THE BOOK #1
The owner of M's private club is worried that one of the members is cheating at bridge, and asks M if he'll look into it. He agrees, and asks James Bond to give the alleged cheater a look, given Bond's reputation at cards. Bond agrees, and discovers that the member, Hugo Drax, is indeed cheating. Bond out-cheats him for some serious money.
M and Bond privately embarrass Drax instead of publicly exposing him because he is a national hero. He is a veteran of World War II, albeit one with amnesia, who built a fortune in Tunisia. He has built and is about to launch the Moonraker, the first ICBM (although it's not called that) for Britain. The launch at Dover is upcoming, and the government is fully on board.
Drax's entire rocket team is German, which arouses no suspicion since that was true for both the United States and the Soviet Union at the time. The rocket's nose will contain measuring instruments instead of a nuclear warhead on its maiden launch, which will splash-land in the North Sea, which His Majesty's Navy has cleared of shipping.
As it happens, a Ministry of Supply security officer at the Dover site is killed, and Bond is ordered to investigate. (He gets special dispensation to work on home grounds, which is MI5's turf.) He is to work with Gala Brand, ostensibly Drax's secretary, but secretly a member of Special Branch. Drax greets him, and seems to have no hard feelings about the bridge game.
Both Bond and Brand have bad dealings with a character named Krebs, who is Drax's right-hand man. Drax won't dismiss him for the sake of team morale, but assures them that Krebs has been disciplined.
Bond's investigation leads him to believe the security officer was murdered for having seen something he shouldn't have — possibly a submarine. Bond and Brand are almost killed on the Dover beach when someone dynamites the cliffs above them. It seems obvious Drax, Krebs and his chief scientist had something to do with it, when Bond and Brand show up for their nightly dinner with the trio after the accident and there are only three place settings.
Eventually they discover the truth. And if they don't stop Drax, London will destroyed!
They say a story is only as good as its villain, and I have to say that Hugo Drax is pretty easy to hate. It's amazing how much he acts like the repellant Elon Musk, who wasn't born yet. I guess it shows that the sociopathic rich, as well as the poor, will always be with us.
There are some problems with Drax. For one thing, Fleming re-uses the amnesia dodge that El Chiffre used in Casino Royale. And it took way too long for Bond and Brand to figure out he was a bad guy despite many clues. For one, this supposed amnesiac British soldier spoke perfect German. For another, he went out of his way to protect Krebs, who would have been fired in any business on the up and up.
This is my favorite "Bond girl" so far.
For one thing, she's an actual professional. Not at Bond's level, of course, but she is in "Special Branch," the anti-terrorism unit of the Metropolitan Police. That's not nothing, even if Bond and others persist in referring to her as a "policewoman."
She shows a lot of agency, and many of the discoveries made in the Bond-Brand investigation are hers. She's the one who discovers Drax speaks German, for example. And it's her head for figures that twigs her to Drax's plan and how to foil it — literally on the fly.
But, OK, there's some silly stuff, too. Like, we learn that her full first name is Galatea, which was the ivory statue that came to life in Pygmalion. Why? Because it's Ian Fleming, that's why.
And we learn when Bond reads her dossier that her measurements are 38-26-38. Seriously? That's preposterously voluptuous. What woman on Earth, outside of a Barbie doll, has ever had that hip-to-waist ratio? And since this one exists, why is she cop instead of a model?
But since this is print I can ignore that and focus on her actions, which are impressive. And Fleming actually gives her story an ending, one where she doesn't die (like Vesper Lynd) or disappear between books (like Solitaire). I appreciate that.
THE BRIDGE GAME
I don't know what readers who don't play bridge thought about the game as described by Fleming (I imagine they were bored), but I do play bridge, and for me it was pretty riveting. Here's the Cliff's Notes for the final hand:
In bridge, like spades, everybody bids. But in bridge it's an auction. If I bid something, the next person has to bid something higher. The last person to bid gets the "contract" at wherever he bid, which sets the trump suit and the number of tricks he must take.
