GoldenEye screenwriter talks about the 1995 move

GoldenEye’s poster

The SpyHards podcast conducted an interview with Jeffrey Caine, one of the screenwriters on GoldenEye.

Caine was one of three writers who received some form of credit for the 1995 James Bond film that marked the return of James Bond to the big screen after a six-year hiatus. The other credited screenwriters were Michael France and Bruce Feirstein. Kevin Wade did uncredited work on the script.

Here are some of the highlights from the interview:.

Caine discusses the differences between Michael G. Wilson and Barbara Broccoli

Caine says Wilson wanted to work in stunts first and write a story around them. Caine felt you should write a story and insert stunts.

How it turned out:

“I sort of got my way because Barbara (Broccoli) took my side.”

The scribe’s view of the cinematic Bonds actors:

Caine says Daniel Craig has the toughness but not the suaveness while Roger Moore has the suaveness but not the toughness. Caine liked Sean Connery and Pierce Brosnan better

About the change with M in GoldenEye:

Caine says he drafts didn’t have a woman M (who would be played by Judi Dench). That took place after writer Bruce Feirstein took over.

To listen to the entire interview on the SpyHards podcast, CLICK HERE.

1999: TV Guide publishes a Bond special

TV Guide cover to the Nov. 13-19, 1999 issue

In 1999, TV Guide decided to go big on a special James Bond issue.

The Nov. 13-19 edition, with a Pierce Brosnan cover, included a new Bond short story, an interview with Bond actresses and an essay by a conservative icon.

Live at Five by Raymond Benson: This was a five-page short story by the American James Bond continuation author. Bond recalls an assignment in Chicago.

This was part of a big year for Benson’s tenure as a Bond author. 1999 also saw publication of an original Bond continuation novel by Benson, High Time to Kill, and the novelization of the 007 film The World Is Not Enough.

Buckley on Bond: William F. Buckley Jr. (1925-2008), a conservative commentator and sometimes spy author, mused about Bond. “James Bond does it all with that remarkable lightheartedness that attaches to the Just Man,” Buckley wrote. “The Bond films are there to be viewed, popcorn in hand. You’re not to worry about the girl’s emotional problems.”

I wonder what Barbara Broccoli would say if she had a conversation with Buckley.

Bond actresses: The issue has a Q&A with Jane Seymour, Luciana Paluzzi, Maud Adams, Lana Wood, Tanya Roberts, Lynn-Holly Johnson and Lois Chiles.

Brosnan joins DC film universe as Dr. Fate

The Justice Society of America, including Dr. Fate (gold helmet and blue costume) in 1940

One-time film James Bond Pierce Brosnan is joining Warner Bros.’s DC film universe as Dr. Fate, The Hollywood Reporter said.

Brosnan is joining the cast of Black Adam, a Warners/DC film starring Dwayne Johnson. Chances are a lot of the general public or Bond fans) may not be familiar with Dr. Fate.

The good doctor made his debut in 1940 in More Fun Comics No. 55. The sorcerer would soon be part of the new Justice Society of America.

The character was co-created by DC writer Gardner F. Fox, who would also write racy spy novels under a pen name. Besides Dr. Fate, Fox also had a had in creating the Justice Society (and the later Justice League), the original Flash and the original Hawkman.

It makes sense that Warner Bros. is bringing Dr. Fate into the movies. Marvel Studios has featured Dr. Strange, a sorcerer character created by Steve Ditko, into its movies.

UPDATE: Dwayne Johnson confirmed the Brosnan casting in a tweet:

About those Bond film series gaps

Image for the official James Bond feed on Twitter

Last week saw another delay announced for No Time to Die. That has prompted some entertainment news websites to look back at how the gap between SPECTRE and No Time to Die ranks among Bond films.

With that in mind, here’s the blog’s own list.

You Only Live Twice (1967) to On Her Majesty’s Secret Service (1969): This isn’t getting the attention as the others.

