Today we continue our series of concise reviews of every Bond film until the November 9th release of Skyfall. This time Chicken Man takes the reins and shows how From Russia With Love establishes different Bond signatures and lays the foundation for cementing 007 in his defining era of the Cold War.
As Thrasher stated previously in his
Dr. No review,
James Bond didn't really become an icon until the third movie,
Goldfinger.
Part of the fun of
No and continuing on with
From Russia With Love is that one gets to witness Bond at the experimental stage, seeing which events became themes in the series. Some definitely did: the title sequence, flirting with Moneypenny (as opposed to having the intended steady girlfriend, Sylvia Trench, who was not seen afterwards), being equipped by the ever innovative Q, the nemesis organization of SPECTRE, etc. As well,
FRWL is also one of 007's defining moments, establishing him as a Cold Warrior, for it is in this era that Bond has spent most of his existence. He remains fighting this Cold War into the times of Timothy Dalton, who aided the Afghans against the Russians in
The Living Daylights. Even after the collapse of the Soviet Union, Judi Dench as M characterizes Bond in
Golden Eye as "a sexist, misogynist dinosaur. A relic of the Cold War..." As with
Dr. No, as well as most of Connery's Bond films,
FRWL is in deep contrast to more contemporary 007 movies in terms of pacing; it is doubtful that modern audiences would be as captivated as '60s audiences were. It also continues the intermittent use of the Bond theme music, playing when he is doing the more mundane, such as walking into a hotel, whereas in the later films it is reserved for when he is doing something more heroic. In many ways it forms a bridge between
Dr. No and
Goldfinger, where the presentation is making the transition from unpolished operative to charming, sophisticated secret agent. It is a fitting sophomore performance and arguably an indispensable part of the Bond canon.
Previous Entries in this Series:
Dr. No (1962) by Thrasher
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