James Bond filmography

Lewis Gilbert, British director of 'Alfie' and three James Bond ...

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Commander James Bond RN - code number 007 - is a fictional character created by British journalist and novelist Ian Fleming in 1952. The character appears in a series of twelve novels and two short story collections written by Fleming and a number of advanced novels and spin-off works after the death of Fleming in 1964. There were a total of twenty-six films, produced between 1962 and 2015.

Fleming described Bond as a high, athletic, handsome secret agent in his thirties or forties; it has some nasty traits including drinking, smoking, gambling, cars and women. He is a remarkable sniper, and skilled in unarmed combat, skiing, swimming and golf. While Bond kills without hesitation or regret, he usually only kills when running orders, when acting defensively and sometimes in revenge.

American actor Barry Nelson was the first to play Bond on screen, in a 1954 television adaptation, "Casino Royale". In 1961 Eon Productions began work at Dr. Nothing , a novel adaptation of the same name. The result is a film that spawned a series of twenty-four films produced by Eon Productions and two independent films. After considering such "soft" British actors as Cary Grant and David Niven, the producers threw Sean Connery as Bond in the movie. Fleming was shocked at the selection of rude Scottish actor, aged 31, regarded him as the antithesis of his character. However, the physical prowess and sex appeal of Connery in that role become very synonymous with the character, with Fleming eventually changing his view on Connery and incorporating aspects of his portrayal into the books.

Seven actors in total have played Bond in the movie. After the depiction of Connery, David Niven, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig have taken over this role. This version of the screen has retained many features of Fleming's depiction, although some of the less fashionable Bond attitudes have been dropped, such as racism, homophobia, retaining the services of a maid, and in newer films, smoking. Although it plays the same character, there are striking differences between depictions. Daniel Craig is an incumbent Bond in the long running Eon series, and plays a part for the fourth time in the latest movie, Spectre , released in October 2015.

Video James Bond filmography

Fleming literature characterization

A Secret Service agent, James Bond is a composite based on a number of commandos that writer Ian Fleming knew during his ministry at the Naval Intelligence Division during World War II, to whom he added his own style and a number of his own tastes. Fleming adjusted his character's name from the eponymous American bird expert. The Bond 007 code number came from one of Britain's key naval intelligence achievements of World War I: the breakdown of the German diplomatic code. One of the German documents cracked and read by the British is Telegram Zimmermann, coded 0075, and which is one of the factors that led to the US entering the war. Furthermore, if the material is given a value of 00 it means it is very confidential. Fleming then told a reporter, "When I was in Admiralty... all the secret signals had a double-0 prefix... and I decided to borrow it for Bond".

Although James Bond was in his mid-thirties, he did not age in Fleming's stories. Fleming biographer Andrew Lycett notes that, "within the first few pages of Casino Royale Ian has introduced most of Bond's idiosyncrasies and trademarks, which include his appearance, Bentley and his smoking and drinking habits: The Bond for alcohol to flow throughout the book series and he smokes up to 70 cigarettes a day.

Fleming decided to play down the character of Bond, observing that "Exotic things will happen to and around him, but he will be a neutral figure". On another occasion, he made his point, by saying, "When I wrote the first one in 1953, I wanted Bond to be a very boring, unattractive man who was a problem, I wanted him to be a blunt instrument."

Maps James Bond filmography

Movies

Sean Connery: 1962-1967, 1971 and 1983

Sean Connery was the first actor to play Bond in the movie at Dr. Nothing (1962). An amateur bodybuilder, he has been the concern of Bond film producers after several appearances in British films since the late 1950s. Muscular 6'2 ", Connery initially met with the disapproval of Fleming, who believed that he was an overly large stuntman who lacked the skills and elegance to play James Bond, he imagined an amiable actor like David Niven playing the role Producer Albert R. Broccoli - known by everyone as Cubby - disagrees with Fleming's views, then remarks that "I want a rough man... put a little veneer on a hard Scottish skin and you have a Fleming Bond instead all the chopped poofs we were applying for the job. Eon's choice of Connery is also based on her sex appeal and appeal, an appeal that will be voiced by Honor Blackman who said, after performing with Connery at Goldfinger I, "She's so handsome, sexy and sexy and that really is the tenor of what the script always tries to show. " After Connery was elected, director Terence Young took the actor to her tailor and hairdresser, and introduced it to high life, restaurants, casinos and Lo ndon ladies. In the words of author Bond Raymond Benson, Young educates the actor "in a way to be smart, smart, and above all, cool".

