bits of London
    • The pesky Russians exploiting a hangover from World War II
    • Bond investigating X – Major Tallon’s murder, Strangways’ murder, gold smuggling – turning into exposing a lunatic masterplan with dubious scientific veracity but probably terribly exciting nonetheless
    • ‘Planes, trains and automobiles, the latter driven thuggishly.

     

    I’m happy to assert this list as keystone Fleming Bond, despite risking meaning the 007th Chapter exercise is done. Oh, cheer not: there may yet be attributes to ascertain, but that run-through brings all the previous books into this one whole. On the one hand, that makes Goldfinger a dream Bond book – it’s got everything. Trouble is, that renders it as bloated as its eponymous villain. If written by someone else, it would be lampoon, tipping the individual ridiculous attributes into excess. Emanating from the original author, it’s hard to avoid the smell and smoke and sweat of indulged self-parody, one that was bound to sell and no-one had the guts – or the financial desire – to tell him to simmer it down a nadge. This is as far as it could go and the strain shows, I fear, particularly in narrative credibility. The traditional legerdemain of papering over lacunae with extensive description of peripheral incident (e.g. golf) now looks diversionary and idle rather than daffy and charming.

     

    Whilst books and short stories yet to come may take one or more of these elements further, I’m pretty confident nothing left to come includes them all to the extent that this does. Just as with GoldenEye and Die Another Day it’s a Greatest Hits package to keep the fans immediately sated but once the superficial thrill of first encounter dissipates, we’re left wondering whether it hasn’t cheated us by emitting little that was fresh. Fortunately, the remaining Flemings don’t go down this route but, despite the books from 1960 to the end containing much of interest and novelty, a fondness for short stories and borrowing other people’s work may suggest that the excess and overkill of Goldfinger exhausted (or bored) him. The film version is readily – if lazily – seen as the Bond archetype, a model for the films that followed (for good or ill); the book, conversely, exemplifies written Bond of the 1950s but query whether it was too rich a feast of the stale.

     

    If, as happened to me, this was the first one you read, eminently possible due to a famous title, you might – as also happened to me, initially – consider other Flemings lesser because they didn’t include all “the stuff”. A similar phenomenon is observable with folks for whom their first Bond film was that merciless slog of reheated guff GoldenEye, when required to contemplate (say) The Living Daylights or Quantum of Solace. Without wanting to provoke an argument about the films, insofar as the books went I was mistaken. Because it has everything, Goldfinger is the weaker for it, leaking at the seals. Appealing characters, some (albeit not much) suspense but a directionless, complacent amble through overblown crowd-pleasing. When that happens with the films, people demand “they now need to make a For Your Eyes Only”.

     

    Good idea.

     

     

    The 007th Chapter – Goldfinger: Thoughts in a DB III

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    Helmut Schierer @ 2014-08-07
  10. The 007th Chapter: Dr No – Night Passage

    A literary meditation by Jacques Stewart

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    “Well, everybody needs a hobby.”
                    “So what’s yours?”
                    “Resurrection.”
                    “I’m sorry, did you just say ‘erection’? Oh, you I like. Bip.” [Gurns a very silly face]
    Deleted scene: Skyfall (2012)

     
    Back to life; back to reality. Or not. An altered state, anyway. Having tumbled /crumbled, a medically incapable and psychologically semi-detached James Bond’s fitness is openly criticised, so an underimpressed M banishes him to Shanghai Jamaica to redeem himself against a villain with a terrible reputation telegraphed far in advance of meeting him. So far, so The Man with Golden Gun Dr No. Patterns emerge, which is a kindly way of suggesting that there’s a finite amount of originality that “James Bond” can sustain. 

     

     

    What makes you think it’s his first time?

     

     

    Resurrected from a near-death experience, 007 emerges changed. At least, there’s a marked shift in the attitude towards him, not least from folks one would expect to be on his side.  Including his biographer. Those who criticise Skyfall as having shoved the formative Bond of the first two Craigs too far forward, depicting him in decrepitude, ignore that barely six stories in Fleming is much harder on his creation than post-2006 Eon Productions is yet to be. Arguably, the current run of films are close enough to the spirit (if not the letter) of what was written that the equally clapped-out cliché of going “back to Fleming” might be justifiable. Fleming Bond is a burnt-out case early on, too. Pieces himself together to win the day but, from hereon in, invariably at a corrosively permanent physical and / or psychological cost. To an extent this is evident in the run of five films scripted by Messrs. Purvis and Wade, so it’s not just the “Craig era”; the last three films, however, have made it manifestly critical to what’s going on, rather than nailgunning the idea artlessly onto an unforgiving grimslick of exhausted “characters”, grotty puns and relentless explosions happening regardless.

     
    Albeit with mild erosion of the Casino Royale paragon – his impetuousness in Diamonds are Forever, his accidental brute force and luck succeeding in From Russia with or without Comma – the Bond of the first five novels is prima facie a competent man whom we are invited / required to admire, lest the fallacy of the wish-fulfilment enterprise collapse. Not without flaws, certainly, but tending towards the classically “heroic”. The man introduced in 1953 is a tank-tough archetype with habits and pleasures intended to engender post-War envy; despite a jaundiced view of his trade, a success. The character flourishes of the third, fourth and fifth books are not presented as egotistical faults nor manifestations of defective reason. To an extent, the end of FRWL shows the fluke finally expiring and an invitation to the reader to reflect on how precarious – and unlikely – his previous successes were; how long can luck (believed in or not) continue, before shaming Skyfall downfall? How close to failure has he always been? I’d argue that such contemplation only arises after reading this book: the reason From Russia with Love’s ending is a “shock” is because up to then, we’re not expecting Bond to fail. Now, we can’t be quite so confident of his success. The series pivoted and crashed down, too.  Put the same ending on (say) Thunderball and it’d be no surprise at all.

