Unavoidably, the highly advanced movement used in “Goldeneye” overshadows all the other Bond films of the sixties and seventies by a long way as the fast speeds of camera are used to create surreal effects of dreamlike obliteration, demolition and fantasy. There is a lot of variation in the camera techniques to satisfy the 1990s contemporary audience. The inclusion of extreme close-up, aerial crane shots at long range, tracking, fast panning as well as the medium range shots taken at varied camera angles demonstrate the vast improvement in technology. Similar to Dr. No, Bond’s introduction is once again delayed in this film for the same intent of creating tension amongst the audience.
In the opening scene, the camera tracks James Bond at a medium range as he runs on top of the dam ready to jump and then a long range aerial shot is used capturing the breathtaking jump followed by a long range aerial shot to capture the jump tracking downwards using a crane shot. A few minutes later when Bond escapes from the Russian officials and desperately tries to elevate the aircraft preventing a crash into the cliffs, extreme close-ups of his tensed face on subjective viewpoint as well as the medium shots of the falling aircraft are used to portray the character’s braveness and determination. Earlier on in the film, when Bond moves the trolley full of gas tanks towards the conveyor belt to save himself from the Russian bullets, the camera pans the scene at a high angle in a medium range to allow the audience to see how ambitiously and gingerly Bond approaches and deals with his enemies on his mission.
The dangerously thrilling car race between Xenia Onatopp and Bond is elaborately shot using unbelievably superior angles of camera and different camera viewpoints and ranges to entertain the film’s audience to the uppermost level. The use of tracking, close-ups of Bond’s animated face and panning at numerous angles as well as shooting at medium and long range makes the race look even more dangerous and electrifying than it would have been in reality. Capturing the movement of both cars when they approach a group of country cyclists using even more advanced techniques like crane shots and cutaways also helps in maintaining tension and thrill in the audience’s mind as they would clearly see three human beings risking their lives. They would wonder how the charming hero would entertain them without hurting the Bond women or the cyclists.
Similarly, the opening credits also use all the top quality features of the camera which was not evident in all the other previous Bond films. The opening credits of “Live and Let Die” and “Dr. No” did use special effects and some developed camerawork to make the introduction look attractive and colourful keeping the public interested in watching the film. However, the methods used were very basic as they were only restricted to tricks performed by the camera. Goldeneye’s introduction presents a computerised background which is provided a stage to busy and Bond infatuated women operating with destructive weapons. The fact that they were shown surrounded by tools like axes and pistols in slow motion is a phallic indication of Bond’s masculine and flirtatious attitude towards women.
Moving on to the sounds used in the three Bond films in discussion. Surprisingly, the use of diegetic and non-diegetic sounds have remained similar even though the Bond series has been attracting its audience for over thirty years during which the type of music people listen to has changed radically. The non-diegetic sounds in “Goldeneye” have a modern tone and a faster tempo than that in “Live and Let Die” and “Dr. No” as the style of numerous musical instruments used for the production are varied and tunes are enhanced by digital technology to achieve certain effects.
In “Dr. No”, sounds are mostly used to build tension in the audience’s mind or to convey emotional aspects of a particular scene. An example of this feature is the classic introduction of James Bond when tension creating ambient sounds are played as he smartly states, “My name is Bond, James Bond”. Although non-diegetic sounds are scarcely used in “Dr. No”, there is evidence of it being used at appropriate times such as in the opening credits. Reggae style music is played to inform the audience that the scene starts from Jamaica and to point out that the three shadowed blind men are from an Afro-Caribbean background which turn out to be three villain type negative characters moments later when they break through the agent Strangways’ office and shoot the secretary. There again, ambient sounds are played in the background to create a sense of insecurity and danger and to build up the sinister tone which boost the tension and curiosity amongst the audience.
Contrastingly, the more developed sounds used in “Live and Let Die” are much more attracting and appealing. The pleasant-sounding music and lyrics in the opening credits of the film add to the destructive theme of the film and hints the audience of the politics based plot. Although not a lot of non-diegetic sounds are used in the opening scene when the audience witness the national conference, its use is more frequent in this film than it was in “Dr. No”. In this film, James Bond’s face is first shown when he is in bed with his Italian agent Miss Caruso and whenever there is a love scene, for example, when “M” exits Bond’s apartment and he unzips her out of the cupboard, romantic music is played to convey the sensation of sexual attraction. Earlier on, when the island of San Monique was shown where the correspondent Strangways was kidnapped and murdered by tribesmen, a typical jungle-type Jamaican music was suddenly played to suit the joyful and celebrating atmosphere presented on the cinema screen.