Bond bids seven clubs, which is a contract to take all 13 tricks with clubs as trump. If he does so, he not only wins the hand, but also a "game." (Not all contracts are game. Sometimes you have to win several hands to score enough points for a game.) Two games (out of three) is called a "rubber," and whoever gets there first (and how they get there) earns extra points. Bond and Drax have both won one game at that point, so whoever wins the next game wins the rubber. So seven clubs wins a game for Bond, wins a rubber for Bond, and is a spanking for Drax.
Drax looks at his hand, which is loaded with face cards, and doesn't see any way Bond can win all 13 tricks. So he "doubles" — that is to say, doubling the various penalties for failing to make the contract. Bond then "redoubles," which is exactly what it sounds like. As bridge goes, very few scenarios are more dramatic.
But what makes it work is that Bond's seven clubs bid looks spectacularly terrible from what information the readers — and Drax — have. Bond's hand looks awful. Drax's hand is loaded with almost automatic tricks in all four suits. And he only has to win one trick!
I wondered what sort of "turn the table over" gambit Bond had in mind, but it turns out he was going to win the old-fashioned way. (Cheating.) When we see M's hand, we discover that not only is Bond's team going to make all 13 tricks, but his contract is foolproof. Utterly unstoppable. I nearly pulled a Danny Thomas with my coffee.
It occurs to me that Bond isn't a very proactive secret agent. Mainly he just survives the assorted tortures, assassination attempts and pummelings he endures in each book. In this book, the one time he is described as acting with authority is when he strides to a telephone to call MI5 because Gala is two hours late for their dinner date. The champagne is getting warm!
But speaking of which, Fleming continues his streak of great action scenes with Bond and Brand getting scalded with hot steam, and then surviving close proximity to a rocket launch.
This is Fleming's best book so far. He's improving.
THE BOOK #2
JAMES BOND AND MOONRAKER (novelization)
Author: Christopher Wood
I didn't read this, as I expect it doesn't have much the movie doesn't have. (Also, I couldn't find a hardback version.) But I'm willing to be proven wrong.
Date: 1979 (Movie #12; Eon movie #11)
Adapted by: Christopher Wood, Gerry Anderson
Director: Lewis Gilbert
Starring: Roger Moore (James Bond), Michael Lonsdale (Hugo Drax), Lois Chiles (Holly Goodhead), Bernard Lee (M.), Desmond Llewylyn (Q.), Lois Maxwell (Miss Moneypenny)
Notable songs: “Moonraker,” written byJohn Barry, performed by Shirley Bassey
This is a terrible movie.
The space shuttle "Moonraker" is being transported on the back of a 747, as it's on loan to the UK. It is hijacked, and M (Bernard Lee) assigns James Bond (Roger Moore) to investigate.
Bond flies to California to talk to the manufacturer of the shuttles, Drax industries. On the way, he survives being thrown out of the plane by Jaws (Richard Kiel). Once there he meets Holly Goodhead (Lois Chiles), a scientist working for Drax, and survives another assassination attempt on a centrifuge. He also meets Corinne Dufour (Corinne Cléry), who helps him find blueprints for glass vials being manufactured in Venice. He survives another assassination attempt (sniper) and flies to Venice. Drax (Michael Lonsdale) kills Corinne for her betrayal.
In Venice, Bond survives another assassination attempt (gunmen in boats). He sneaks into the glassworks at night and discovers the vials are built to contain a nerve gas. He is attacked again, but survives, managing to at last kill Drax's chief thug, Chang (Toshirô Suga).
He runs into Goodhead again and deduces she is CIA. She tells him that Drax is moving his mysterious operation to Rio de Janeiro. M orders Bond to take two weeks' off — Bond is in trouble with Minister of Defence Frederick Gray (Geoffrey Keen) — but M orders him to take that leave in Rio and to not make any mistakes. Wink, wink. Bond gives a vial of the nerve gas to M for analysis.
