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The humanity of Bond
The Who Could Be A Bond Actor thread went off topic for a while. I admit to being an accessory. But some interesting points were raised. One is whether or not Bond upchucked after killing the tarantula in DN. I've seen that scene dozens of times and assumed he probably did. Or maybe he splashed his face with cold water. I don't care. What interests me are the opinions that question whether or not that scene speaks to Bond being human or vulnerable.
Many point to a tonal shift between the films of SC and his successor. For me, that shift began with DAF and ramped up during the RM years. Was the new Bond warmer, more vulnerable, more caring, deeper, more human, and possessed of an inner life (whatever that means) than the Bond portrayed by SC?
Certainly, SC plays a different Bond than RM. But, does SC's Bond lack those traits ascribed to RM? Or is there more to SC's Bond than he is given credit for?
Many point to a tonal shift between the films of SC and his successor. For me, that shift began with DAF and ramped up during the RM years. Was the new Bond warmer, more vulnerable, more caring, deeper, more human, and possessed of an inner life (whatever that means) than the Bond portrayed by SC?
Certainly, SC plays a different Bond than RM. But, does SC's Bond lack those traits ascribed to RM? Or is there more to SC's Bond than he is given credit for?
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Sure, Connery Bond doesn’t get the best of the enemy 100% of the time in all the films after, but DN is the only one that particularly stuck with me in the vulnerable sense. When Grant has him at gunpoint in FRWL though, it’s definitely one of the moments it felt like he was in the most danger. Frankly though, I don’t view Moore’s as a whole lot more “human” than Connery’s. Maybe a little more tender at times with the ladies (Melina from FYEO sticks out), and of course the couple nods at him being a widow, but I’d argue for the most part RM, at least, isn’t “deeper” than SC.
And yes offscreen I see SC as getting physically sick, that's how they sold it.
Couldn't agree with you more. Connery played the human side of Bond very subtly.
From being ill after the tarantula encounter, to putting on his sunglasses in TB when he's with Domino on the beach telling her about her brother.
There are plenty of these little 'human' traits scattered throughout his Bond performances.
As for the rest, there are a few moments in Connery’s films where that vulnerability comes through. Much of the time it’s through his performance, as seen in the laser sequence in GF. Other times the filmmaking/editing is consciously crafting the scene in that direction (ie. the infamous scene in TB where Bond reveals to Domino her brother is dead - much of the emotional impact comes from the editing, music, the directional decision for Bond to put on the glasses etc. I’d go as far as to say Connery’s raw performance during it is a bit underwhelming and not on a par with his previous Bond ones).
I think where I come from with this is not to say that Connery’s Bond had no vulnerability to him, nor that his performances were one dimensional (even if the writing of the character was). Like I’ve said many times there was an irony/tongue in cheek quality to his take on the role, and it’s vital to making the onscreen Bond work. Hell, this was also the spirit of the early films overall, and I’d argue that quality is there even today. I would however say that it’s after Connery’s tenures (both after ‘67 and ‘71) that there are more conscious attempts to make Bond more human that are ingrained into the scripts, often being heavily influenced by the lead actors. I’m not sure if Connery would have been given scenes that Moore got in TSWLM for instance - him having to react to a mention of Tracy, him making the decision to tell Anya he’s responsible for her boyfriend’s death even it’s against his interests.
But, I think the topic has legs as a discussion.
I do not mind in the least. Thank you.
The thread that started this discussion touched on a number of different aspects of Bond: the character, the actor, the writing, and the editing.
I never came away from a Bond film starring SC wishing he had kissed less, had less sex, had been warmer, more vulnerable, and had glimpses into his personal life. Part of the attraction of Bond was that he wasn't a sitcom dad. There was plenty of that in the sixties. But then Bond ends as a dad. Go figure.
But then I never came away from an RM Bond thinking he had made up for what SC's Bond lacked. For me the comparison has alway been sillier and less believable.