Connery's interpretation of the character is very different from Fleming, more moral and cold-blooded than the literary version. Connery describes Bond as "a sensualist full of senses, very sensitive, awake for everything, quite immoral, I love it because it thrives in conflict." Academic James Chapman observes that for Dr. Nothing , Connery's interpretation of the character, though incomplete, suggests the actor "should be credited with having a new style of performance: a British screen hero by way of an American leader". In his second film, From Russia with Love , Connery looks less nervous and tense; he gave "a relaxed and sour appearance of intelligence and refined style". Pfeiffer and Worrall noted that Connery "personified James Bond with such perfection even Ian Fleming... admits that it is difficult to imagine others in the" section; academic Jeremy Black agreed and stated that "Connery made her own role and created a Bond audiences for cinema". Black also observes that Connery gives the character "reserve character, peeled down... [with] the inner dimness along with the style". Connery plays Bond with "the right blend of cool charisma, violence and pride... of the others judged". Raymond Benson assumes that Connery "manifests the roughness and presence of this powerful screen beyond any preconceived notions of character". Benson also notes that Bond is intelligent, but contains "convincing toughness that symbolizes machismo men". Roger Moore agrees with Black and Benson, commenting that "Sean is Bond.He created Bond.Bonding Bond and because Sean, Bond became a character known instantly around the world - he was rude, tough, intent and smart... he is a very good woman 007 ". Yet, despite his charm and manhood, Connery is typically short in his delivery. Christopher Bray said of him that "in pride, laconic, mocking, self-sufficient vanity, Connery's Bond is the epitome of the consumer culture of the sixties."

Interviewed by Oriana Fallaci in 1965, Connery identifies where he has changed the characters for the film, saying "I told the producers that the character has one flaw, no humor about him; to make it acceptable, they should let me play it around, people can laugh, They agree, and there you are: Today Bonds are accepted in such a way that even philosophers have difficulty analyzing them, even intellectuals like to defend them or attack them, and even when they laugh at them, people take them very seriously. Connery goes on to add that "Bonds are important: this invincible superman that every man wants to copy, which every woman wants to conquer, the dream we all have to survive, and then we can not help liking it." After five film pressures in six years, Connery left the role after the 1967 movie You Only Live Twice that said, "It's a terrible stress, like living in a golden fish bowl... that's part of my reason want to finish with Bond.Also I have really identified with it, and it becomes very outdated and very boring ".

After the hiatus of a movie - On Her Majesty's Secret Service , where George Lazenby played Bond - Connery returned to the role for Diamonds Are Forever after David Picker, Chief of the United Artist, Connery will be drawn back to her role and the money is no problem. When approached about resuming Bond's role, Connery demanded - and received - a fee of Â£ 1.25 million (Â£ 24 million at 2016 pounds), 12.5% â€‹â€‹of gross profit and, as a further attraction, the Union of Artists offered to support two films of his choice. His appearance received mixed reviews, with Raymond Benson considering that Connery "looked tired and bored... he was overweight, moving slow, and did not seem to be trying to create a credible character". Nevertheless, Benson considers that Connery "still emits more screen displays than Roger Moore or George Lazenby". On the other hand, Pauline Kael says "Connery's James Bond is less corrupt than before and less fake - and he's better like this".

In the early 1980s producer Jack Schwartzman moved forward with the non-Eon Bond film, following the controversy over the 1961 Thunderball novel and the ensuing long legal battle; the result is Never Say Never Again . Connery accepts an offer to play Bond once again, request (and receive) a fee of $ 3 million ($ 7 million in dollars 2017), percentage of profits, as well as casting, director and script approval. The script has several references to the years ahead Bond - playing on Connery being 52 at the time of filming. David Robinson, reviewing the movie for The Times considers it, "Connery... returns, looking almost a day older or thicker, and still beats every other exponent of the role, in a good throw with which he fends off all gender and violence on the street ". In 2003 Bond, as portrayed by Connery, was voted the third greatest hero in the history of cinema by the American Film Institute.