Meanwhile, the sound effects used in “Goldeneye” just like its camerawork are far superior than that of “Dr. No” and “Live and Let Die”. They demonstrate the development in modern technology which has also influenced the way filmmakers use computer processed sounds to provide a sense of reality in their films. During the thrilling car race between Xenia Onatopp and Bond, a fast tempo music is played to match with the “cat and mouse” proceedings which increases the tone of excitement and interest building up in the audience. When James Bond meets 006 and starts the action, slow paced music is played but when the Russian officials sense their presence, the tempo increases to build tension.
A few minutes later when Bond and 006 Alec Treveleyan are gun firing at Russian officials, the sounds of gun shots as well as the background mechanical beeps were intensified and enhanced to “magnify” the destructive proceedings. The ambient sounds setting the ambitious atmosphere at the start of the film also blends with the natural working sounds of objects shown on the screen such as the groaning noise of the motorbike with the tension building theme when Bond chases the aeroplane about to fly past the cliff. This is also evident in the car chase when the fast tempo music played is mixed with the noise of the car as it is driven at a very high speed. This further adds a sense of reality in the scene as it beautifies the dangerous situation with a style of flamboyant music that suits it.
The vivid style of modern music played in the opening credit of “Goldeneye” is digitally composed using computer technology as it has many different layers of tunes played by several musical instruments which was not evident in the previous Bond films in the series. The music played in “Live and Let Die” and “Dr. No” is melodious but still the composition of sounds used are on a very low level when compared to that of “Goldeneye”.
When considering the type of language used in the three Bond films of one can hardly find it surprising that the style of language has modernised over the years to match up with the audience of the times – who would expect characters to speak in a familiar manner to what they are used to watching in other films of the time. In “Dr. No”, all the white characters including the protagonist Bond have a standard English accent using formal and professional language without any slang expressions when communicating with others. The fact that the British hero Bond is portrayed as a serious, charming and courteous gentlemen being very cultured in his speech also builds up a very noble picture of the British society amongst the audience world wide. We see Bond’s politeness and his polished attitude in the opening scenes of the film when he his interrupted when playing cards with Sylvia Trench in a casino as “M” wishes to see him. There, he doesn’t leave the game straightway but apologises, “I hope you will forgive me . . . It is most important” which keeps the viewers interested in watching the film as they would want to find out how “charmingly” Bond deals with his enemies on his mission. Later on, we see him addressing his very politely using formal phrases like “Sir” and “Thank you” rather than calling him “M” and saying “thanks” which would be more evident in the future Bond films that will follow in the seventies and eighties when people spoke more informally using slang expressions and “shortcuts”.
Nevertheless, the 1973 released “Live and Let Die” still maintains the formality and politeness in language and the typical English accent which the actors speak in. Bond’s professional register of “M” does not change as he still speaks to him in a serious and respectful manner yet addressing him as “sir”. Conversely, the language he uses when he speaks to other characters has become more relaxed and informal. In the opening scene, when the doorbell rings and he makes a move, he jokes, “You’re not married by any chance. Are you?” talking about his Italian agent who he had been in bed with. This creates a very sarcastic impression of the new James Bond of the 1970s.
On the other hand, the even more informal language used in Goldeneye clarifies the dramatic change in social climate in the 1990s. The public themselves used more casual and slang expressions as well as “shortcuts” like “Hia” instead of “Hi, there” in their speech. Therefore the film’s characters also became more light hearted, relaxed and sardonic to suit the tone of the audience of the time. Furthermore, the chief character of Bond is no exception of the language changing process as he is shown to have become even more sarcastic and ironic from the very first scene when he jokes, “Beg your pardon. Forgot to knock.” before knocking out the Russian official relieving himself in the toilet.
Further intimation of his new “informal” and “carefree” attitude is present through out the film. For instance, in the opening scenes of the film when a tone of tension and hazardous adventure builds up, he passes humorous comments such as, “Buy me a pint” and “Shut the door, Alec. There’s a draught.” when the Russian officials shoot their way into the room sensing the presence of their enemies. This helps to amuse and relax the tensed but entertained audience and to persuade them to start believing in the matchless capabilities of the calm headed James Bond who is able enough to rescue his way out of the most dangerous situations. Bond’s witty and humorous behaviour towards his colleagues as well as hi attentive and cautious attitude when working on his missions proves “Goldeneye” to be the most thrilling of the Bond films in recent times.
Inescapably, as the language used in the Bond films change over the years, so did the intelligent character of James Bond. In the recent Bond thriller, “Goldeneye”, Bond is portrayed as a sarcastic and flattering womaniser as well as the “usual world saver”. He can be said to have become more irresponsible as he competes with Xenia Onatopp in a dangerous car chase not caring for the safety of his petrified personal assistant Miss Moneypenny who requests,
“Is it really necessary to drive this fast, James ?” .
