Check out this special feature from the James Bond video game 'From Russia With Love.' The Bond girl actresses seem to embrace their parts, be them damsel in distress or femme fatale. I think this reinforces the idea that Bond reflects society rather than imposing on it. That someone enjoys playing the villain lends credit to the realism of those characters.
Tuesday, March 24
James Bond: A Changing Figure of Sexual Equality
Sexual equality is and has been a giant issue, and James Bond, the spy fiction character, is notorious for being called a male chauvinist. Even M, the character that gives orders to Bond, calls him one in one movie. It has not even been one hundred years yet since women got the right to vote in America, the “land of the free,” so it seems important to discuss the value, or danger, of a hero like James Bond on sexual equality. The very idea of playing with gender is a major theme in any Bond work, with all of the relations with the “Bond girls.” I propose that the character of James Bond was at his worst of female degradation in the beginning, in the books. Though I do say this, I propose further that Bond really wasn’t so bad, and maybe at his best very progressive, especially in context of the time – the 1950s. And since then, Bond has really grown with the times, turning out today in the movies as, I would say, actually a liberator of women.
Here are Bond’s thoughts when Vesper is kidnapped in the book Casino Royale:
“This was just what he had been afraid of. These blithering women who thought they could do a man’s work. Why the hell couldn’t they stay at home and mind their pots and pans and stick to their frocks and gossip and leave men’s work to the men. And now for this to happen to him, just when the job had come off so beautifully: for Vesper to … get herself snatched and probably held to ransom like some bloody heroine in a strip cartoon. Silly Bitch” (Amis 39).
It would seem that immediately Bond has a strong and degrading stance towards women as he implies that women can’t do a “man’s work.” Interestingly, Benson says, “James Bond’s attitude toward women is not a degrading one–it is a protective one (which many women might find just as chauvinistic)” (Benson 74). I agree with Benson here. Though Bond’s thoughts seem extreme to us looking back on him today with our sense of “political correctness,” I see nothing degrading about women. Bond thinks nothing like ‘women are lesser than men,’ or ‘men are more capable.’ He only thinks that women are different – that they have different strengths. Men do better men’s work, and women do better women’s work. Though this may not be a message of sexual equality, it is definitely not a degrading message.
Further, Bond’s anti-equality message in the books does not even seem chauvinist. Let us use a common understanding of chauvinism: basically, a prejudice – holding an statement, or belief without reason. In this case, Vesper has given Bond a reason to think that she is incompetent for the job: she was kidnapped – the most lethal mistake for a spy. Because of this, we can’t label Bond a chauvinist just for this instance. We would need to look at many more factors of the time period to see if Bond is accurately portraying women, or simply a chauvinist.
Remembering the time, Benson says, “the feminist movement in the fifties was a far cry from what it is today” (Benson 74). Today still with all of sexual equality progress we still have so many lingering traditional values that keep women in the household and minding “their pots and pans,” as James puts it. When we go back to the time of Bond, which we know were drastically worse for sexual equality, it seems that Ian Fleming was merely reflecting the times instead of trying to establish for himself that women and men are different. That was simply common thought in the past. As I stated in my introduction, it was only one hundred years ago that women could vote in America, and two hundred ago that women were a man’s property. Bond closes that gap only further, being produced in the 1950s.
Amis writes: “For however much amateur lip-curling toward women in general Bond may go in for, he never uses an individual woman unkindly, never hits one, seldom so much as raises his voice … Like many men who rather fancy the idea of themselves playing it cool and tough with the ladies, Bond is gentle and considerate when it comes down to cases” (Amis 41). Amis is sure right in saying this; Bond has fixed wounds, helped cope through difficult times, and fallen deeply in love with some of the Bond girls. This further reinforces that Bond is no chauvinist. He treats these women absolutely amazingly – a woman’s fantasy man. Who wouldn’t love that? So, Bond’s success seems to be a very positive thing in this sense.
A big part of the allure of the Bond books is the literal sex too. There is an instant attraction between Bond and the Bond girls, and it usually leads to the bed. This promiscuity has been viewed by some as an objectification of women because they never play a bigger role in the works. But I say that really this is sexual equality. The Bond girls reciprocate Bond’s interest in lust. Historically, women have always been forced into the passive, non-aggressive position. But here we see Ian Fleming pushing the limits of the traditional female by making them more aggressive in the Bond books. The traditional notion is that if a woman loves a man as an object, she’s a whore, but Bond treats his women with absolute respect, as discussed above. This is surely a progressive step for equality.
The Bond movies take this ideology even further. Much less emphasis is put on the chit-chat and more on the lust and action. Naturally, much of Bond’s thoughts had to be cut from the movies to make their playtime desirable. In turn, much of Bond’s chauvinism is never realized in the movies. This idea of objectification I’m talking about is thus amplified, as the movies are more dependent upon the actions of the characters. Much more time is put into the romance scenes, and like visually exciting things. This is why Bond’s progressivism in sexual equality shines in the movies. Here we have two things. One, Bond’s chauvinism is cut down heavily because of the film medium. And two, the sexual equality that is brought about by the reciprocated objectification between Bond and the women is amplified. As times changed, Bond followed them into the age of films, and incurred a major change. Seemingly, this Bond in the films is only a sexual liberator of women, and nothing worse.
