Isn’t it time we buried the term “Bond girl”? | Little White Lies

Women In Film

Isn’t it time we buried the term Bond girl”?

22 Jul 2015

Words by David Jenkins

A woman with blonde curly hair wearing a grey dress, looking thoughtfully at the camera.
A woman with blonde curly hair wearing a grey dress, looking thoughtfully at the camera.
Spec­tre shows just why the fran­chise needs to rid itself of this anti­quat­ed generalisation.

We would like to prof­fer a gen­tle plea that the entire world, from this day onwards, cease using the term Bond Girl” by way of a descrip­tor for cer­tain (nev­er all!) female char­ac­ters in films con­cern­ing the covert tra­vails of the omnipo­tent and increas­ing­ly angu­lar MI6 super-spy, James Bond.

Ahead of the release of newest fran­chise entry, Spec­tre, which drops into cin­e­mas world­wide on 23 Octo­ber, a morsel of mar­ket­ing bumf was eject­ed into the world which com­prised of a com­pos­ite image of the film’s female stars. A range of web­sites duly respond­ed by announc­ing a chance to catch a first glimpse of this year’s cachet of Bond Girls. It was pure­ly and sim­ply a licence to ogle.

As finan­cial­ly suc­cess­ful and beloved as they are, the James Bond films should not exist beyond the scru­ples of basic polit­i­cal cor­rect­ness. Just because this crude hang­over from the 70s still main­tains its place in the com­mon par­lance should not be rea­son for peo­ple (dis­cern­ing or oth­er­wise) to blithe­ly accept it and per­pet­u­ate it. There’s the sense that it may be an exer­cise of tilt­ing at wind­mills when it comes to sug­gest­ing that these pop-cul­tur­al mill­stones are actu­al­ly hin­der­ing the­ses movies, as bank bal­ances speak loud­est and longest when it comes to gaug­ing success.

Maybe these crass short­hands – the Bond car, the Bond watch, the Bond drink – are what make these films work, a case of sim­ple, cosy audi­ence wish-ful­fil­ment? Lest we for­get, this con­cept was the cen­tral joke of an entire episode of Alan Par­tridge. Facile com­part­men­tal­i­sa­tion is what pre­vents the dinosaurs from becom­ing extinct, to wit…

the reemergence of the dinosaur in 2015: JURASSIC WORLD, THE GOOD DINOSAUR, SPECTRE… — Anton Bitel (@AntBit) July 22, 2015

At its most rudi­men­ta­ry lev­el, it’s a term that reduces the female char­ac­ters in these films to mere doled-up chat­tel. Their per­son­al arcs are tight­ly sewn in to the emo­tions of Bond him­self – it’s not about how they’re feel­ing, it’s how their feel­ings effect the feel­ings of our lantern-jawed hero. They are built in the knowl­edge that they are expend­able, that it’s in the inter­est of the franchise’s future that they must be sin­gle-serv­ing, that they must be swept-aside to make way for the future intake. This is a gen­er­al­i­sa­tion, but it’s made because these char­ac­ters have been unfair­ly jos­tled under­neath this ghast­ly seman­tic umbrel­la by fans and pun­dits, that their gener­ic sta­tus makes it tougher to take them seriously.

In Sky­fall, this anti­quat­ed term did less-than-no favours for its short-lived female hero­ine. The term itself is one which auto­mat­i­cal­ly sex­u­alis­es the char­ac­ter, whether that fits with the real­i­ty of the sit­u­a­tion or not. Bérénice Marlohe’s Sev­er­ine is intro­duced as the kind of svelte, Euro-seduc­tress that’s a stan­dard of the series. It is quick­ly revealed that she has been the long-term cap­tor of her male boss who sum­mar­i­ly abus­es her; a depressed and fright­ened sex slave, essen­tial­ly. Yet, because she is The Bond Girl of this par­tic­u­lar work, it is fun­da­men­tal to the pro­gres­sion of events that Bond tracks her down and rav­ish­es her in a show­er. It’s a high­ly dubi­ous scene, and one which exists sole­ly as a weak screen­writ­ing crutch, as she is lat­er employed as a stock emo­tion­al bar­gain­ing chip. Again, she has no per­son­al arc. Her cru­el fate, her very being, is there as cheap sen­ti­men­tal stig­ma for the main man.

This, how­ev­er, is one exam­ple, and the fact is, the Bond Girl” epi­thet serves to swad­dle the series’ own plucky attempts at being pro­gres­sive. Izabel­la Scorupco’s Natalya Simono­va from 1995’s Gold­en­Eye can cer­tain­ly be seen as a step in the right direc­tion, she was more a tough-as-nails part­ner to Bond than the stan­dard piece of arm can­dy. The same goes for Eva Green’s Ves­per Lynd in 2006’s Casi­no Royale, a far rich­er and more com­plex female char­ac­ter than the reduc­tive Bond Girl” term allows for, the even­tu­al, ahem, wrap­ping-up of her plot-line now ensconced as one of the most mem­o­rably sad moments in the franchise’s his­to­ry. Yet in a his­tor­i­cal sense, these char­ac­ters are lim­it­ed by their required clas­si­fi­ca­tion. They join the scant­i­ly clad hud­dle rather than being allowed to stand alone as individuals.

Just how Léa Sey­doux or Mon­i­ca Bel­luc­ci will fare in Spec­tre is some­thing we will have to wait for. As long as they remain Bond Girls”, the impres­sion that they are of sec­ondary impor­tance will remain, whether that’s the case or not. We can now only hope that some bright spark down in mar­ket­ing doesn’t attempt to come up with a more lib­er­al and dynam­ic alter­na­tive that can plague our sense of decen­cy in a new and excit­ing ways.

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