But You Only Live Twice came out in June of 1967 while On Her Majesty’s Secret Service debuted in December 1969. That was about two-and-a-half years. Today? No big deal. But at the time, the Bond series delivered entries in one- or two-year intervals.

This period included the first re-casting of the Bond role, with George Lazenby taking over from Sean Connery. Also, Majesty’s was an epic shoot.

The Man With the Golden Gun (1974) to The Spy Who Loved Me (1977): This period often is written up as the first big delay in the series made by Eon Productions.

It’s easy to understand why. The partnership between Eon founders Albert R. Broccoli and Harry Saltzman broke up. There were delays in beginning a new Bond film. Guy Hamilton originally was signed to direct but exited, with Lewis Gilbert eventually taking over. Many scripts were written. And Eon and United Arists were coming off with a financial disappointment with Golden Gun.

Still, Golden Gun premiered in December 1974 while Spy came along in July 1977. That’s not much longer than the Twice-Majesty’s gap. For all the turmoil that occurred in the pre-production of Spy, it’s amazing the gap wasn’t longer.

Licence to Kill (1989) to GoldenEye (1995): This is the big one. Licence came out in June 1989 (it didn’t make it to the U.S. until July) while GoldenEye didn’t make it to theater screens until November 1995.

In the interim, there was a legal battle between Danjaq (Eon’s parent company) and Metro-Goldwyn-Mayer, Bond’s home studio, which had acquired UA in 1981. MGM had been sold, went into financial trouble, and was taken over by a French bank. The legal issues were sorted out in 1993 and efforts to start a new Bond film could begin in earnest.

This period also saw the Bond role recast, with Pierce Brosnan coming in while Timothy Dalton exited. In all, almost six-and-a-half years passed between Bond film adventures.

Die Another Day (2002) to Casino Royale (2006): After the release of Die Another Day, a large, bombastic Bond adventure, Eon did a major reappraisal of the series.

Eventually, Eon’s Barbara Broccoli and Michael G. Wilson decided on major changes. Eon now had the rights to Casino Royale, Ian Fleming’s first Bond novel. So the duo opted to start the series over with a new actor, Daniel Craig and a more down-to-earth approach.

Quantum of Solace (2008) to Skyfall (2012): MGM had another financial setback with a 2010 bankruptcy. That delayed development of a new Bond film. Sam Mendes initially was a “consultant” because MGM’s approval was needed before he officially was named director.

Still, the gap was only four years (which today seems like nothing) from Quantum’s debt in late October 2008 to Skyfall’s debut in October 2012.

SPECTRE (2015) to No Time to Die (?): Recent delays are due to the COVID-19 pandemic. But pre-production got off to a slow start below that.

MGM spent much of 2016 trying to sell itself to Chinese investors but a deal fell through. Daniel Craig wanted a break from Bond. So did Eon’s Barbara Broccoli, pursuing small independent-style movies such as Film Stars Don’t Die in Liverpool and Nancy, as well as a medium-sized spy movie The Rhythm Section.

Reportedly, a script for a Bond movie didn’t start until around March 2017 with the hiring (yet again) of Neal Purvis and Robert Wade. The hiring was confirmed in summer 2017. Craig later in summer of 2017 said he was coming back.

Of course, one director (Danny Boyle) was hired only to depart later. Cary Fukunaga was hired to replace him. More writers (Phoebe Waller-Bridge and Scott Z. Burns) arrived. The movie finally was shot in 2019.

Then, when 2020 arrived, the pandemic hit. No Time to Die currently has an October 2021 release date. We’ll see how that goes.

GoldenEye’s 25th: Bond’s revival

GoldenEye's poster

GoldenEye’s poster

Expanded and revised from a 2015 post.

GoldenEye, the 17th James Bond film, had a lot riding on it, not the least of which was the future of the 007 franchise.