     

     

    Bond’s aptitude – neither previously seriously doubted – is regularly questioned throughout the second batch of books. Still an author fan-fictionalising himself, but moving from a frustrated writer idealising an impregnable, perfect version, towards an avatar itself struggling to overcome enfeebling human affliction, the real enemy however many cat-masticating Koreans and loony pseudo-Counts check in. It’s no longer the case that “these things simply do not affect Bond”; now it’s “they do, they hurt, and he just about gets by”. Bond’s capacity for failure, his vulnerability (physical and mental) and likelihood of dwindling, are the single consistent defining character points for the remainder of Fleming’s novels. This book and Thunderball start with him as a wreck, a grand old ship being hauled away ignominiously (…etc), the moral of The Spy who Loved Me (other than Don’t do that again) is that he’s not a man to admire, and the shotgun marriage towards the end of this period tips him over the edge. Even Goldfinger, which might be perceived (reasonably) as bucking the trend as a parody anomaly with its impossible scheme, insanely unlikely actions by the villain and “non-religious lesbian curing”, starts with Bond contemplating himself and the filth of his profession, with the remainder an exercise in exposing it to ridicule. Fleming has turned the critical eye developed in his first five books, inward. His habit of lashing out at freaks remains, but he’s not afraid to give Mr Shiny Wonderful a Brooklyn stomping too. Wonder if he actually liked anyone, other than his mates Jim, Jack and Johnnie – Beam, Daniels and Walker – and that smelly trio Chester Fields, Benson Andhedges and (with many apologies in advance) Luke E. Strike.

     

     

    It’s a popular complaint amongst the denizens of internet shoutholes that we were served a tadge too much M through the medium of Dench, at best a hyper-critical headmistress, at worst a meddlesome old ratbag who got what she deserved. Fair enough, in the first five Flemings, M is peripheral, sending Kal-El out to do good, and although he gets more than his usual half-dozen lines in Moonraker (and we learn his first name), it’s only because a Non-U plebhead like Bond couldn’t have slipped past the Blades doorman without him. However, from Dr No onwards, there’s a notable increase in M’s presence and whilst, granted, there was no buddy-trip to Bond’s boyhood bivouac, at one point 007 does spend Christmas day with the old stinker. Most notably, M’s attitude towards Bond is increasingly underwhelmed and, starting with Dr No, a fair old slab of any interaction he has with 007 is “being cruel to be kind”. Relentlessly picking away, one half expects Bond to lamp him one but doubtless this new, frayed, Bond would foul it up and collapse in a heap, weighed down by a cirrhotic liver and just so many problems. Do we think this “Gareth” person is going to be different? He was nass-Ty to Bond even before conspiring evilly to get himself more pow-ah.

     

     

    Starting with Dr No and up to and including the first fistful of chapters of The Man with the Golden Gun, this second life is not the world of the first five books. Hidden within a ludicrous sci-fi dragon-slaying princess-saving fable garnished with birdy pooh-pooh, rocket-toppling, miffed squid, lashings of hot tarantulas, undereducated nature-girl sea-nymphs and hook-handed sinoworms with their hearts firmly in the wrong place, Fleming takes the opportunity to both de- and re-construct his main character, and hasn’t finished by the book’s end. The remaining novels of the period – and several of the short stories – continue to cast doubt, breaking Bond down until he suffers the mother of all breakdowns and has to be re-rebooted, starting all over again all over again in The Man with the Golden Gun, an exploitable zombie lobotomised back into competence by his own side.

     

     

    This second phase of the Bond universe starts with a lead character who is incompetent, in disgrace, a failure, and continues to chip away at him until he must fall once more, albeit that time from a weather balloon. Literally, a fallen idol. A pivoty one, anyway. Not to assert Bonds 1-5 are without their reflective moments, but these tend to be carpetbeaten away so Bond can heroically save the Empire and bash the Fuzzy-Wuzzies. Whilst there are still superficial heroics going on in v2.0, the greater interest comes in having these performed by an increasingly fragile man. One could speculate fruitlessly (so I will) about this change of heart in characterising the lead, shifting from a cold, hard man who is so superhuman his bollocks can withstand a relentless mashing, to someone frailer with the constant potential to cock things up badly. How much tension can be created if all one gets is Superman? How boring must that be to watch write? Having introduced us to the hero’s capacity to bodge, the ingrained possibility going forwards of Bond failing provides additional tension. If his writer can leave him as good as dead, all bets are off. Subsequent villains’ threats are exacerbated by our increased awareness of Bond’s intrinsic weaknesses (and solid undermining by his own side). An invulnerable hero can only interest so many times, and all the invisible cars in the world can’t camouflage it forever. Amusing though it is that the film of Dr No jettisons the allegations of incompetence in favour of establishing a Teflon iconography, at least Fleming had the good grace/sense to realise the wipe-clean superhero couldn’t be of sustainable interest after only four years, rather than persisting with forty increasingly tedious ones. The crease-free non-stick Bond remains imprisoned by Halle Berry on a Welsh clifftop dead on a French hotel carpet, and a more troubled one has taken his place.

     

     

    Anyway, matters not; it’s only a codename.

     

     

    The 007th Chapter – Dr No: Night Passage 

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    Helmut Schierer @ 2014-07-07
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