Word: bonde
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Dates: during 1980-1989
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...world disturbed by cold war ultimatums and distracted by Camelot dazzle, Bond gave the traditional action hero modern attitudes and equipment. He brought a killer's lightning instincts to Sherlock Holmes, a suave caress to crude Mike Hammer, the microchip age to Dick Tracy's gadgets. His films were comic strips with grown-up cynicism, Hitchcock thrillers without the artistic risks. He was an existential hired gun with an aristocrat's tastes -- just right for a time when class was a matter of brand names and insouciant gestures. "My dear girl," Bond tells a new conquest, "there are some things...
...Bond films made celebrities of his enemies (Oddjob, Rosa Klebb, Ernst Stavro Blofeld, Jaws), so they incited schoolboy giggles with the names of his women. Pussy Galore and Octopussy! Kissy Suzuki and Plenty O'Toole! Mary Goodnight and Holly Goodhead! They were as indispensable and interchangeable as 007's other accessories, the Walther PPK and the Aston Martin. Pussy Galore might be a judo expert who could toss Bond like a crepe, but he would merely toss back a wolfish double entendre: "We must have a few fast falls together some time." In its Connery years, Bond comprised equal parts...
...nation that had seen its empire shrink in rancor, and its secret service embarrassed by the Burgess-Maclean and Profumo scandals, the notion of a British agent saving the free world was a tonic made in Fantasyland. The Beatles might have made Britain swinging for the young, but Bond was a travel-poster boy for the earmuff brigade. The Bond films even put a few theme songs (including Paul McCartney's Live and Let Die) on the pop charts. But their signal influence was closer to home. In the '60s, Bond spawned a whole genre of superspy imitators: Matt Helm...
...surprise there: John Stears, the effects wizard of Star Wars, supervised the visual tricks on six early Bonds. He was one of many craftsmen who kept returning to the series: Screenwriter Richard Maibaum (twelve of the 15 films), Composer John Barry (twelve), Production Designer Ken Adam (seven), Main Credits Designer Maurice Binder (13). Bond's office colleagues -- M, Q and Moneypenny -- have appeared in every episode. John Glen, who has helmed the past four films, is just the fifth director in the series. The Bond team hit its early peak with Goldfinger in 1964 and followed up with some snazzy...
...films ran the risk of calcifying in the later ones. Plenty of cleavage, but no nudity. Innuendos but no dirty words. Most important, a dogged adherence to old-fashioned storytelling -- which, in an industry that has thrown narrative logic outuendo, can make an 007 film seem slow moving. But Bonds were never aimed at the thrills-above-all youth market. Or even, primarily, to the U.S. (where, by the way, each new Bond film is consistently among its year's Top Ten box- office winners). The series has a broader goal: to be the last of that fine old breed...