It had been six years since the previous Bond film, Licence to Kill. A legal fight between Eon Productions and Metro-Goldwyn-Mayer had kept 007 out of movie theaters. In 1990, Danjaq, the holding company for Eon, was put up for sale, although it never changed hands.

After the dispute was settled came the business of resuming production of the James Bond film series.

Timothy Dalton ended up exiting the Bond role so a search for a replacement began. Eon boss Albert R. Broccoli selected Pierce Brosnan — originally chosen for The Living Daylights but who lost the part when NBC ordered additional episodes of the Remington Steele series the network had canceled.

Brosnan’s selection would be one of Broccoli’s last major moves. The producer, well into his 80s, underwent heart surgery in the summer of 1994 and turned over the producing duties to his daughter and stepson, Barbara Broccoli and Michael G. Wilson. Broccoli himself would only take a presenting credit in the final film.

Various writers were considered. The production team opted to begin pre-production on a story devised by Michael France.

His 1994 first draft was considerably different than the final film. France’s villain was Augustus Trevelyan, former head of MI6 who had defected to the Soviet Union years earlier. Bond also had a personal grudge against Trevelyan.

Other writers — Jeffrey Caine, Kevin Wade, and Bruce Feirstein — were called in to rework the story.  The villain became Alec Trevelyan, formerly 006, and now head of the Janus crime syndicate in the post-Cold War Russia. In addition, the final script included a new M (Judi Dench), giving Bond a woman superior. Caine and Feirstein would get the screenplay credit while France only received a “story by” credit.

In the 21st century, many Bond fans assume 007 will always be a financial success. In the mid-1990s, those working behind the scenes didn’t take success for granted.

“Wilson and (Barbara) Broccoli already knew that GoldenEye was a one-shot chance to reintroduce Bond,” John Cork and Bruce Scivally wrote in the 2002 book James Bond: The Legacy. “After Cubby’s operation, they also knew the fate of the film — and James Bond — rested on their shoulders.”

GoldenEye’s crew had new faces to the 007 series. Martin Campbell assumed duties as the movie’s director. Daniel Kleinman became the new title designer. His predecessor, Maurice Binder, had died in 1991. Eric Serra was brought on as composer, delivering a score unlike the John Barry style.

One familiar face, special effects and miniatures expert Derek Meddings, returned. He hadn’t worked on a Bond since 1981’s For Your Eyes Only. GoldenEye would be his last 007 contribution. He died in September 1995, before the film’s release.

In the end, GoldenEye came through, delivering worldwide box office of $352.2 million. Bruce Feirstein, who had done the final rewrites of the script, was hired to write the next installment. Bond was back.

GoldenEye would inspire a video game still well remembered today. A few days before the U.S. premiere was the second, and final, official James Bond fan convention, held in New York City.

For some Bond fans, GoldenEye is one of the best of the 007 films. For others, not so much.

Regardless, GoldenEye was a major event in the history of the Bond film series. Bond had survived a major behind-the-scenes drama. The gentleman agent was ready to take on a new century.

About that Bernard Lee/Robert Brown M thing

Portrait of the Bernard Lee M in The World Is Not Enough. Thanks to Ben Williams.

One of the ongoing debates in James Bond fandom is whether Bernard Lee’s M (1962-79) is the same as Robert Brown’s M (1983-89).

The answer: You can argue they are the same or they are different characters, with Brown’s M being Admiral Hargreaves from The Spy Who Loved Me (1977).

The available evidence is, at best, inconclusive.

Background: Bernard Lee played Sir Miles Messervy for the first 11 James Bond films.

In Ian Fleming’s novels, the character name was not revealed until Ian Fleming’s final Bond book, The Man With the Golden Gun. “Miles” was mentioned briefly by General Gogol in The Spy Who Loved Me movie.

Lee died in January 1981. He wasn’t available to participate in the production of For Your Eyes Only. In that film, it was stated that M was on leave and that the chief of staff was running operations.

