The actresses: Lola Larson and Trina Parks But it does not sell any tapes of her lines: they were dubbed on afterwards.Ģ. She called her autobiography Golden Girl, and her website offers signed snaps of her. She retired from acting to raise her sons. That image put Eaton, now 78, on the cover of Life magazine. Jill is lying dead, painted in gold on the bed beside him. But he wakes to find that Goldfinger has taken his revenge.
Naturally, she switches her allegiance to Bond. Her Bond: Sean Connery Having appeared in three Carry On films, Shirley Eaton became an iconic Bond girl, not for the way her character lived, but how she died.īond meets Jill Masterson when she is helping her boss, Auric Goldfinger, cheat at cards. Her character: Jill Masterson in Goldfinger (1964) So what became of the actresses who played the Barely-There Bond Girls? No, these girls make fleeting appearances, yet have often been some of the most memorable characters in the franchise. These aren't the ones he drags around amid explosions, bullets and car chases, only to drive, float or orbit off into the sunset as the credits roll. At last, middle-aged women were being seen as sexy, too.īut when the film was released last week, cinema-goers were surprised to find that Bellucci's part lasts only a few minutes, before she is discarded for 30-year-old Lea Seydoux.īellucci, it seems, belongs to a very specific group in the 007 canon: the Barely There Bond Girl. By indiscriminately bedding “good” and “bad” women, Bond attempts to ensure the success of his missions by aligning his sexual conquests with his moral plight.The casting of 51-year-old Monica Bellucci as the oldest ever Bond girl, in Spectre, caused a media sensation. Operating within a British heroic tradition that links masculinity with (heterosexual) romantic conquest, Bond’s serial seduction of women offers a “visual guarantee of the maleness of the Secret Service” and functions as a “tipping point” in the plot (107–09). Historically, then, the franchise has relied on gendered, racial, and sexual stereotypes in order to differentiate Bond’s “normative” heroic identity from the deviant attitudes and behaviours of his male adversaries (Black 96–97). In order to obtain audience approval for these violent exploits, Bond functions within a clearly defined political space. Armed with a licence to kill, title character James Bond is routinely placed in situations which necessitate his use of deadly force.
As each of the Girl provides a certain extent of intelligence leading to the antagonists, the deficient Bondian seduction therefore hinders both his capacity in national security maintenance as well as his possibility of relishing splendid sexual life.Īs the longest running film series in history, the James Bond franchise currently includes 22 films released across 48 years. These four sources substantiate that the legendary womaniser Bond is instead very much incapable of seducing most of his Bond Girls. My dissertation analyses four generations of James Bond movies: Thunderball (1965), Moonraker (1979), GoldenEye (1995) and Casino Royale (2006). Meanwhile his sexual encounters stress his freedom from commitment as well as his embodied British national power, his interactions with most of the Bond Girls since the first Bond movie Dr No (1962) however lack mutual comfort and connection. His life is also enriched by consumerism and more essentially, effortless seduction to limitless sex. Bond completes the assignments while simultaneously enjoying the bachelor lifestyle and this has always intrigued many readers and spectators. After working as a personal assistant during the Second World War to John Godfrey, the Director of Naval Intelligence of the Royal Navy, Ian Fleming designed James Bond as a prominent fictional British agent from the novel Casino Royale (1953) onward.
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