Unlike, the Bond in “Dr No”, the Bond of the 90s doesn’t wear smart aristocratic clothes like suit very often but wears fashionable ones like leather jackets and dark trousers. Coolness and calmness are two positive qualities which he has adapted as at the start of the movie when the alarms switch on in the Russian building or when 006 is shot by the Russian Head Official,he doesn’t panic but finds a clever way to tackle his approaching enemies. Minutes later when we see him escape from the Russians in “an about to crash aircraft”, he doesn’t give up or shout in peer fright but laboriously tries to elevate it to save his life. He has also maintained his honourable recognition of being a moral and an ethical person as he chooses to save his colleague Alec Treveleyan’s life over proceeding in the mission when he is ordered by General Ouromauv to “Throw your (his) weapons and move towards me (Ouromauv) slowly”.
On the contrary, James Bond was portrayed a grave and professional detective more than an ironic one in “Dr. No”. This is reminiscent as he had a typical English accent, a very stylish manner of clothes- the tie, suit and top hat, a formal attitude and a posh hair style throughout the film. Still, the element of frivolity and playfulness are very clearly visible in the complex character as he doesn’t miss the opportunity of giving sarcastic responses such as “I would . . . but it would be illegal use of government property” when Miss Moneypenny complains why he doesn’t take her to dinner like he takes other women. To add humour to the energetic film, his character is made defiant to some extent. We can see the essence of insolence and insubordination when he attempts to slip out with his favourite gun even though he is instructed to use a Wolfram P2K for him missions.
Meanwhile, “Live and Let Die” shows a more laughable and romantic Bond and this is indicative right from the opening scene when he jokes, “You are not married are you, darling” when “M” knocks on his door while he is in bed with his Italian agent Miss Carusa which shows his new characteristic of a charismatic womaniser. To signify to the audience that they will see a new rationalized Bond in Roger Moore he is shown without a hat in the opening credits. During Bond’s conversation with “M”, Miss Carusa shamefully hides inside a cupboard and as he leaves, Bond calms her out of it and uses his “magnetism” watch to unzip her dress flattering, “Sheer magnetism, darling”. As well as having become more romantic, he also developed a laid back attitude to his work. This is clear from the opening scene from the film when it is his boss “M” who has to make an effort to come to Bond’s house for instructing him in his new mission instead of him going to “M’s” office as Sean Connery did in “Dr No”. His nonchalant attitude is also reflected when he concentrates more on making coffee for his boss rather than listening to what “M” has got to report him about the mission which shows his disregard and insolence for seniors.
Moreover, there is a pattern of sexism in the way women are portrayed in each of the three Bond films. In the films made in the 1960s, women were mostly shown inferior to men as they would always be portrayed as delicate objects which masculine villains would either mistreat or harass. The is the reason why most of the main characters such as “M’s” working staff in the opening scene and “M” himself are male in
“Dr. No” whereas the women are shown to be feeble and helpless playing stereotypical roles as in the opening scenes, Strangways’ secretary who squealed before being shot by the three black villains was a woman. Because James Bond always dates and flirts with the numerous women in the film creates a shameful impression of women but marries none of them being exploited and mistreated as sex objects rather than respectable members of the established society.
On the other hand, when considering that the 1960s was the era of rising feminism in women’s rights in Britain and in other European countries, Sylvia Trench who is the first elegant women in “Dr No” who Bond is attracted to is shown playing cards with him in the casino. This suggests us that women had become independent enough to compete with men. The audience can assume that she is high in social status and has a well-to-do and rich family background as her affluence is reflected in her bright red clothes. This gives us a clear picture of women becoming increasingly successful in gaining freedom from their history of exploits in order that men were forced to respect them in 1960s society.
The provocative trend of sexism and exploitation is shown right from the opening credits of “Live and Let Die”. Women of both races, black and white, are covered in little clothes and dancing in an erotic style which informs of the fact that women were seen as delicate objects who would be womanised and harassed by men even in the fresh seventies. Also, in the opening scene, James Bond is shown in bed with the Italian agent Miss Carusa who begs him to make love to her “One more time again”. This again indicates us that women were seen to be around for the pleasure of men as the films shows us that they could easily be entangled in the charm and virility of James Bond. It builds up a picture that women, being the weaker sex, were on the back row of the photograph of the seventies’ British culture. Because of the fact that the prosperous and literate women such as Miss Moneypenny alongside the Italian agent are all attracted to Bond gives us an indication that the society is male dominated as it is Money Penny, one of “M’s” female staff, who gets Bond’s ticket to New York and makes other arrangements for him.