Octopussy script: In the first draft by Richard Maibaum and Michael G. Wilson, dated June 10, 1982, there isn’t a hint that M is another person.

M’S VOICE
(over intercom)
Stop fishing for compliments, Double-O-Seven, and get in here.

(snip)
M’S OFFICE – M MINISTER FANNING
as BOND enters. Fanning is a scholarly looking slightly pudgy man in his late thirties. SOTHEBY CATALOGUE and the FABERGE EGG lie on M’s desk

The rest of the scene is more or less what we got in the 1983 movie. Again, there was no hint that M was a different character than in the first 11 movies.

From that, you can conclude that a simple change in casting took place. Bernard Lee died. Robert Brown replaced him. But the character is the same.

Judi Dench’s M lectures Pierce Brosnan’s James Bond with the portrait of Bernard Lee’s M in the background.

However, in 1999’s The World Is Not Enough, things may have changed.

In the pre-titles sequence, there is an explosion at MI6 headquarters in London. British Intelligence is forced to regroup at another headquarters in Scotland.

The art department (Peter Lamont? One of his deputies? One of the lowest ranking blokes?) included a portrait of Bernard Lee’s M.

Was this a “retcon,” or retroactive change in continuity?

There are certainly signs that the view of Lee/M and Brown/M being separate characters has taken hold with many fans. The MI6 James Bond website conducted a vote on Twitter this weekend, with the view that they are different characters winning the day.

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1995: Gene Siskel really did not like GoldenEye

GoldenEye’s poster

Here in the United States, film critics Gene Siskel and Roger Ebert enjoyed a long run on television reviewing movies. Both have long since passed, but for many their various shows remain memorable.

Thanks to THIS TWEET, the blog discovered a YouTube video of their 1995 review of GoldenEye, Pierce Brosnan’s debut as James Bond.

Ebert, then the film critic of the Chicago Sun-Times, gave it a passing grade. But Siskel, the then film critic of the Chicago Tribune, had nothing good to say about the movie.

EBERT: I enjoy GoldenEye for what it was, though, and I give it thumbs up.

SISKEL: That thumbs-up comes as a surprise because I didn’t get a sense at all you enjoyed the picture. I certainly didn’t.

EBERT: I’m sorry. (NOTE: He sounded a little sarcastic there.)

(snip)

SISKEL: I think he (Pierce Bronsan) isn’t an interesting Bond. I like (Sean) Connery and everybody else has been nothing compared to Connery. Frankly, Roger Moore has a more commanding physical performance than this guy. I thought this was an average picture….I can’t recommend this picture at all.

A bit of perspective: Siskel panned every James Bond film between Thunderball (1965) and For You Eyes Only (1981).

Anyway, if you’d like to take a look at the review, here it is:

UPDATE (2:15 p.m. New York time): In 1983, Siskel and Ebert took a look back at the first 21 years of James Bond films. CLICK HERE to view the episode. You see some promos at the start before the episode proper begins.

Author discusses The Many Lives of James Bond book

The Many Lives of James Bond cover

James Bond, whether the literary or screen version, always attracts writers wanting to examine the character.

Author Mark Edlitz’s new book, The Many Lives of James Bond: How the Creators of 007 Have Decoded the Superspy, has widened his attention to cartoons, video games, television, radio and other media.

The book is billed as offering “the largest ever collection of original interviews with actors who have played Bond in different media.” That includes performers beyond the six actors who played Bond in the long-running film series produced by Eon Productions.

The book also interprets creators broadly, including actors, directors, writers, song writers, artists and, in one case, a dancer.

The Many Lives of James Bond has five parts: Bond on Film, Bond in Print, Being Bond, Designing 007 and Bond Women.

In this interview, Edlitz discusses why he took on the book and the effort involved.

SPY COMMAND: There have been many books written about the literary and film James Bond. As you planned your book, what did you feel you could add? What areas needed to be addressed?

