James Bond in the 21st Century: Why We Still Need 007 (Smart Pop series)

James Bond in the 21st Century: Why We Still Need 007 (Smart Pop series)

Glenn Yeffeth

Language: English

Pages: 199

ISBN: 193377102X

Format: PDF / Kindle (mobi) / ePub


The staying power of the world’s most dashing secret agent and the evolution of the James Bond franchise are explored in this smart yet nostalgic collection of essays. Leading writers, including Raymond Benson, J.A. Konrath, Raelynn Hillhouse, and John Cox, discuss the ten sexiest Bond girls, the best villains, and the controversy surrounding the latest actor to play James Bond. Topics covered range from the playful—how to build a secret lair and avoid the perennial mistakes made by would-be world dominators—to the thought-provoking, such as Bond’s place in the modern world, his Oedipal tendencies and perceived misogyny, and the unerring allure of the charming spy.

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and the consequences (to him, if not to his female partner) are few. It wasn’t until the Dalton era that Bond was presented in a more mature light in terms of sexual practices. With the exception of one pre-credits sequence dalliance, Dalton’s Bond remains monogamous in The Living Daylights and keeps his sexual activities all in the line of duty in Licence to Kill. Brosnan’s Bond is refreshingly complex and “modern” in his dealings with women. Like his predecessors, he has plenty of dalliances

disagree with 007 about listening to the Beatles without earmuffs, the title song (technically not a Beatles song) sung by Paul McCartney and Wings is a strong contribution to the title sequence. (I usually wear earmuffs when listening to the music from the later films.) live and let die Prologue: 4/5 Plot: 15/30 Villains: 15/15 Bond Girls: 17/15 FX: 10/20 Cars: 0/10 Music: 6/5 # of Major Locations: (interesting venues, but a bit over-the-top) (bonus for Jane Seymour) 4 Total: 71

international playboy who never seemed to get hurt. Perhaps the filmmakers felt that Bond had already become a parody of himself by this time. Did audiences fail to take James Bond seriously anymore? Were laughs, big stunts, huge set pieces, and gadgets the only bankable elements of a 007 film in the ’70s? Whatever the answers to these questions might be, there is no argument to the fact that Roger Moore’s Bond films made even more money than those of the ’60s. One interesting development

never will!), or skin-diving. But who needs to, when you can live through 159 JAME S B O ND I N T H E 2 1 S T C EN T U R Y Bond with no danger attached? Instead, I try to speak as many languages as I can (only three and a half, at the moment), and I like to try local food and drinks whenever I’m in a new country. Of course, real life is different than fiction: last summer a doctor told me that I had to reduce my drinking and, yes, eliminate all free radicals (he then looked at my cruel grin

follows that the fantasies that are shaped by those lives and those expectations will be different. Men and women both have power fantasies. Both fantasize about sex, and success. But, in general, how those fantasies materialize is different. Book Bond is not just Byronic in his brooding; Book Bond is full of self-loathing. He hates his job, hates the lack of honor and fair play in the world. He also hates the constant betrayal he faces, from the world around him and from his own emotions. For

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