DN that was set with the spider scene. He is sweating, he looks uncomfortable and when he offs the spider, he retires to the bathroom to throw up. The last part was something left to the viewers interpretation. Further on he reacts to Quarrel's death in a way of a friend. The robotic turn and walk towards the corpse. The way he ignores the orders of the guards. This man is experiencing PSTD, or at the very least a disconnection from reality. Finally the admission that he is scared too and the way he comforts Honey.
This was downplayed in future movies for sure, but you can see and feel the tension and fear in FRWL when he is on his knees on the train. Leading up to that scene we see a slightly playful side when Bond and Tatiana are in the train car talking about Britain. He seems like the world is off his shoulders and we even see some smiles. Contrasted with the spot with Grant.
GF allows for a little of the humanity with his tender touch on Jill after she's been painted, the look and touch he gives her sister Tily. Sure the moments are fleeting and are all in action, not words, but we sense this man is shocked and saddened by their loss.
TB has that great scene on the beach. Domino and Bond, the interplay shows that there is affection between the two. The putting on of the sunglasses to shield himself and bring himself back to being an agent. The gentle shake of the hand when he gives the dog tag and watch back to Domino. Bond has let in Domino and he is doing his best to manage the emotion of the moment. I also like the earlier scene on the dance floor when Domino leans in to Bond and comments on the way she is held by him. Great intimacy that we won't see often in the series.
YOLT has Aki's death as the one time we see humanity of Bond. Yes it's short and it's not over the top, but this man has seen much death and to see just a hint of the human side is about all we should get at this point.
I will have to recall Moore's Bond and the moments we see. The thing with Moore is that his films were lighter in tone and often didn't allow for us to truly see the humanity of the character. This isn't a dig at Moore, he was working with what was given to him. The character started to become more of a Superman, or an invincible person who went from set piece to set piece without much character development. But I shall return with another post once I have done some more reflection on it!
Thank you. This is the post I have been waiting for.
I reject the notion, as has been posted elsewhere, that SC's Bond was a kiss kiss, bang bang automaton with no depth.
For me SC plays a hardened man who has done it all and seen it all. As such he's kept his emotions in check by necessity. But occasionally, we get a glimpse inside. How do we sense this man is shocked and saddened by their loss? Sometimes by a gesture, an expression, or we see it in his eyes. Connery was very good at conveying his feelings with his eyes.
Going through his films one, by one, I would say that Bond's humanity wasn't shown as much as Connery's portrayal. Rarely did we see him get emotional or even show a side of vulnerability.
LALD in his first outing Bond doesn't really show much of a human side. He is focused on getting Big and Kananga. The only death that he witnesses is that of Carver who was a double agent. He tricks Solitaire into having sex and never comes clean about it, I get it as a sign of the times, but it hasn't aged very well.
TMTWGG again we have a focused Bond. His casually throwing Goodnight into the cupboard while he has sex with Anders is another faux pas. Played for laughs but is this really a gentleman agent? He shows Bond at his toughest and has some ruthless moments, especially over dinner at the end of the film. But we don't see behind the mask much here.
TSWLM this is the first film where we see some humanity. His reaction to Anya bringing up Tracey hits a nerve and rightfully so. He is unflappable in the film as a whole except for that one brief glimpse. The discussion with Anya over the death of her lover has flashes of emotion but doesn't get too deep.
MR again the unflappable Moore is back. Mind you he really isn't allowed much time to emote. The film whisks him around the world and he is left moving from place to place.
FYEO starting with his quiet contemplative stance at the start of the movie in the cemetery we see a mindful Bond. He looks deep in thought when he is summoned and Moore portrays this well. The tension between him and Melina later in the film is a bit clumsy. He lectures her about seeking revenge when he has gotten his revenge on Blofeld. I love how he comforts Melina before they are hauled through the water. His turning to take the coral was well done. This is Roger's most grounded and emotion filled performance.
OP we see a flash of his humanity when he find Vijay killed. The callback to Vijay later in the taxi in Berlin is a nice touch. Not sure why M would know that Vijay's catch phrase was "no problem" but still a great little scene. His fury at the end towards OP and the diffusing of the bomb shows a sign of Roger not seen since Golden Gun?