MARK EDLITZ: There have been many fantastic books about the cinematic and literary Bond; I have many of them. In fact, I assume that my ideal reader is a Bond fan who has read all of the books. Of course, books and films are the most visible part of the franchise, but they are not the only parts. So, I certainly cover both of them in detail. But I also explore the character of Bond in video games, radio dramas, television shows, and comic strips. 

The Many Lives of James Bond is a couple of things. One, it’s the most extensive collection of interviews with actors who have played Bond.  But it’s not always the Bond you’d expect.  Two, it’s also a look at the character as he is interpreted in different media by the artists who created them.

SC: How long did you work on the book? It has interviews with directors (Martin Campbell, among others), actors, and an academic. When did you start and when did you finally have a manuscript you could submit?

EDLITZ: The book took me a few years to write. Tracking down actors, writers, directors, and other artists can be a slow process. But my strategy was to take the book one chapter at a time. Eventually, you write enough chapters, put them all together and think, “Yup, this actually might be a book.”

Having said that, writing The Many Lives of James Bond took less time than my first book How to Be a Superhero, which was a collection of interviews with actors who played superheroes over the last seven decades. How to Be a Superhero took a whopping ten years to write. The Many Lives of James Bond took about three years.

The Many Lives of James Bond is a collection of interviews with the creators of Bond films, books, audio dramas, books on tape, poster artists, and more. I spoke to three Bond directors — Martin Campbell, Roger Spottiswood, and John Glen.

I talked with Bond screenwriters, novelists, comic book writers, and lyricists.  I also interviewed some amazing Bond poster artists, including the legendary Dan Goozee and Robert McGinnis. The two of them created some of the best and most unforgettable art from the entire series.

SC: How many of these are original interviews? How many are compiled from other sources? I ask because Sean Connery has been mostly out of public view for some years.

I conducted all of the full interviews in the book. There is also an appendix for sourced quotes from people who had either passed away or were not available to me. But that’s just a small portion of the book.

The lion share of interviews are brand new.  My self-imposed rule was if I could find the Bond actor and they would talk to me, I would devote an entire chapter to their work. I didn’t speak to Sean Connery.  Of course, I tried. But I’m not sure I would have been able to learn something new from him that he hasn’t already revealed.

I think the book’s strength is that I spoke to people who Bond actors who don’t typically get approached for interviews. For example, I interviewed the performer who played James Bond in the Oscars at the tribute to Albert R. Broccoli and the franchise. He played 007 while Sheena Easton sang “For Your Eyes Only.”

(Spy Command note: This took place at the 1982 Oscars when Broccoli received the Irving G. Thalberg Memorial Award. A video of the Easton performance is below. The Q&A resumes underneath the video.)

SC: What was your biggest surprise you found as you researched the book?

EDLITZ: There were several surprises. In The Many Lives of James Bond, I solve a longstanding Bond mystery. Bond fans have wondered about Bob Holness’s performance as Bond in the South African Broadcast Company’s production of Moonraker in the ’50s. No one recorded the production, and there is very reliable information about it.

I was able to track down Holness’s daughter, who gave me some very valuable information that proves once and for all when the production took place. And Brain McKaig of The Bondologist Blog shared his personal correspondence with Holness. That letter also sheds light on his performance.

Another surprise is Connery’s feelings about the part. We all know that he has complicated feelings about playing Bond. And that’s true. But there are some remarkable stories in the book about Connery returning to the role for his performance in the video game From Russia with Love.

I don’t want to spoil it, but he went through the arduous process of recording his dialogue for the day, and something happened to the audiotape. It was gone. The recording was gone. What happened next showed how loyal and magnanimous Connery can be.

SC: Do you think people take Bond for granted? The first novel came out in 1953. The film first came out in 1962. I think some fans think it’s guaranteed Bond will go on. But from what I’ve read, 007 has had some close calls over the years.

EDLITZ: I think there are probably elements of the Bond franchise that people take for granted. The general public probably doesn’t realize just how entertaining the Fleming novels are to read. There have been several periods where pundits said that Bond was done for.