Winder says: “For all the discussion of how sexy the women are in Bond films, in practice they are not” (Winder 220). In other words, the Bond girls portray an unrealistic standard of beauty. Simply, I agree. But I think this lends an even closer sexual equality. As unrealistic as the fantasy man Bond is, the Bond girls parallel him in their unrealism.
Concluding, Bond is not a dangerous hero. At his worst, Bond does not uphold sexual equality, which is just a historical reality – sexual equality has not always existed. And at his best, Bond is a sexual liberator for women. Today, he opens up the horizon of women’s sexual experience to lust, while they were historically not allowed to it. He and his women are unrealistic fantasies, while still keeping an incredibly progressive aura that promotes exploration and adventure for both sexes.
Works Cited
Benson, Raymond. James Bond Bedside Companion. New York: Dodd, Mead & Company,
1984.
Amis, Kingsley. The James Bond Dossier. New York: The New American Library of World
Literature, 1965.
Winder, Simon. The Man Who Saved Britain. Picadour, 2006.
Here are Bond’s thoughts when Vesper is kidnapped in the book Casino Royale:
“This was just what he had been afraid of. These blithering women who thought they could do a man’s work. Why the hell couldn’t they stay at home and mind their pots and pans and stick to their frocks and gossip and leave men’s work to the men. And now for this to happen to him, just when the job had come off so beautifully: for Vesper to … get herself snatched and probably held to ransom like some bloody heroine in a strip cartoon. Silly Bitch” (Amis 39).
It would seem that immediately Bond has a strong and degrading stance towards women as he implies that women can’t do a “man’s work.” Interestingly, Benson says, “James Bond’s attitude toward women is not a degrading one–it is a protective one (which many women might find just as chauvinistic)” (Benson 74). I agree with Benson here. Though Bond’s thoughts seem extreme to us looking back on him today with our sense of “political correctness,” I see nothing degrading about women. Bond thinks nothing like ‘women are lesser than men,’ or ‘men are more capable.’ He only thinks that women are different – that they have different strengths. Men do better men’s work, and women do better women’s work. Though this may not be a message of sexual equality, it is definitely not a degrading message.
Further, Bond’s anti-equality message in the books does not even seem chauvinist. Let us use a common understanding of chauvinism: basically, a prejudice – holding an statement, or belief without reason. In this case, Vesper has given Bond a reason to think that she is incompetent for the job: she was kidnapped – the most lethal mistake for a spy. Because of this, we can’t label Bond a chauvinist just for this instance. We would need to look at many more factors of the time period to see if Bond is accurately portraying women, or simply a chauvinist.
Remembering the time, Benson says, “the feminist movement in the fifties was a far cry from what it is today” (Benson 74). Today still with all of sexual equality progress we still have so many lingering traditional values that keep women in the household and minding “their pots and pans,” as James puts it. When we go back to the time of Bond, which we know were drastically worse for sexual equality, it seems that Ian Fleming was merely reflecting the times instead of trying to establish for himself that women and men are different. That was simply common thought in the past. As I stated in my introduction, it was only one hundred years ago that women could vote in America, and two hundred ago that women were a man’s property. Bond closes that gap only further, being produced in the 1950s.
Amis writes: “For however much amateur lip-curling toward women in general Bond may go in for, he never uses an individual woman unkindly, never hits one, seldom so much as raises his voice … Like many men who rather fancy the idea of themselves playing it cool and tough with the ladies, Bond is gentle and considerate when it comes down to cases” (Amis 41). Amis is sure right in saying this; Bond has fixed wounds, helped cope through difficult times, and fallen deeply in love with some of the Bond girls. This further reinforces that Bond is no chauvinist. He treats these women absolutely amazingly – a woman’s fantasy man. Who wouldn’t love that? So, Bond’s success seems to be a very positive thing in this sense.
A big part of the allure of the Bond books is the literal sex too. There is an instant attraction between Bond and the Bond girls, and it usually leads to the bed. This promiscuity has been viewed by some as an objectification of women because they never play a bigger role in the works. But I say that really this is sexual equality. The Bond girls reciprocate Bond’s interest in lust. Historically, women have always been forced into the passive, non-aggressive position. But here we see Ian Fleming pushing the limits of the traditional female by making them more aggressive in the Bond books. The traditional notion is that if a woman loves a man as an object, she’s a whore, but Bond treats his women with absolute respect, as discussed above. This is surely a progressive step for equality.