AVTAK Beyond the death of Tibbet there is not much for him to emote or show a softer side. He seems unaffected by the death of Chuck Lee. He comes across as a father figure. He doesn't take advantage of Stacey when he has a chance. Compare to LALD and Golden Dun and this Bond is a different guy.
If you were to ask me I would say that Spy and Eyes are the two films of Roger's that allow him to show a human side. Otherwise his Bond is an unflappable agent who moves on to other women without much thought. Moore is able to emote when called on to do so, but the times are rare and few and far between.
I shall come back to this thread with Dalton! I am enjoying going through each actors films and seeing what humanity is shown by their character.
So was also the scene when he found Goodhead in the crematorium, when he told her "Oh, thank God, you're safe!", There's some hints of humanity in there.
Not sure I agree with that at all. It's a fascinating scene, both in terms of the writing and how Moore plays it. There's absolutely no reason for Bond to admit to the fact that he killed Anya's boyfriend. He even admits he doesn't recognise the man's face (he's not even lying, why would he recognise him?) But of course it's obvious what's happened. Moore's voice and expression change when he tells Anya bluntly about how it was a 'kill or be killed' situation, and before that it looks like he's considering whether to tell her or not.
All this even feeds into what happens next in the film - Bond's decision to rescue Anya, even knowing that she's vowed to kill him. It's a genuinely brave decision and is motivated by his feelings towards her. It's gripping for the audience to watch in this sense. There's a reason why TSWLM is considered Moore's best by many, and beyond the spectacle and pomp of the film, stuff like that is one of those reasons.
Despite of that scene being gripping, it lessened Anya's competence of being a Russian agent, that scene was literally where one might ask, "is she the best agent that Russia can offer?" Makes no sense, considering that she's supposed to be Bond's equal.
That's why when there are people who are saying that, I don't actually agree, like Bond saved her many times, not mentioning here the train scene with Jaws yet, then what makes her his equal?
That's why I don't actually buy Anya being a tough, competent agent at all, because there's no indication of it, she didn't do anything apart from driving that service van in Egypt, heck I could even now say that Kara Milovy was way more competent than her, because at least she did more than Anya 😅.
Heck, even the most hated Bond Girl here, Jinx, did a lot more than her, she can shoot a gun, she had a sword fight with Miranda, she proved what she can do compared to Anya, many complained that Bond saved Jinx many times, while in fact, it also did happened to Anya and in a lot more lesser way, as she didn't do anything.
Haven't seen TSWLM in a while so not sure how much I can say. I'm not too big a fan of the 'Bond's equal' characters in the series though. I do like how they handled the Anya/Bond subplot though.
Totally forgot the centrifuge scene and yes it is a whopper! One might say it was the first time Moore's Bond looked human. Or at least disheveled and out of sorts. Not sure I see much humanity from the "take care" line. His interactions with Manuela do resonate on a human scale. Though the quip about talking to strangers seems a odd choice to make.
Wai Lin, Pussy Galore, Holly Goodhead, Camille Montes, and Tracy came near to that said word, arguably, for me, they're Bond's equals.
For me 'Bond's equal' should be literally a female version of Bond himself, the psyche, the manner, habits, attitudes of Bond, should be reflected to the Bond Girl too.
When it comes to Bond's equal being a trope, I think every actress that gets cast in the role were saying that, but the thing is none of them proved it, it's not played to death, for me, it's not a trope, the problem was they're playing it too hard, but still failed on so many angles.
They're saying that their character would be Bond's equal, but in the actual scenes, it's not, very few Bond Girls had actually met the criteria of being Bond's equal, very few, if not else, rare.
The rest of them were just trying too hard and pretentious, but in the actual scenes didn't showed that.
Those that I've mentioned were qualified as Bond's Equal.
It's definitely becoming a trope because that's what we've always heard when someone gets cast in a Bond Girl role, but very few of them showed it, very rare qualifies for that honor.