In some cases, they were talking about the films. But Eon finds a way to change things up and make Bond continually relevant. In the periods between films, Bond fans read continuation novels and comic books to hold them over. While we wait for the next movie, Bond fans gather in message boards on websites and on podcasts, where they can talk and share information.

SC: Your book includes comments from the likes of Barry Nelson (who played an American Bond on CBS in 1954), Bob Holness (who played Bond in a radio production), and Bob Simmons (Sean Connery’s stunt double who also did the first gun barrel image). What did those guys bring to the party? (I actually defend the 1954 TV production, which many fans insist upon comparing to the films; for me, it’s something different.)

EDLITZ: Most casual Bond fans will say that only six people played Bond. They are, of course, talking about Connery, Lazenby, Moore, Dalton, Brosnan, and Craig. A slightly more serious Bond fan will mention David Niven or Barry Nelson. But the true Bond fans know that many actors have played Bond in different media.

I wanted to help shed light on some of their unique contributions. That’s why I tracked down actors who played Bond on the radio, on the cartoon James Bond Jr., and in the video games, to name a few.  Each of these performers has contributed to Bond’s legacy and I wanted to honor them for it.

As an aside, I also agree with you about the merits of 1954’s Casino Royale. When you read Barry Nelson’s comments about the production, you get the sense that he was disappointed with it. Of course, the live production took many liberties and wasn’t always faithful to Fleming’s novel. But what they did was pretty unique; especially for a live production in the ’50s.

SC: What do you think accounts for Bond’s durability?

That’s a good but tough question. It’s almost unanswerable.

The artists I interviewed in the book each have their own theories. The producers’ ability to change with the times plays a big part. I also think he’s possible because Fleming created an endurable character, who isn’t completely knowable.

(Screenwriter) Richard Maibaum made him slightly more accessible, added irony and Bond’s wit. But in all iterations; he retains his mystery.  But he’s malleable enough that he can be interpreted and reinterpreted by so many different artists and in many various forms.

The comic book Bond is different from the Bond of the video games, who is different from the Bond on the radio. Bond is also a perfect vehicle for our fantasies. (Screenwriter) Bruce Feirstein said that any guy who has ever put on a tuxedo thinks he’s James Bond. I agree.

SC: What was your reaction when you finally finished? Elation? Relief? Some other emotion?

EDLITZ: I’ll take D, all of the above. Also, I’m a bit wistful. I had a lot of fun writing it, and I’m a little sorry to let that go. However, I’m thrilled to share the book with my fellow Bond fans.

Many of those Bond fans have been generous, kind, and supportive to me during this process. For many Bond fans, the films and novels are just the tip of the iceberg. The way we deepen our love of the character is by reading books, magazines, and message boards about Bond. So I really hope that Bond fans enjoy The Many Lives of James Bond.

To see the Amazon listing for The Many Lives of James Bond, CLICK HERE.

TWINE’s 20th: A transition for Bond

Cover to the original soundtrack release of The World Is Not Enough

Adapted and updated from a 2014 post.

The World Is Not Enough, the 19th film in the 007 film series made by Eon Productions, marked a transition.

Producers Michael G. Wilson and Barbara Broccoli hired a director, Michael Apted, with little experience in action movies. Apted was brought on because of his drama experience.

Apted also was charged with increasing the female audience for a Bond film.

“I didn’t understand why they picked me to do (The World Is Not Enough),” Apted told The Hollywood Reporter in an October 2018 interview.

“It turned out, they were trying to get more women to come and see it,” Apted said. “So, we really wanted to do a Bond with a lot of women in it. I was right person because I’d done a lot of successful films with women in them. But they didn’t tell me that until right before we started. When I found out, I finally understood.”

The producers also hired a new writing team, Neal Purvis and Robert Wade, to develop the story. They’re still in the world of 007 20 years later.