In Rio, Bond meets MI6 agent Maneulo (Emily Bolton) of Station VH (?) for some slap and tickle and to investigate a Drax warehouse. They are attacked by Jaws, but Bond saves Manuelo and orders her to go rest up. He runs into Goodhead again, and they are attacked by Jaws on the Sugarloaf Cable Car. They survive, but Goodhead is captured.
Q (Desmond LLewylyn) reports the nerve gas comes from a rare orchid in the Amazon basin, so Bond goes there. He is attacked, but survives, and finds Drax's base. But he is captured by Jaws. In the base, numerous young, attractive people are in evidence. He is told they are astronauts.
Drax launches four shuttles with the astronauts. Drax leaves on a fifth. Bond and Goodhead steal a sixth. They all arrive at a space station in a "That's not a moon, that's a space station" reveal. (See: Star Wars.)
The plan is also revealed: Drax plans to encircle the world with 50 globes full of nerve gas that only kills people (not plants and, somehow, not animals). Then he will repopulate the world with his Master Race of good-looking astronauts. Also, he flatly announces he will be forever in charge, but nobody seems to mind. I imagine they're probably busy trying to figure out how to run the world with a couple hundred people. Good-looking is nice, but you might need some farming, engineering and medical expertise. And at least one dentist.
Bond and Goodhead sabotage the cloaking device that protects the space station from Earth-based detection (See: Star Wars), and the U.S. immediately scrambles a shuttle full of Marines armed with laser guns. There is a space fight. (See: Star Wars.) Jaws and his new girlfriend (Blanche Ravalec) survive, despite making no effort to do so. So do Bond and Goodhead, who pew-pew some globes full of nerve gas.
Bond and Goodhead return on Drax's shuttle (he's dead), and Buckingham Palace and the Minister of Defence want to thank them personally. Gray splutters as the video monitor shows Bond and Goodhead having zero-G, carefully-covered-in-sheets sex. Oh, the scandal!
CHANGES FROM THE BOOK
The Plot: Outside of the name "Hugo Drax," just about everything is different. But then, a story about the first ICBM would have been 20 years out of date.
Instead, the producers turned an eye to hits like Star Wars, Close Encounters of the Third Kind and 2001: A Space Odyssey, and incorporated elements of those movies into the Bond mythos. (The famous tones from CE3K, for example, are used as a keypad code.) The result is tragic, racing right on into self-parody.
Also, there is no bridge game. (Bastards!)
James Bond: 007's personality is completely different than the book, but that can probably be said of any Bond movie starring super-snarky Roger Moore. He is the same as Print Bond in that he manages to survive an ungodly number of assassination attempts (I lost count), and sleeps with lots of women (three in this movie, unless I've forgotten one).
Hugo Drax: The bad guy is a multimillionaire aerospace manufacturer, like in the books. But in the movie he's American (although the actor is French) and he is utterly humorless (unlike the book's loud, bawdy villain). The fact that he's up to something evil is obvious right away — the book version keeps up the pretense longer — but that only raises the question of why he isn't arrested for trying to kill a government agent over and over, and leaving dead bodies everywhere.
Also he builds a giant space station in orbit around Earth ... and nobody notices. You'd have to launch a lot of shuttles with lots of equipment and lots of building material to do that, and you'd have to have someplace for the workers to live for months if not years. And all on the QT? Frankly, that part is the most amazing thing Drax did.
Gala Brand: This spy seems to morph into Holly Goodhead. Both are undercover agents, the former for Special Branch and the latter for the CIA.
There are a lot of differences. Brand's cover was as a secretary, while Goodhead gets to play scientist. Brand gladly works with Bond, while Goodhead is reluctant. And Brand never sleeps with Bond, while Goodhead gives it a go.
All in all, I think I prefer Brand, who is depicted as engaged, intelligent and insightful. Also full-blooded, although she doesn't sleep with Bond right away (for reasons we later learn). Meanwhile, Lois Chiles, who plays Goodhead, comes from the Blake Lively School of Inert Acting and Zero Chemistry. Her face never seems to react to anything going on around her, and she even looks like a mannequin when supposedly flirting.