David Niven: 1967

When Sean Connery was elected in November 1961, David Niven has become Fleming's choice for the role as an actor reflecting his character's image. In 1965 producer Charles Feldman signed Niven to play Sir James Bond for Casino Royale, a movie not made by Eon Productions. Connery and Peter Sellers have rejected the role. Niven is 56 years old when he plays Bond and his character is an old man who has won Victoria Cross at the Siege of Mafeking, has a daughter by his lover, Mata Hari's spy, playing Claude Debussy on the piano, eating royal jelly and processing black roses. The concept of Bonds is that once Niven's Bond retires, his name and appointment 007 are forwarded to other agents to keep the legend alive; James Chapman notes that the implication is that "Other Bonds" are played by Connery.

Chapman considers the concept of elderly Bonds to be of some interest, with Bond referring to Connery's Bonds as "sexual acrobats that leave a beautiful dead woman trail behind like a blown rose". In line with the Literary Bond, the character of Niven drove a vintage Bentley, rather than Aston Martin favored by Connery. Steven's bond scholar Jay Rubin thought Niven perfectly acted as a Bond Retiree, and saw it as a "throw back to a hell-to-skin adventure hero" of characters, who aligned Niven's life and career. Barnes and Hearn describe this as "a very fair interpretation", given the way Niven approached the role, while Raymond Benson considers Niven casting "intelligent". Jeremy Black questioned the use of Niven in that role, observing that he did not seem to be a killer, and did not have the "confusing edge" that Connery possessed.

George Lazenby: 1969

With Connery's departure after You Only Live Twice , Broccoli and director Peter R. Hunt chose Australian George Lazenby to play the role of Bond. He first came to their attention after seeing it in the ad Fry's Chocolate Cream. Lazenby dressed sections with several bonding sport elements such as Rolex Submariner Watches and Savile Row suits (booked, but not collected, by Connery), and went to Connery barber at the Dorchester Hotel. Lazenby consolidated his claim during a screen test, when he accidentally hit a professional wrestler, who acted as acrobat coordinator, on his face, impressed Broccoli with his ability to display aggression. Lazenby never signed a contract, with negotiations dragging during production, and he was later convinced by his agent Ronan O'Rahilly that the secret agent would become an old-fashioned 1970s release; as a result he left the role before the release At the Queen's Secret Service in 1969. For his performance as Bond, Lazenby was nominated for a Golden Globe Award for New Star of the Year - Actor at the 27th Golden Globe Awards.

Critical opinions are shared about Lazenby; he has been considered the worst Bond, and has been described as "laconic and humorless", "a bit stiff" and "annoying and complacent". Derek Malcolm of The Guardian underestimated Lazenby's appearance, saying that he was "not a good actor and although I never thought Sean Connery was all that good, there were times when someone missed his little panache louche ". The New York Times critic AH Weiler also weighs against Lazenby, saying that "Lazenby, if not a fake Bond, is just an ordinary, fun, satisfying substitute". Pauline Kael calls Lazenby "a pretty boring person" in his positive review at The New Yorker. However, Peter R. Hunt, director at Her Majesty's Secret Service, stated that Lazenby should have done more movies in the role, saying "he will make a very credible and really very good Bond".

Smith and Lavington assume that Lazenby "has chosen to play Bond in the same way as Sean Connery has, with perhaps more humility and humanness"; they went on to say that "Lazenby's experience rarely shows" in the movie, and that "he always goes up to the occasion". Alexander Walker in the London Evening Standard said that, "The truth is that George Lazenby is almost as good as James Bond as the man referred to in his movie as 'someone else.' Lazenby's voice is more friendly than sexy and he can pass for fellow comrades on the shady side of the casino. "Bonds are now definitely ready for the Seventy". Judith Crist of New York Magazine commented that, "Right now, there is a bit of maturity and unyielding and strangeness about this role through the handsome Mr. Lazenby". Feminist film critic Molly Haskell writes approved review at Village Voice: "Lazenby... seems more comfortable in a wet tuxedo than a dry martini, more comfortable as a geneolog than to read (or play) > Playboy , and who really dares to think that a woman who is equal to him is better than a thousand part time playing buddies. "

James Chapman assumes that Lazenby is seen as part of Bond, which identifies his athleticism and "arrogance arrogance", which "conveys the arrogance of character". Chapman also distinguishes the more vulnerable and human characters in Bond - feeling tired and in love - as opposed to "heroic superman" from Connery. Brian Fairbanks notes that " OHMSS gives us a James Bond capable of vulnerability, a man who can show fear and is not immune to heartbreak." Lazenby is the man, and his performance is amazing. Ben Macintyre also observed that of all the Bonds, the characterization of Lazenby is closest to the original Fleming character. Roger Moore: 1973-1985

