How GoldenEye reinvigorated the James Bond… | Little White Lies

In Praise Of

How Gold­en­Eye rein­vig­o­rat­ed the James Bond franchise

17 Nov 2020

Words by Mark Allison

A man in black clothing grappling with a woman in a jungle setting.
A man in black clothing grappling with a woman in a jungle setting.
With a new 007 and more pro­gres­sive sex­u­al pol­i­tics, this film brought the series up to speed with the mod­ern world.

It’s been five years since the release of the last James Bond film, the longest hia­tus in the series with­out a change in lead actor. Although the 25th film, No Time to Die, is fin­ished and cur­rent­ly awaits release, pro­duc­tion has been beset by tur­moil. From the last-minute depar­ture of first direc­tor Dan­ny Boyle to the earth-shat­ter­ing COVID-19 pan­dem­ic, the pre­mière has now been post­poned four times. But this is not the first occa­sion that the Bond series has faced an uncer­tain fate only to emerge tri­umphant. Twen­ty-five years ago, Gold­en­Eye defied the odds and rein­vent­ed 007 for a new cul­tur­al landscape.

Fol­low­ing a pro­tract­ed legal dis­pute, Gold­en­Eye was to be the first new instal­ment in six years, still the length­i­est pause of any kind in the franchise’s 58-year his­to­ry, and the world had changed dra­mat­i­cal­ly in the inter­im. The fall of the Berlin Wall had oblit­er­at­ed the black-and-white realm of Cold War espi­onage in which Bond had oper­at­ed for three decades, and the rise of third-wave fem­i­nism had brought his ram­pant misog­y­ny into question.

By 1995, a wom­an­is­ing British spy looked increas­ing­ly obso­lete – a rel­ic of a bygone era, even in the new form of the improb­a­bly dash­ing Pierce Bros­nan. As Lee Pfi­ef­fer and Dave Wor­ral note in The Essen­tial James Bond’, con­ven­tion­al wis­dom in the film indus­try was that it would be futile to attempt a comeback.”

The age­ing patri­arch of the Bond fran­chise, pro­duc­er Albert R Cub­by” Broc­coli, del­e­gat­ed con­trol of this appar­ent­ly doomed revival to his daugh­ter Bar­bara Broc­coli and step-son Michael G Wil­son, and these two pro­duc­ers not only had to prove them­selves, but the con­tin­ued via­bil­i­ty of the Bond arche­type. Their solu­tion was for Gold­en­Eye to adopt an atti­tude of wink­ing self-aware­ness which explic­it­ly addressed pop­u­lar crit­i­cisms of 007 and inter­ro­gat­ed his use­ful­ness in a post-Sovi­et era. As Russ­ian mob boss Valentin Zukovsky (Rob­bie Coltrane) asks Bond, are you still work­ing for MI6, or have you decid­ed to join the twen­ty-first century?”

The script by Jef­frey Caine and Bruce Feirstein is pre­oc­cu­pied with the col­lapse of com­mu­nism and the dawn­ing of a new geopo­lit­i­cal set­tle­ment. Daniel Kleinman’s impos­ing title sequence fore­grounds these themes, as the usu­al assort­ment of writhing female forms take sledge­ham­mers to stat­ues and sym­bols of the Sovi­et epoch. Bond’s mis­sion brings him into the new­ly cap­i­tal­ist Rus­sia, where he joins forces with com­put­er pro­gram­mer Natalya Simono­va (Izabel­la Scorup­co). Their part­ner­ship and even­tu­al romance is per­me­at­ed by a sense of har­mo­nious inter­na­tion­al­ism, drawn in con­trast to Sean Bean’s vil­lain Alec Trevelyan.

Two people, a woman with short blonde hair and a man with dark hair, standing in a lush, green forest setting.

A trai­tor­ous for­mer Dou­ble O, Trevelyan is moti­vat­ed by a hatred of the British gov­ern­ment for the treat­ment of his fam­i­ly dur­ing World War Two. Rather than embrac­ing the new­ly fra­ter­nal world order, he insists upon cling­ing to for­got­ten con­flicts of the old world, and to dia­bol­i­cal ends he employs the Gold­en­Eye satel­lite, an EMP device from the days of the USSR. The cold war may be over, but its weapons remain lethal in the wrong hands – and Bond is still the only man for the job.

More strik­ing than the film’s geopol­i­tics, how­ev­er, is its sex­u­al pol­i­tics. Gold­en­Eye con­fronts Bond’s chau­vin­is­tic atti­tudes more forth­right­ly than any oth­er entry in the series. Most sat­is­fy­ing of all is a frosty exchange in which Judi Dench’s new­ly appoint­ed female M admon­ish­es our wom­an­is­ing hero as a sex­ist misog­y­nist dinosaur, a rel­ic of the cold war.”

A sim­i­lar­ly know­ing moment arrives when the flir­ta­tious Miss Mon­eypen­ny (Saman­tha Bond) warns 007 that his behav­iour could qual­i­fy as sex­u­al harass­ment.” Although these lines might seem like lit­tle more than super­fi­cial nods to the audi­ence, they rep­re­sent an effort to equalise the bal­ance of pow­er in Bond’s rela­tion­ships with women and detox­i­fy his archa­ic identity.

While Bond’s prej­u­dices are cas­ti­gat­ed in this more equi­table envi­ron­ment, the women around him ben­e­fit from an agency befit­ting the Girl Pow­er gen­er­a­tion. Indeed, Bond’s noto­ri­ous wom­an­is­ing pales in com­par­i­son to the sex­u­al aggres­sion of Famke Janssen’s Xenia Onatopp, a femme fatale with a pen­chant for mid-coital mur­der. She derives such phys­i­cal plea­sure from inflict­ing vio­lence that at one point she appears to cli­max while turn­ing a Kalash­nikov on a room full of inno­cent peo­ple. Like many women in the 90s, Onatopp had clear­ly been read­ing a lot of Cosmo.

Earn­ing more at the box office than the two pri­or entries in the series com­bined, Gold­en­Eye cement­ed Brosnan’s Bond along­side the Spice Girls and Hugh Grant’s hair as a cul­tur­al icon of the Cool Bri­tan­nia era. He remained the charm­ing, sophis­ti­cat­ed secret agent”, but had been rephrased as a fun­da­men­tal­ly mod­ern hero equipped for the expec­ta­tions and chal­lenges of a world in which women call the shots and vil­lains no longer reside behind an iron curtain.

A quar­ter of a cen­tu­ry lat­er, the house of 007 now faces a sim­i­lar chal­lenge in adapt­ing their pro­tag­o­nist for a post-#MeToo, post-Brex­it and post-Trump world. To this end, much has been made of Lashana Lynch’s cast­ing as a black female Dou­ble O agent in No Time To Die, while Fleabag and Killing Eve writer Phoebe Waller-Bridge has been brought on to brush up the script. Although tabloids have tire­some­ly decried these efforts as woke’ pan­der­ing, the truth is that Bond’s abil­i­ty to adapt to chang­ing polit­i­cal and social mores is the very rea­son the series has man­aged to sur­vive into its sev­enth decade.

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