At least when she takes off her space helmet, her hair is always perfect. So she's got that going for her.
Q: Like every time I see him, Q acts exasperated when there isn't an obvious reason to be.
M: The head of MI6 looks no-nonsense (or bored) and sits a lot. As usual.
Miss Moneypenny: You know, Bond describes her as "desirable" in, I think, Live and Let Die. Yet in the movies she always looks frumpy and acts sexually frustrated. Was that supposed to be funny, you think?
Jaws: Played by the too-tall Richard Kiel, the metal-mouthed assassin had previously appeared in The Spy Who Loved Me (1977). He is not a very effective assassin, as he keeps failing to kill Bond. (To be fair, Bond has plot armor.)
Jaws has no corresponding character in the book.
Dolly: Played by Blanche Ravalec, Dolly is a girl that Jaws meets and instantly falls in love with (and vice versa, somehow). This contributes to Jaws' change of heart later in the film, when Bond asks Drax if he means to kill anyone who doesn't fit the beauty parameters of his new Master Race. When Drax says, "of course," Jaws realizes that he and Dolly will be eliminated in Drax's new world.
That is almost certainly true of Jaws, who is not only freakishly tall, but wears makeup to look even more odd. But here's the thing: Dolly is gorgeous. The movie tries to make her look dowdy by use of glasses and pigtails, but it's not really successful. I've included a photo to see if anyone here thinks this woman is ugly.
Dolly has no corresponding character in the book.
Corinne Dufour: Played by Corinne Cléry, Corinne pronounced her name with such a thick French accent that I had to look it up to see what she said.
Cléry is gorgeous, but unfortunately comes from same acting school as Lois Chiles. The result is that when she falls into bed with Bond, it seems abrupt and entirely unconvincing. Her best acting in the movie is when she's eaten by dogs.
Cléry, like most of the women in this movie, goes braless throughout. I didn't remember that as a big fashion thing in 1979 (and I was old enough to notice), but my wife assures me it was. This is emphasized by the tops Cléry (barely) wears, which prompted my wife to shout "side boob!" a lot. it is only through the magic of movies that her girls didn't escape their flimsy confinement at any point.
Chang: Played by Toshirô Suga, Chang is another noteworthy addition to the long list of people who just can't seem to kill Bond. He's Drax's chief fixer, so he's more or less the equivalent of Krebs. I think he's also supposed to be reminiscent of Oddjob.
But I knew Oddjob. Oddjob was a friend of mine. And you, sir, are no Oddjob.
Sir Frederick Gray: Portrayed by Geoffrey Keen. IMDb tells me Keen's UK Minister of Defence is a holdover from another Bond movie. His only function seems to be to get embarrassed and outraged by 007. it is not a particularly convincing act.
Gray has no corresponding character in the book.
THE ASSASSINATION ATTEMPTS
The assassination attempts are the most exciting part of the movie, especially the one in the centrifuge, but most don't make sense and the screenwriter doesn't bother to explain them.
For example, there's no reason for Jaws to be on Bond's plane to California. According to the movie itself, he isn't hired by Drax until Chang is killed in Venice.
Further, why is anyone even trying to kill Bond on that flight? He's just a government agent coming to apologize to Drax for losing one of his shuttles. Why bother to kill him and alert the authorities, who at that point don't suspect Drax of stealing one of his own shuttles?
And then there are endless assassination attempts in California, Venice and Rio de Janeiro that no authority figure seems to notice. With all the death and destruction (St. Mark's belltower!) You'd think they'd try to arrest somebody.
Speaking of which, Drax tries to assassinate Bond with a sniper in California, but Bond kills the sniper first. Somebody should be arrested for this. Seriously, either Drax or Bond should call the police, and depending on whom the authorities believe, somebody should be arrested. I mean, there's a dead body to explain.
