The so-called “Bond girls” have historically played an important role in eroticism traditional cinematography, subordinated to the male point of view. This was not so evident in the novels of Ian Fleming, which served as the basis for the first films in the series, nor in the excellent black-and-white comics drawn by John McCluskey or Yaroslav Gorak. It was the cinema that created the myth of 007, seductive, hedonistic, adamant and anti-communist.and one who scattered around him both powerful villains and magnetic female presences. All of them, almost always, at the disposal of “macho”.Although this was not always the case in the golden decade of the 60s, the one that made James Bond a real movie star through the hands of Sean Connery.
Today, the perception is quite different, since these films would not have passed the minimum filter of political correctness and, wittingly or unwittingly,The managers of the Daniel Craig-starring franchise are dedicated to drastically beefing up the “girly” Bond.. They are still very beautiful, and it seems indisputable – Eva Green, Olga Kurylenko, Monica Belucci and Lea Seydoux – but their roles, and with them their erotic roles, have changed significantly. Being a 1962 Swiss Ursula Andress Bond girl and a 21st century French Seydou are not the same thing.
It was Andress who was honored to be the first Bond girl in 007 vs. Dr. No (1962).. The film’s Caribbean atmosphere and calypso music foreshadowed her famous stage presence, emerging from the sea in a white bikini to the amazement of the relentless 007. This image would become so iconic in the cinematic erotica of the decade, and in the configuration of Bond mythologies that Halle Berry would repeat 40 years later with out of the water in a similar swimsuit, albeit orange, in Die Another Day (2002), hitting Bond then with the Pierce Brosnan incarnation.
The more expansive eroticism of Andress was replaced by the hieratic beauty of the Italian Daniela Bianchi in From Russia with Love (1963). Despite her photogenic Latina, Bianchi put herself in the shoes of the cold-blooded Soviet agent Tatiana Romanova, who, of course, eventually succumbed to Bond’s charms. The resolution of Cold War conflicts used to go through the bed in the films of the series.
Change in the third
It wasn’t until the third and best installment of James Bond vs. Goldfinger (1964) that a dominant female character appeared.. This is Pussy Galore, the leader of a gang of acrobatic thieves who eventually allies with 007. She was played by the cutting-edge Honor Blackman, star of the early seasons of the British television series The Avengers before being replaced by Diana. Rigg as Emma Peel. The exquisite black leather suits that this one wore were already worn by Blackman. This film featured a more classic “Bond girl” played by Shirley Eaton, but she suffocated at the first opportunity, her body covered in gold paint in one of the most sadistic erotic images of the era.
Claudie Auger and Luciana Paluzzi were mere objects in Operation Trueno (1964). Akiko Wakabayashi brought oriental beauty to You Only Live Twice (1965), set in Japan. His presence was less sensual than the title track, sung by Nancy Sinatra. Without Connery, in 007 on Her Majesty’s Secret Service (1969), love has replaced sex: Bond falls in love with and marries Tracy Di Vicenzo, the daughter of a mobster, but the day after the wedding, Tracy is killed in a gunfight. Tragic times with Daniel Craig are already covered here. Curiously, Tracy was brought to life by Diana Rigg in that transfer of strong female characters that took place between The Avengers and 007.
Connery left Bond after Diamonds Are Forever (1971), although he returned to reprise the character in 1983 because never say never. His rival was the sly beauty Jill St. John, with a different eroticism, less overt and obvious. With the advent of the almost parodic Roger Moore into the possession of James Bond, the voluptuousness and lasciviousness of his allies and opponents changed dramatically.. The 70s and 80s are marked by a different canon, from introversion (Jane Seymour, Carol Bouquet) to extraversion (Britt Ackland, Barbara Bach, Tanya Roberts) in terms of female eroticism in a typically masculinized saga.