By Cameron Rasmusson
Reader Contributor
There are few more enduring pop culture icons than James Bond.
For 60 years, 007 has defined and redefined the action blockbuster. But there’s more to the series than some good (and not-so-good) movies. Every Bond movie is a time capsule.
Actors who have played James Bond through the years. Top (from left to right): George Lazenby (1969), Sean Connery (1962–1967, 1971 and 1983), Daniel Craig (2005 to present). Bottom (from left to right): Pierce Brosnan (1994–2004), Roger Moore (1972–1985), Timothy Dalton (1986–1994). Not pictured: David Nivin (who played Bond in a 1967 film Casino Royale, which was not produced by EON Productions, which made most of the rest of the Bond films). Courtesy photos.
No other series comes to mind that can match its longevity and consistent release schedule. And each entry records its era’s fears and fascinations as indelibly as the music and fashion trends of the time. It’s especially evident when watched back-to-back in chronological order — which I did, because what the hell else am I going to do in quarantine?
Cold War insecurities. Space exploration. Nuclear annihilation. The fall of the USSR. Post-9/11 terrorism paranoia. Digital world vulnerabilities. All these themes and more show up during Bond’s run. Even the Mujahideen of 1980s Afghanistan get an uncomfortably heroic characterization in the terrific The Living Daylights. Watching from 1962’s Dr. No to 2015’s Spectre is a tour of post-World War II history.
The movies also document the evolution of culture over six decades. Music is vital to the Bond franchise, and its genre influence vacillates with the whims of the times. Musical stylings run the gamut of jazz, blues, rock, pop, disco, New Wave, ’80s synth and one terrible electronica contribution from Madonna. Costume design is equally fascinating. George Lazenby’s frilly tuxedo shirts are a constant reminder that, yes, this movie was made in 1969.
Likewise, the franchise captures the times with the evolution of its filmmaking style. Bond is at its best when it is setting the trends for action cinema, not chasing them — for examples of stylistic failures, see Moonraker’s attempted capitalization on the Star Wars craze or Quantum of Solace’s mimicry of the Jason Bourne franchise.
When Bond incorporates influences of a piece with its style, the results can be magical. It’s easy to see Miami Vice in 1989’s License to Kill, for instance, but it inspired a superb story and an all-time great villain in the druglord Franz Sanchez.
The series-long tug-of-war between seriousness and camp is another effect of changing sensibilities. Sean Connery and George Lazenby’s 1960s movies are relatively grounded, with Lazenby’s single outing, On Her Majesty’s Secret Service, achieving a surprising degree of emotional depth. In the ’70s, EON Productions took the series in a comedic direction with Roger Moore to decidedly mixed results. At its best, Moore’s silliness is fun and fantastical. At its worst, it’s double-taking pigeons and Sheriff Pepper, the Jar Jar Binks of James Bond.
In his short ’80s tenure, Timothy Dalton portrayed a more violent Bond with a simmering intensity — this is a 007 affected by death and brutality. Dalton is my favorite Bond actor, delivering more gravitas, less misogyny and a perfect run of two excellent films. Pierce Brosnan, after finding the ideal balance of comedy and drama with his debut Goldeneye, gradually veered back into ’90s absurdity.
The current era helmed by Daniel Craig is a child of the Lazenby and Dalton eras. Like On Her Majesty’s Secret Service, the Craig films explore the emotional vulnerabilities Bond hides as 007. The tone returns to the seriousness of the Dalton era, with an emphasis on physicality, ruthlessness and impactful violence.
Bond’s portrayal — and his relationships with the series’ famous Bond girls — is also a product of the times. It’s hard for many modern viewers to overlook the casual misogyny and coercive sexuality endemic to the earlier films. To some degree, that’s who Bond is, though later movies soften his sexism or pair him with female foils that test and evolve him. Some of the best Bond films examine the spiritual vacancy at the heart of the character — that, fundamentally, he is a haunted man consumed by the violent world he occupies.
By my count, Connery is still the franchise leader with three great entries to his name — Dr. No, From Russia with Love and Goldfinger. But who knows? Craig could even the score when No Time to Die, the 25th Bond adventure, hits American theaters Nov. 20.
Count me among the many looking forward to it. Our own uncertain reality may rival the most outlandish 007 plots. But if there’s one thing we can count on, it’s that a new Bond movie is right around the corner.
—Ranking 007—
1. Casino Royale — Structurally airtight. Emotionally resonant. One of the best action thrillers ever made.
2. On Her Majesty’s Secret Service — The first Bond movie with true emotional depth. Diana Rigg is the best Bond girl by a mile. A remarkable movie despite Lazenby’s wooden acting.
3. From Russia with Love — The leanest, tensest, purest spy thriller of the franchise.
4. Goldfinger — Iconic. The movie that nailed down the formula.
5. Skyfall — Visually breathtaking, with thoughtful character writing to match.
6. The Living Daylights — Dalton’s debut brings back Bond’s humanity and intensity.
7. Goldeneye — Perfect opening. Explosive finale. Sean Bean and Famke Janssen are top-tier.
8. The Spy Who Loved Me — Moore at his most charming. Bond at its most epic.
9. Dr. No — Comparatively sparse, but it establishes conventions that endure to this day.
10. License to Kill — The violence and grit are a welcome shock after late-era Moore silliness.
11. For Your Eyes Only — The steady-as-she-goes Moore film. Never makes a wrong turn.
12. Quantum of Solace — A fine Bond story undermined by bad editing.
13. Thunderball — Moments of brilliance lead to a tedious finale.
14. Live And Let Die — Moore’s energetic debut is meandering but agreeable.
15. Tomorrow Never Dies — Bond tackles fake news in a cartoonish but entertaining entry.
16. Spectre — Spectacular action. Contrived writing.
17. You Only Live Twice — The finale is great. But getting there is a slog.
18. The World Is Not Enough — Inconsistent, but when it clicks, it clicks.
19. Diamonds Are Forever — Connery is too old. Vegas is too boring.
20. The Man With The Golden Gun — Christopher Lee is a great villain in a mediocre movie.
21. Octopussy — Not terrible but instantly forgettable.
22. A View To A Kill — Moore is ancient. But Christopher Walken and Grace Jones are fun.
23. Die Another Day — A good premise that quickly devolves into nonsense.
24. Moonraker — Tone-deaf silliness chasing after Star Wars popularity.
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