Or, having failed to kill Bond but having tipped his hand, Drax should just pull out a pistol and shoot Bond dead. (Or order one of his henchpeople to do it.) For that matter, why doesn't Bond pull out a pistol and end Drax's mysterious plan right then and there by ventilating the bad guy? He would be fully justified (Drax just tried to kill him), and they could figure out the mysterious plan later. Instead, Bond makes a snarky remark and leaves unhindered.
The movie acts like the whole world is oblivious to this loud, destructive battle between Bond and Drax, who seem honor-bound to not just kill each outright. Other people all wander around like zombies as things blow up around them. Authorities outside of M don't seem to exist.
"The two .38s roared simultaneously."
I'll never forget that opening line. For a time I (erroneously) thought it was second in sequence, and I remember reading it shortly after I read Christopher Wood's novelization of the movie. (More on that later.)
Hugo Drax... Elon Musk... Yeah, I can see it.
I'm glad you like Gala Brand. I like her, too.
"Her full first name is Galatea... because it's Ian Fleming."
She's lucky. It could have been Pussy Galore... or (heaven forbid) Holly Goodhead. I think I already related the story of how actress Lois chiles told her mother it meant she "had a good head on her shoulders."
I know nothing about bridge but I was able to follow Fleming's description well enough. He excels at that kind of thing. I don't play golf, either, but wait until you get to Goldfinger (three holes shown in the movie, but the full 18 in the book).
Perhaps I should have pointed this out in Casino Royale, but it really applies to most of the early novels in one way or another. Kames Bond isn't the suave sophisticate we think of from the movies, and when he finds himself thrust into such a situation he feels awkward and out of place.
MOONRAKER movie novelization by Christopher Wood: No, you're not going to find a hardcover, but I did find my comments after reading it November 2021. I'll post them below.
"This is a terrible movie."
Agreed... and yet, it's not my least favorite.
"In the base, numerous young, attractive people are in evidence. He is told they are astronauts."
That reminds me of Drax's men in the book, who all had shaved heads and long mustaches of every style imaginable. That was put forth as a particularly effective method of disguise. For some reason, that fascinated me when I was 13 years old. I filed it away in my head but have never had the need to try it.
You plot summary reminds me of how Star Wars-derivative this movie really was.
"Jaws has no corresponding character in the book."
Here's my post about the novelization from November 2021...
Jeff of Earth-J said:
JAMES BOND AND MOONRAKER (by Christopher Wood): Last week, I re-read James Bond, the Spy Who Loved Me (the movie tie-in) for the first time in 44 years and was quite impressed by how closely Wood hued to Fleming's style and that he basically eliminated all the slapstick comedy so prevalent in the movie. It was with renewed hope that this week I re-read the "Moonraker" tie-in for the first time in 42 years. Unfortunately, those hopes were dashed. I thought the "Spy" novelization read very much like a 15th Ian Fleming novel (truly I did), but presumably someone at some point in the chain of command instructed Wood to hew closer to screenplay of the movie itself than to Fleming. Consequently, the tie-in is just as I remember it, nearly identical to the movie itself, with all the silly bits intact.
Wood's version of Moonraker couldn't very well serve as a "16th" novel in the series, not only because of the differences in style, but because James Bond already encountered a "Hugo Drax" and a "Moonraker" in the Fleming book (although Moonraker was a conventional rocket rather than a space shuttle, as in the Wood version). I must admit that, as a pre-teen, I sometimes had difficulty following the plots of James Bond movies. They often seemed to me to be a series of set pieces loosely strung together. After reading this novelization I understand why: that what they are (this book/movie, anyway). My recommendations are these: for The Spy who Loved Me, read the Wood version (unless you are in the mood for a pulpy gangster novel with threats of sexual violence), and for Moonraker read the Fleming version.
I'll be back to the "movie" thread in a day or so with my thoughts on the film.
I'll see if I can find that movie post, too, and move it over here.
Here it is...
