“From a woman’s point of view mainly the fact that the women
are victims. In our society today women are trying desperately hard to prove
that they are not victims. Ian fleming puts them in sort of subsidiary positions.
Bond uses them, they are vessels either for his lust or to get to the big bad
boss. They are cyphers, they are not real people.” [1]
This quote from Dianna Rigg (Tracy - On
her majesty’s secret service) works to sum up the position of women in
James Bond during the 60’s.
Anyone that has seen or encountered James Bond will know of
the Martini drinking, villain fighting, womanising British fictional icon, that
revolutionised cinema during the 1960’s through to the present day. Feminine
subordination has been a theme throughout all of the films, however during the
60’s when Bond was released, we see the first emergence of the MI6 hero’s true
colours. During Goldfinger (1964),
arguably Bonds biggest hit in the 60’s. Bond in the opening sequences
sacrifices the girl that he is embracing, to be hit by the villain, causing her
to be knocked to the floor. This is before delivering his famous pre-title quip
and leaving. The Sheer disregard for the lady almost shows an end to Chivalry
in society. Bond, the epitome of masculinity at this time, leaves women to take
the first hit? Real tough guy!
As Rigg points out, women are subsidiary to the films. Women
never really take on a massive role. In Goldfinger
(1964), Pussy galore (the main female character and walking innuendo) is
the commander of a flying squad, however even she cannot resist the charms of
Bond and eventually agrees to join him and the Americans. During Dr.No (1962) bond I caught leering at a
girl straight out of the water, in a bikini. Bearing in mind that previously to
this, cinema wouldn’t let couples share a bed on screen. “Are you looking for
shells?” she says. “No just looking” replies Bond[2].
Lastly, the Character Moneypenny, who follows bond around like a lost puppy,
drooling at his every word, despite knockbacks in almost every single feature.
For instance in You only live twice
(1967), she tells him the code word: “’I, love, you’ repeat it please, to
make sure you get it” and Bond replies “Don’t worry I get it”[3]
. We see this throughout all the bond films. The women are to succumb to his
charm, regardless of any previous character intentions, or moral standing.
However, Bond is destined to fall in love. In On her majesty’s secret service (1969), Bond
does eventually fall in love and marry the Character of Tracy. This is short
lived however. Tracy is Shot and killed before they even reach the honeymoon. Rigg argues that this entire storyline shows “He
has all the right motives deep down”[4].
This is true. However, this is at the end of the sixties and arguably the story
is almost to make an excuse for Bonds behaviour in the films to come. The
heartbreak in this film, almost adds a reason for viewers to empathise with his
solitary life, in the films to come. This also links in with the idea that this
is the only film to feature George Lazenby. It is also commonly considered the
worst of all the films. Is this a coincidence?
Lastly, do viewers only love bond for
his misogyny? Or is it the simple fact that Bond is not about marriage and the
use of this story only seeks to normalise his character, making it less
appealing to the majority of the audience. One thing is for sure, the Producers soon brought back Sean Connery and the quips
began to fall back into place, leaving Lazenby looking like a misplaced olive
in a vodka martini.
Tom Wisden
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