Likewise, in “Goldeneye”, women are again shown to be inferior to men although not to the same extent as they were in “Dr. No” or “Live and Let Die”. This portrayal is apparent from very early on in the film when the audience see the ravishing Xenia Onatopp in a car race with James Bond. The fact that she is wearing flashy clothes and is driving a sports car makes the audience believe that she comes from a wealthy family background. The audience may also presume that the society has accepted the rising feminism where women are perfectly capable of competing with men as Onatopp is shown racing with the male hero. It is also noticeable that Xenia tries to overtake Bond during their race which suggests us that in the modern age that women are proving to have the same talent and capabilities than the challenged men if not more. A few minutes later, when the audience realise Onatopp is the main female negative character, they are fully convinced that women have become more independent than they had been two decades before. Unlike “Dr. No” and “Live and Let Die”, “Goldeneye” shows women in stereotypical men jobs as Judi Dench plays the new female “M” in the 130 minute film. On various other occasions in the film, women are shown to have habits that are traditionally associated with men as women are shown hammering down statues and working with dangerous tools such as guns in the opening credits of the film. However, going back to the car race, the fact that it is the female driver Xenia Onatopp and not Bond who loses control of her car in an attempt to prevent a crash with an approaching lorry still illustrates the superiority of men.
Grippingly, the way criminals are portrayed in the three films in discussion has been very remarkable as they have all been non-English people. In “Dr. No”, the villains are all Jamaican and afro-Caribbean characters which creates an impression that the white people in the British society were bitter against the black people in other communities. This indicates us that the filmmakers in the 1960s exploited the grudge the British public had about the coloured races for the idea of satisfying them as they show the three negative black characters right from the start of the opening scene when they fool the audience pretending to be “three blind men”.
Likewise, the trend of racism is continued in “Live and Let Die”. This is evocative from the opening scenes of the film, when the British agent asked a black man, “Whose funeral is it?” and he cunningly replies, “Yours” before stabbing him. Also, before the opening credits start, the agent Bains is kidnapped and then virtually murdered by a bunch of black tribesmen in a jungle emphasises the racial conflict between the Caribbean people and the British.
Then again, in “Goldeneye”, the villains are foreigners but this time they are the Russians who have plans to switch off the electricity in London by their super space weapon Goldeneye. However, because Bond the world saver’s enemies are Russians and not black people from an African or Caribbean background assures the audience that the British society has become more accustomed to people of different races and racism was becoming less common. The reason why this positive picture builds up in the public’s minds that British respected people of different races more by the nineties was that a lot of people from the Caribbean and Asia had migrated to European countries in the seventies and eighties.
The main reason why the James Bond series has changed so considerably is because as time passed from the 1960s when it all started on the big screen, technology has hugely improved so filmmakers could provide the audience with even more shocking scenes to match up with their growing expectations. The camera angles and stunts used in “Dr. No” were basic and unsophisticated and the sounds used seem primitive when compared to that of the present day. Still, they were sufficient for the satisfaction of the 1960 public who were not accustomed to super agent Bond’s gadgets and his intellect.
In the seventies, demands for Bond films grew immensely so to avoid repetitions of cinematic features already used in “Dr. No, “Live and Let Die” undoubtedly amazed the 70s audience by its advanced sound tracks, camera angles and a new and even more sarcastic Bond who still remains successful in accomplishing his missions.
The Bond women are also shown to have become more perverted and independent as although they try to compete with him in the beginning, they are eventually always attracted to the witty and comical behaviour of the womaniser Bond. James Bond’s appreciable aptitude in being successful in his missions as well as being cheeky and playful with women is highlighted at the peak in the latest Bond adventure “Goldeneye”. This film had a very complex plot and powerful character so to make it look superior and advanced than the preceding Bond films numerous camera angles, developed lighting and perfect quality sounds were used. The inclusion of new super man style gadgets and some unbelievable stunts also shocked and entertained the film’s modern audience.
In conclusion, the context of the James Bond has modernized over the later years of the twentieth century due to the change in social climate to satisfy the up-to-date audiences. They all appeal to and attract to their target audience at the time. To satisfy the public of the 1960s, “Dr. No” has reggae style undertones and black skinned villains. Meanwhile “Goldeneye’s” sophisticated and politics based plot suits the well educated and more higher technology accustomed 1990s audience. From the 1960s to the present day, the James Bond films have always targeted audiences of all ages in many countries across the globe as the magical character of Bond is appreciated by all types and ages of people. Although Ian Fleming’s character has vividly changed over the years in the sense that the element of seriousness is replaced by charm and irresponsibility, he would still remain one of the most popular fictional characters in the history of fictional Literature and filmmaking.