The Bond movies take this ideology even further. Much less emphasis is put on the chit-chat and more on the lust and action. Naturally, much of Bond’s thoughts had to be cut from the movies to make their playtime desirable. In turn, much of Bond’s chauvinism is never realized in the movies. This idea of objectification I’m talking about is thus amplified, as the movies are more dependent upon the actions of the characters. Much more time is put into the romance scenes, and like visually exciting things. This is why Bond’s progressivism in sexual equality shines in the movies. Here we have two things. One, Bond’s chauvinism is cut down heavily because of the film medium. And two, the sexual equality that is brought about by the reciprocated objectification between Bond and the women is amplified. As times changed, Bond followed them into the age of films, and incurred a major change. Seemingly, this Bond in the films is only a sexual liberator of women, and nothing worse.
Winder says: “For all the discussion of how sexy the women are in Bond films, in practice they are not” (Winder 220). In other words, the Bond girls portray an unrealistic standard of beauty. Simply, I agree. But I think this lends an even closer sexual equality. As unrealistic as the fantasy man Bond is, the Bond girls parallel him in their unrealism.
Concluding, Bond is not a dangerous hero. At his worst, Bond does not uphold sexual equality, which is just a historical reality – sexual equality has not always existed. And at his best, Bond is a sexual liberator for women. Today, he opens up the horizon of women’s sexual experience to lust, while they were historically not allowed to it. He and his women are unrealistic fantasies, while still keeping an incredibly progressive aura that promotes exploration and adventure for both sexes.
Works Cited
Benson, Raymond. James Bond Bedside Companion. New York: Dodd, Mead & Company,
1984.
Amis, Kingsley. The James Bond Dossier. New York: The New American Library of World
Literature, 1965.
Winder, Simon. The Man Who Saved Britain. Picadour, 2006.
Wednesday, March 18
Annotated Bibliography
Here is a list I have compiled of professional books that might aid anyone studying the James Bond works. These particular books have been selected for their insights, creativity, and richness that sets them apart from general "coffee table" books and leisure materials.
1. For Your Eyes Only: Ian Fleming and James Bond by Ben Macintyre.
This book offers an in-depth look at Cold War spy fictions, and Ian Fleming himself. By examining the life relationships of Fleming, Macintyre draws connections between Fleming’s real world and the Bond fiction.
2. James Bond and Philosophy (Popular Culture and Philosophy series) by James South and Jacob Held.
This book offers a perspective on Bond from the study of philosophy – the hard logic behind Bond. By looking at the reasoning behind Bond’s controversial attitude, Bond characters are explained and criticized.
3. James Bond in the 21st Century: Why We Still Need 007 (Smart Pop series) by Sarah Zettel and Glenn Yeffeth.
This book discusses some more fun matters like the best Bond, villains, and Bond girls. Though, still it contains some stronger material such as Bond’s place in the modern world, sexism, and why we love Bond.
4. James Bond Encyclopedia by John Cork and Collin Stutz.
This book is exactly what it claims to be – an encyclopedia. It contains mounds of information about Bond, and Bond history. While not the greatest book for source material, it would be great for a fact-checker.
5. Licence to Thrill: A Cultural History of the James Bond Films (Cinema and Society series) by James Chapman
Offers cultural perspectives on James Bond throughout the centuries the works have lived.
6. The Politics of James Bond: From Fleming's Novels to the Big Screen by Jeremy Black.
Offers political, and cultural, perspectives on the contrast of Bond novels and films.
7. The James Bond Phenomenon: A Critical Reader by Cristoph Lindner.
Has perspectives on popular culture topics, such as lesbianism and feminisim in the female characters in Bond works, and the newer films (Brosman series) attachment to technology.
1. For Your Eyes Only: Ian Fleming and James Bond by Ben Macintyre.
This book offers an in-depth look at Cold War spy fictions, and Ian Fleming himself. By examining the life relationships of Fleming, Macintyre draws connections between Fleming’s real world and the Bond fiction.
2. James Bond and Philosophy (Popular Culture and Philosophy series) by James South and Jacob Held.
This book offers a perspective on Bond from the study of philosophy – the hard logic behind Bond. By looking at the reasoning behind Bond’s controversial attitude, Bond characters are explained and criticized.
3. James Bond in the 21st Century: Why We Still Need 007 (Smart Pop series) by Sarah Zettel and Glenn Yeffeth.
This book discusses some more fun matters like the best Bond, villains, and Bond girls. Though, still it contains some stronger material such as Bond’s place in the modern world, sexism, and why we love Bond.
4. James Bond Encyclopedia by John Cork and Collin Stutz.
This book is exactly what it claims to be – an encyclopedia. It contains mounds of information about Bond, and Bond history. While not the greatest book for source material, it would be great for a fact-checker.
5. Licence to Thrill: A Cultural History of the James Bond Films (Cinema and Society series) by James Chapman
Offers cultural perspectives on James Bond throughout the centuries the works have lived.
6. The Politics of James Bond: From Fleming's Novels to the Big Screen by Jeremy Black.
Offers political, and cultural, perspectives on the contrast of Bond novels and films.
7. The James Bond Phenomenon: A Critical Reader by Cristoph Lindner.
Has perspectives on popular culture topics, such as lesbianism and feminisim in the female characters in Bond works, and the newer films (Brosman series) attachment to technology.
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