To be called 'Bond's equal', it needs to be almost a female version of Bond himself, not just to what he's doing, but also to his perspective, to his traits, in psyche and in physicality, in short, cut from the same cloth, and very few of them achieved it, that's why I consider Tracy his ultimate equal, because she reflected Bond in so many ways (Driver, Gambler, Fighter, Sophisticated and etc.), She's almost the female version of Bond himself.
So, has the Bond's Equal been used to death? No, I haven't seen much of them, only very few of Bond Girls showed that, the rest were trying too hard or pretentious.
But has been going wearisome? Yes, because we've heard it before, and we're always hearing it, but none of them achieved it, that's the wearisome about it.
They're always making a point about Bond's Equal, but has any of them showed it? Quite very few.
It'd be interesting if that's the approach they took. Often it was just a short hand for the Bond girl being an agent herself from another country, and of roughly equal ability to Bond (usually characters Anya, Jinx, Wai Lin, Holly Goodhead etc.)
I find it most interesting when the Bond girl is in some way a 'fish out of water', out of their depth to a point when it comes to the story, so in turn have to navigate (or indeed help Bond navigate) things on their own. Natalya from GE is a good example.
Look at Honey in DN. Yes in some ways she is naïve in the ways of the world, but she has knowledge of animals and plants and helps Bond and Quarrell to navigate the island. Pussy in GF has a trained team of pilots and is strong enough to go rogue and help diffuse the situation at Fort Knox. Even Domino risks a beating from Largo and in the end kills him. The thing that perhaps undoes the strength of their character and roles, is that Bond inevitably rescues them from peril. But he's the star of the movie and as such he would be the logical choice to play the part of the rescuer.
Natalya is an interesting character because she has more knowledge then Bond in technology. This allows her to order Bond or at least show her knowledge on many occasions. I would love to see more characters like her and less like Stacy Sutton.
One could argue that the Moore films have some of the worst examples of the bumbling, or inept female characters. Think Solitaire in LALD, who once Bond takes her powers (thru trickery) she loses her value. Think Goodnight in Golden Gun, who bumbles her way through the mission causing mistake after mistake. Stacey in AVTAK is a poorly written character and while she does have knowledge of fault lines and such, is mostly left to scream for help.
Octopussy was a pretty interesting character from the Moore era (maybe not as well explored as she could have been, and a lot of it comes down to the strong chemistry between Adams and Moore). But otherwise yes, Moore's era didn't have the strongest Bond girls.
I suppose ideally a strong Bond girl should perhaps be able to compensate for something Bond isn't able to do in that specific circumstance. As you mentioned you have the Natalya and Honey Rider examples (it's worth noting as well that in the novel Honey does actually rescue Bond when he's wounded/drives him off the island, which is notably absent in the film).
TLD, he comes off strong right from the beginning of the film. The sequence in Vienna we see that this is a different Bond. Risking getting fired, expressing stress at the thought of a Russian sniper making "strawberry jam" of Koskov. Great sides to the romance also in Vienna when Bond and Kara visit the fair. Who would have thought of James Bond in a bumper car. Course we can't forget the anger when Sanders is killed and the rage that we see flicker. Wonderful stuff by Dalton is show you that something is just beneath the surface, or if it does trickle out, how Bond is trained to bring it back in. This is light years away from Moore's portrayal of Bond.
LTK, here is see more anger and more focus. Dalton has grown comfortable in the role and the screenplay allows for some moments of humanity. His reaction to the discovery of Della and the uncovering of Leiter. Wonderful stuff of a man not in control, but yes in control. A flash of anger and one of disgust. Earlier in the film his wistful interaction with Della when she promises him the garter. We feel his pain and anguish. But as I said this film has more anger and a drive of focus to it. This Bond is on a hunt. "Smile for the birdy you bastard!". The line is spat from his mouth. Clearly the revenge of the Leiters is top of mind.
Dalton had more humanity in his portrayal of the character than Moore did in 7 films. He brought a new level to the character. What I would have loved to have seen is Timothy do at least 2-3 more adventures. He struck a balance between Moore playing it light and Connery playing it cool. His flashes of anger, sadness and disgust fueled the character and allowed us to see a refreshing new take on an old character.