After Diamonds Are Forever , Broccoli and Saltzman tried to convince Sean Connery to return as Bond, but he refused. After considering Jeremy Brett, Michael Billington, and Julian Glover, the two producers eventually turned to Roger Moore, whom they had previously discussed for On Her Majesty's Secret Service, but which were not available, and he finally chose to playing Bond on Live and Let Die . At that time Moore was an established television actor, known for his appearance as Simon Templar on The Saint and Lord Brett Sinclair at The Persuaders! : in both he plays "playboy charming, friendly, international". When playing Bond, Moore tries not to imitate either Connery or his previous role, and screenwriter Tom Mankiewicz puts up scenarios around the Moore persona by giving more comedy and light-hearted scenes to Bond, an approach that makes Raymond Benson describe Moore's Bond as "a a rather closed international playboy, an eyebrow that never seems to hurt. "
Film writer Andrew Spicer considers Roger Moore the most elegant and courteous of the Bonds, in the voice and style of a debating British countryman. Benson agrees, stating that Moore is, "too kind and polite to be a James Bond of a real substance", while Doug Pratt says that "the writers worked out the personality for Roger Moore and found a windy balance between comedy and action". To make Moore's character look more resilient, Smith & amp; Wesson.44 Magnum - which at the time was associated with the macho image of Clint Eastwood character, Dirty Harry - was selected for Moore for use in Live and Let Die rather than the usual Bond option of Walther KDP.
Spicer says "Roger Moore reinvented Bond as an old-fashioned, more sophisticated debonair hero than Connery's incarnation, using his enhanced mocking character in his role as Simon Templar... Moore's humor is a throw, and certainly in the next films, which is called self-parody.This is an important strand in the increasingly curvy direction of the series that becomes lighter, tofu and playful intertextual ". Chapman notes that Moore is the most comedic of Bonds, with a more cautious approach to playing characters with sarcastic criticism and sarcasm. In addition, Moore's one-line is delivered in a way to show that the violence inherent in the films is a joke, not the opposite of Connery, used to defuse violence. Moore explains his approach to humor by saying "for me, the Bond situation is so ridiculous... I mean, this guy should be a spy, but everyone knows he's a spy... that's outrageous, so you have to treat humor very well too. "
Pauline Kael is a fairly vocal critic of Moore's, referring to it as the "iceberg" in The Man with the Golden Gun. In reviewing For Your Eyes Only , he writes "Roger Moore is Bond again, and his idea of â€‹â€‹Bond is not as easily shaky as playing dead". Reviewing Moonraker, he wrote "Roger Moore is filial and passive as Bond, his clothes are neatly pressed and he appears to work, like an office manager who turns into dead wood but survives to collect his pensions". Only in The Spy Who Loved Me, one of Kael's Bond's favorite films, does he praise him for describing himself as self-effacing: "Moore gets a chance to look terrified - an emotion that suits him and makes him more fun".
A number of Moore's personal preferences are transferred to Bond characterization: his taste for a Cuban cigar and his wearing safari suit is assigned to the characters. Moore's use of cigars in early films contrasts with Connery, Lazenby and Dalton who smoke. At the time of Moore's fifth movie, For Your Eyes Only, released in 1981, his characterization came to represent an ancient character, in contrast to the fashion that Connery had presented in the 1960s..
In 1985 Moore appeared in the seventh and final film, A View to a Kill ; he is 57 years old (he appeared with his 30-year-old co-star Tanya Roberts). Criticism focuses on Moore's age: The Washington Post says: "Moore did not take too long in his teeth - he has fangs, and what looks like an eye job has given him a spy vacuum from a zombie he can not be trusted anymore in action sequences, let alone in romantic scenes ". When she was cast for the film, Moore remembered that she felt "a bit old in the tooth", and in December 2007 admitted that she was "just about four hundred years old for the part". Like Connery, Moore appeared as Bond in seven films; by the time he retired in 1985, he was the oldest actor to play 007 in the Eon series, and his Bond film had earned more than $ 1 billion at the box office.

