I really liked the thematic coincidences between Oingo Boingo’s “Dead Man’s Party” and the Skyfall title credits. So I mashed ‘em up.
I originally embarked on this voyage to watch and discuss all 23 James Bond movies because I wanted to look more closely at the temporality of the Bond adventures. A theme inspired by a moment in Skyfall when Daniel Craig retrieves the Aston Martin DB5 from storage, a car with which his Bond has had no prior relationship. Having had six different actors play the role with eleven different directors behind the camera, how did the series adjust from one actor to the next? Natural shifts in style and substance brought upon by external market influences and cinematic trends? How did filmmaking decisions attempt to explain the continuity from film to film? Or, conversely, did the filmmakers try to explain it at all?
Once Bond has determined that Pussy Galore isn’t Goldfinger’s sexual property, he pursues her aggressively. Her resistance only fuels his desire. Not because he loves her, but because she claims to be off-limits and immune to his charms. This is anti-domesticity – the fling for the sake of the chase. Honor Blackman claims that she played the role with the understanding that Pussy Galore had been physically abused in her past, thus explaining Pussy’s initial reluctance. This explanation is complicated further by knowledge of Ian Fleming’s original text.
We knew of racism and something or other about the Civil War from our Social Studies book. The actual content of the lyrics proved irrelevant. Or that if there was anything Michael Jackson didn’t have to worry about it was being ignored. We were fledgling intellectuals hyped up on sucrose. This made complete sense.
Taken at face value, however, James Bond’s cinematic escapades in international espionage are a collection of stories taken from the career of one man. Independent scholars John Griswold and Henry Chancellor have taken it upon themselves to assemble the original Ian Fleming novels into chronological order based on the events contained within. The films, however, prove more problematic. If the latest, excellent entry into Bond’s resume, Skyfall, has cemented one notion about chronology it is that the Bond films cannot be treated as isolated escapades along an individual timeline. Not even suspension of disbelief can atone for Skyfall’s temporal incongruities (even within the movie itself). Must we then consider the Bond series as multiple serials distinguished only by the actor playing the role? (Also made problematic by recurring, self-referential leitmotifs.) Or is it something more complicated, like the intertwining plots of a collection of linked short stories with no particular start or finish?