Jeff of Earth-J said:
MOONRAKER: Last week I identified The Spy Who Loved Me as the first James Bond movie I saw in the theater and my third least favorite. Moonraker is the second I saw in a theater and my second least favorite. If Spy was a pastiche of previous James Bond movies, then Moonraker was a pastiche of post-Star Wars space films. When I was 13, I thought Jaws was a caricature of a James Bond villain, and when I was 15 I saw Moonraker as a blatant rip-off of Star Wars, Close Encounters of the Third Kind, etc. Not only that, but Moonraker features the most blatant and obvious product placement of any James Bond movie. By this point, the franchise had fallen into an unfortunate cycle of one-upsmanship and was no longer being imitated but was the imitator.
I noted in my thoughts on the movie tie-in yesterday that Christopher Wood had not removed the slapstick elements from the novelization as he had from the paperback adaptation of Spy, but that's not exactly the case. It turns out that he did, in fact, tone down or remove the most egregious examples of slapstick comedy. As I mentioned yesterday, the "Moonraker" of Fleming's original 1955 novel was a conventional rocket, but it had been upgraded to a space shuttle for the movie. Also changed was the name of the female lead; "Gala Brand" became "Holly Goodhead," almost a parody of itself (although, I must admit, "Pussy Galore," a Fleming-named character, was pretty over-the-top as well). I remember reading an interview with Lois Chiles at the time in which she explained to her mother it meant she had a "good head on her shoulders."
At the time I thought the idea of multi-millionaire Hugo Drax self-financing his own space rocket to be preposterous! Now, not so much anymore. In another bit of present day verisimilitude, we get to see what a "Space Force" might look like (although they are referred to as "Space Marines" here). As little as I like this film, it is still not my least favorite James Bond movie.
Here are my thoughts on the movie.
I've only ever read one Bond book (From Russia With Love) and it's been so long I've forgotten all but the ending.
I agree with you Cap, this is a bad movie, but I had more fun with it than you. I'm sure part of that is I prefer Moore to Connery as Bond and part of that being my enjoyment of Jaws' antics.
Regarding Moneypenny, I noted in the early Bond movies that she and Connery had good chemistry, but by the time Moore took over I think there was a decision to tone down the flirting between the two for various reasons. As I watched the films in release order it makes more sense, as Lois Maxwell had been in the role nearly 20 years at this point.
Oh and in my opinion, Lonsdale killed this movie, or was allowed to kill this movie. If you read my comments, I noted that I thought he had plenty to work with, but either wasn't up to snuff or was prevented from living up to it. I can't help thinking how much better this movie would have been had he traded roles with Christopher Walken in A View To A Kill.
The film predates the first shuttle spaceflight, which Wikipedia tells me was in 1981. The shuttle-theft sequence is based on 1977 test flights in which Enterprise was launched from a carrier aircraft.
The arrival at the space station was surely the inspiration for the sequence where Iron Man first sees the Roxxon space station in Iron Man #142.
Lonsdale had starred as the policeman heading the hunt for the Jackal in The Day of the Jackal (1973). He's a perfect fit for the role there.
The plot recalls in some respects the 1974 Doctor Who story "Invasion of the Dinosaurs".
I like the song a lot, but I think it comes to a very weak climax ("it always seems you love me, you love me.") The lyricist was Don Black, who won an academy award for "Born Free". But I don't much care for that and would rather mention he wrote the lyrics for "To Sir With Love", "Ben", the great songs in the original The Italian Job, and the Andrew Lloyd Webber musical Tell Men on a Sunday. He has recently published a memoir, The Sanest Guy in the Room.
The Moonraker was the tile of a 1952 play by Arthur Watkyn. A film version of the play starring George Baker appeared in 1958. It's about a Royalist agent on a mission in England during the rule of Oliver Cromwell.
The Bond song seems to use "moonraker" as a term for a sailing ship with a moonraker sail ("a small square sail set above the skysail on a sailing ship", the net tells me). In the film of The Moonraker the term is instead explained as relating to smuggling.