Timothy Dalton: 1986-1994

With the retirement of Roger Moore in 1985, the search for new actors to play Bond took place which saw a number of actors, including Sam Neill, Pierce Brosnan and Timothy Dalton, auditioning for the role in 1986. Reksa co-producer Michael G Wilson, director John Glen , Dana and Barbara Broccoli "were impressed with Sam Neill and were anxious to use it", even though Bond producer Albert R. Broccoli was not sold to actors. Dalton and Brosnan were both considered by Eon, but after Brosnan was eventually ruled out by his contract Remington Steele, Dalton was appointed in August 1986 with a salary of $ 5.2 million. When he was 24 or 25 years old, Dalton had discussed playing Bond with Broccoli, but decided he was too young to accept the role, thinking that Bond should be played between 35 and 40 years. In preparing for his role, Dalton, a green-haired, slim, 6'2 "(1 m 88 cm) dark-headed Shakespeare actor, very enthusiastic about describing characters as accurately as possible, reading extensively about books before his role at The Living Daylights (1987).

Dalton's bonds are serious: dark, cold, emotional, hard, cruel, showing a little humor, and focus as a killer with little time for fun and pleasure. Dalton's interpretation of the character comes from "his desire to see darker Bonds," which is "less than a basket's eye, tougher and closer to the dark character Ian Fleming wrote". James Chapman also considers Dalton closer to the Fleming Bond than the previous actor, writing that Dalton "is clearly less comfortable... with clever people and one-liners... so he becomes something closer to the book Bindings, which are rare develop a sense of humor ". While reviewing the License to Kill , Iain Johnstone of The Sunday Times disagrees, stating that "every remnant of a male spy... by Ian Fleming" is now gone ; He goes on to say that "this character is very close both in deed and action to the eponymous hero of the new movie Batman ".

Not all viewers are taken with Dalton. Jay Scott of The Globe and Mail is completely dismissive. "New bonds have been widely described in feature stories as a setback for the original Ian Fleming (studying Fleming novels, Dalton is pleased to discover that Bond is a human being, he says), and that may be true, if Fleming has no attraction, sex appeal, and intelligence, Timothy Dalton's Bond is a serious person who swallows his words and approaches his work with responsibility and humanity, and keeps away from promiscuity - Dirtless Harry.You get the feeling that on his nights off he may curl up with Reader's Digest and catch episode of Moonlighting - she will try to memorize a joke - before falling asleep under the influence of Ovaltine.English reviews about The Living Daylights have been praised, perhaps because this Bond is the most English of all, if England should be understood as a synonym to be protected ".

Raymond Benson notes that Dalton "deliberately plays Bond as a cruel and serious man with very little intelligence displayed by Connery, Lazenby or Moore", and considers it "the most accurate and literal interpretation of the role... ever seen on screen". His character also reflects the level of moral ambiguity; at the License to Kill, for example, he became an evil agent, while Dalton himself saw the character as "human, not superhuman, people plagued by moral confusion and apathy and uncertainty, and who were often very frightened and nervous and tense ". Smith and Lavington observed that during Dalton's description of the License for Killing, Bonds appeared "self-absorbed... frivolous, brutal, prone to laughter nervous and... perhaps crazy, or at least seriously disturbed.In light < i> License to Kill , an academic, Martin Willis, refers to Dalton Bonds as "muscular vigilance." Steven Jay Rubin notes that Dalton's films have "violent reality and some violent violence. episodes that are more suited to Dalton's more realistic approach to character. "Rubin considers Dalton's portrayal of" Fleming's Bonds "The Bonds of Suffering." Unlike previous incarnations of characters, Smith and Lavington identified Dalton's humor as " reflective rather than reckless "; combined with heavy smoking, they consider him" an effective leader. "Eoghan Lyng, writing for The James Bond Dossier, is better than he does with Daniel Craig, stating that" Despite chronological placement, it's Dalton, not Brosnan, who proved to be a prototype for 21st century Bond. "Though the author of the Bond script, Richard Maibaum , calling Sean Connery the best Bond, he considers Dalton the best actor of the four actors who have worked with him.Her predecessor, Roger Moore also feels that Dalton is the best actor to play Bond.

Dalton movies do not perform well at the box office like most of the previous films. Commentators such as Screen International consider the Bond series to have run in a series of epochs like Indiana Jones and Lethal Weapon . Edward P. Comentale observes that "Dalton, for all the flat northern vowels, is probably the stage actor to assure as a hero of action in the days of Willis, Schwarzenegger and Stallone." After only two films - The Living Daylights and License to Kill - litigation occurred over the Bond catalog license, delaying what should have been Dalton's third film for several years.. His six-year contract expired in 1993 and he left the series in 1994.