Cultural Touchstone

Bond had become a phenomenon. The advent of the British Invasion gave way to new trends in British culture. British film, fashion and music all updated to represent the changing ideologies of the UK and the world. Encapsulating the movement of ‘swinging Britain,’ Bond emphasized youth, sex appeal and modernity to coincide with the international movement (Chapman).

Time even observed, “James Bond has developed into the biggest mass-cult hero of the decade. ”

The first three films helped to instigate this movement; however, it is not until Thunderball that ‘swinging’ Britain can be best seen in James Bond. The Ambassador era sees Bond bed ten different women, married twice, and even gave way to the first non-Caucasian bond girl. As stated Tony Bennett and Woollacott in a breakdown of the cultural impact, “Bond provided a mythic encapsulation of the then prominent themes of classlessness and modernity.”

In accordance with an increase in women, a further emphasis is placed on the high-tech gadgetry, as the wealth and status of Bond is made clear, with entire scenes dedicated to Bond receiving his new gadgets. The plot of You Only Live Twice reinforces the emphasis on gadgets by replacing the anti-Japanese sentiments of the 1950s with impressive displays of technology reminiscent of the Japanese tech boom during the 1960s.

Similar to the previous films, the sexual partners of Bond are increased across the board. There are some arguments to be made that there were attempts to update the Bond-girl formula by introducing a new character, Fiona Volpe, that does not fall into the sexual trap of James Bond:

This scene is undercut in the same film, however, by the most egregious example of 60s sexual sentiment.

You Only Live Twice further roots the bond-girl in archaic values. The film was written by Roald Dahl, a close friend to Fleming. Dahl was given a careful outline for the bond formula, including how many girls that Bond had to bed, when they would have sex and when they would die (‘007’s Oriental Eyefuls’). This formula denies any real action or motivation for the bond-girl outside of her sex appeal and her death.

Bond as the British Ambassador brought forth sexual freedom, ideals of youth and images of modernity…. if you were a man. Unfortunately, Bond represents a cultural touchstone of hypocrisy and repression from a female perspective.

Ambassador to the World

Beyond the rampant sexuality of the Ambassador Era, Bond also stood as a realignment of post-war politics. In the previous films, Bond is often facing insurmountable odds. He is never the strongest or the smartest, but he perseveres. He is the underdog fighting the heavyweight champions of China and Russia.

Bond in the Ambassador Era abandons this logic to present a reality that could not be further from the truth. This Bond represents a thriving Britain in the political landscape. Although in reality, the UK’s world status had been drastically reduced in the political arena (Gimlin); James Bond created a world in which Britain is a forerunner in the world platform.

This scene from You Only Live Twice, absent from the novel, illustrates the power dynamics presented in this era of Bond:

The Russians, USA and the UK all on equal footing.

This era of Bond further emphasizes British patriotism by instilling it into the character of Bond. A characteristic rooted in the novels, Bond’s loyalty to the crown is first made apparent during the Ambassador Era. On Her Majesty’s Secret Service presents a Bond with a framed picture of Queen Elizabeth II in his office. The plot of the film pertains to the College of Arms and heraldry, further emphasizing the role that history and tradition play.

These elements represent a pride in British sentiment and culture. The cultural revolution of the 1960s saw drastic changes in Europe and America. Though notable cultural shifts occurred in France and Italy, it was the advent of British culture that defined the era. As described by Arthur Marwicks, “Britain, particularly with respect to pop music and fashion, film, and television, played an unprecedent role.” The wave of British media, brought on during the British Invasion, resulted in a cultural fascination with Britain. Bond, during the Ambassador era, harnessed that cultural attention into four successful films.

This era of Bond is defined by both advancement and complacency. The topics and conversation of sex and freedom advanced throughout the first seven films; attempts to modernize the bond-girl were made, though unsuccessfully; and this era proved that a Bond could exist outside of Connery.

But much of this era is plagued by complacency. The sudden advent of sex and violence that was fresh and relevant in the 1960s began to pale in the 1970s. Sean Connery, a masculine sex-symbol, clearly lacked any passion for the project in 1971. The increase in budget to cover over a lack of story became more prominent with each new iteration. The most daring venture of the era, On Her Majesty’s Secret Service, was quickly disregarded as it failed to attain a large gross.

The British Ambassador Bond was the most successful Bond. Defining aspects of the series for years to come, for better or for worse, this era can be seen in every Bond since.