The script development established a pattern the duo would soon be familiar with. They delivered their script, which would be reworked by other writers. In the case of The World Is Not Enough, Dana Stevens, Apted’s wife, revised the story. Another scribe, Bruce Feirstein, worked on the final drafts. Purvis, Wade and Feirstein would get a screen credit.

Meanwhile, Judi Dench’s M got expanded screen time, something that would persist through 2012’s Skyfall. The film also marked the final appearance of Desmond Llewelyn as Q. John Cleese came aboard as Q’s understudy.

Pierce Brosnan, in his third 007 outing, was now an established film Bond. In interviews at the time, he talked up the increased emphasis on drama. In the film, Bond falls for Elektra King, whose industrialist father is killed in MI6’s own headquarters. But in a twist, Elektra (played by Sophie Marceau) proves to be the real mastermind.

Q’s Good-Bye

The movie tried to balance the new emphasis on drama with traditional Bond bits such as quips and gadgets, such as the “Q boat” capable of diving underwater or rocketing across land. Some fans find the character of Dr. Christmas Jones, a scientist played by Denise Richards, over the top.

Sometimes, the dual tones collided. Cleese’s initial appearance was played for laughs. In the same scene, however, Q, in effect, tells Bond good-bye in what’s intended to be a touching moment. It was indeed the final good-bye. Llewelyn died later that year as the result of a traffic accident.

The movie was a financial success, with $361.8 million in worldwide box office. Broccoli and Wilson, meanwhile, would return to the idea of increased drama in later entries after recasting Bond with Daniel Craig.

Bond 25 questions: The lead character edition

Image for the official James Bond feed on Twitter

With less than nine months before the 25th installment of the James Bond film series, the blog had a few basic questions about James Bond, agent 007 (?, at least where Bond 25 is concerned).

Is Bond a hero or anti-hero?

This is a subject the blog has explored before and the answers remain murky.

Michael G. Wilson of Eon Productions, maker of the Bond film series, said seven years ago that Bond was an antihero.

Barbara Broccoli, Wilson’s half-sister, said the same year that Bond is “a classical hero, but he’s very human.”

That makes for a split vote by the two principals of Eon.

An anti-hero is defined as “a central character in a story, movie, or drama who lacks conventional heroic attributes.”

Is Bond a misogynist or a male chauvinist?

A misogynist is defined as “a person who dislikes, despises, or is strongly prejudiced against women.” Woman hater is a synonym.

A male chauvinist is defined as ” a male who patronizes, disparages, or otherwise denigrates females in the belief that they are inferior to males and thus deserving of less than equal treatment or benefit.”

Since 1995, the Bond film series has gone with misogynist. In Judi Dench’s debut as M in GoldenEye, she calls Bond (Pierce Brosnan) a “sexist, misogynist dinosaur.

Brosnan’s successor, Daniel Craig, said in 2015 that Bond is “actually a misogynist.”

Well, that would seem to settle the issue, wouldn’t it? If the guy who plays the character calls the character a misogynist that would seem to trump what a fan thinks.

How smart is Bond?

Bond doesn’t always show signs of being a strategic thinker.

In Dr. No, Bond (Sean Connery) brings Quarrel with him to Crab Key to see what happens. He brings along a Walther PPK.

In the novel From Russia With Love, Bond knows a trap has been set. But he decides to stay on the train to see what happens.

In The Man With the Golden Gun film, his plan (such as it is) is to fly to Scaramanga’s isolated island and see what happens.

In Quantum of Solace, he brings along his trusty Walther to take on Dominic Greene and his many thugs at the hotel powered by fuel cells (apparently filled with Explodium). He’ll see what happens.

In Skyfall, Bond takes M (Dench again) from London (where she has been guarded ineffectively) to stately Skyfall manor (which has no security, though Bond & Co. manage to cobble together some traps). Bond is able to kill Silva (Javier Bardem) moments before M dies.