Of the first four Bond novels, Moonraker is the best of the bunch with Hugo Drax setting the standard for Bond villains to come. Unfortunately the next book Diamonds Are Forever returns to smugglers and gangsters as adversaries.
The movie is another huge dud. When I saw it in the theatre in 1979 I couldn't believe how low the series had sunk. It is another in the Moore run that I simply cannot sit through. I do think Eon could produce a remake that follows reasonably close to the novel and have a pretty good movie. The only problem would be Hugo Drax' history as a Nazi which wouldn't make sense this far removed from WW II.
"I don't know what "Station VH" is. In the books, various station initials are obvious."
I have no idea.
First I went to the Christopher Wood adaptation hoping for more details, but no joy. Then I went to some ofther print sources then I went to the internet. After a somewhat lengthy search, these are the two most "helpful" sites: here is a 20 year-old discussion (some of the guesses are amusing), and here is a list of stations codes used in James Bond. Neither site answers the question, and I cannot guess.
Now that Joan has brought up the question of why a woman's measurements are in a dossier, I'm gobsmacked. Not being female, it never occurred to me that this preposterous.
But, yeah, how would MI6 they get those measurements? And, of course, measurements aren't static. Only a chauvinist would include such a nonsensical detail, and I'm embarrassed that I didn't bat an eye.
Given the casual racism in Fleming's writing, is casual sex is that much of a surprise? Heck, for Bond I expect it to be there
Agreed, but this isn't the casual sexism we've already talked about. This is a ridiculous thing we haven't talked about, which is that somehow the British government is keeping tabs on the measurements of all women in their employ.
Sure, it's sexist, sure it's invasive, but what my wife pointed is that it's impossible. It's like the British government having, in their dossiers on male agents, every belt size, hair-loss measurement and dick size, length and girth (hard and soft).
No, it's worse than that. Because men don't really change as much as women, who change in water weight and other factors related to menstruation. Women's "measurements" change not only monthly, not only weekly, but sometimes daily.
And Randy, here's the point: Ian Fleming treated female "measurements' as a fixed thing that men could casually discuss, when it's no such thing. You and I didn't see that. It took a woman to point it out. And we should both be ashamed.
This is not why I came here today, but all this talk about Gala Brand's measurements has made me curious. I didn't remember that particular detail, so I thought I'd look it up to see how it's presented. (Quite perfunctorily, as it happens.) Gala Brand is an agent of the Special Branch of Scotland Yard.
"The photograph on her record-sheet at the Yard had shown an attractive but rather severe girl, and any hint of seductiveness had been abstracted by the cheerless jacket of her policewoman's uniform.
"Hair: Auburn. Eyes: Blue. Height: 5 ft. 7. Weight: 9 stone. Hips: 38. Waist: 26. Bust: 38. Distinguishing marks: Mole on upper curvature of right breast.
"Hm! thought Bond."
Hm! thought Cap.
Hm! thought Joan.
Why I came here today: I don't think I've mentioned, in any of our recent James Bond discussions, The James Bond Dossier by Kingsley Amis. If you recognize Kingsley Amis's name at all, it is probably as the author of Colonel Sun, the first "official" James Bond novel written after the death of Ian Fleming. The James Bond Dossier was published in 1965 and provides "cultural explanations for cultural phenomena." It covers all of the novels except Octopussy and The Living Daylights which had not yet been published. I have read it at least once (twice, I think), and found it worthwhile. It started as an essay and grew into a book. I have decided to re-read it along with your Bond project and may pepper my posts with quotes from it.
There has been some discussion so far already about how adept James Bond is at being a spy. Here is an abridged version of the first paragraph of the first chapter: "It's inaccurate, of course, to describe James Bond as a spy, in the strict sense of one who steals or buys or smuggles the secrets of foreign powers... The Medium-Grade Civil Servant Who Loved Me would have been more accurate, as well as more acceptable to M." James Bond is rather a counterspy, who operates against the agents of unfriendly powers, such as Le Chiffe (Casino Royale), Mr. Big (Live and Let Die) and Goldfinger.
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