December 28, 2024
This series is intended to evaluate each product of the James Bond film franchise through a feminist lens, and the relevance of the Bond archetype to shifting ideas of masculinity in the 2020s.
From Russia With Love (1963, directed by Terence Young)
With the unexpected success of Dr. No, United Artists doubled the budget for the sequel and the bet paid off. (The $2 million film took in more than $78 million worldwide.) We are now firmly in a franchise of films made by men for men and their dates, starring manly man Sean Connery. Although it should be noted that Johanna Harwood, who had worked on the script for Dr. No, played a large role in the screenplay for From Russia With Love. Producers cast Italian beauty queen Daniela Bianchi as Bond Girl #2 Tatiana Romanova, after actress Elga Gimba Andersson refused to sleep with a United Artists executive. Bianchi, who could barely speak English, had her lines dubbed by a British actress.
The film starts the Bond tradition of the opening credits being projected on to the bodies of scantily clad or nude women, firmly establishing that these are stories for boys. Instead of Jamaica, most of the action takes place in Turkey, although there are obligatory scenes in London and wherever SPECTRE Island is. There we meet the Dr. Evil of the Bond cinematic universe, Blofeld (or at least his cute cat). Leaving the Caribbean means we leave any and all black actors, and the primary Turkish character, Ali Kerim Bey, is played by Mexican actor Pedro Armendáriz. (In a bizarre side note, Armendáriz contracted neck cancer after filming a Howard Hughes film near a nuclear test site in Utah, and before he finished shooting his parts for From Russia With Love, shot himself with a gun that he snuck into his hospital room.)
From Russia With Love was filmed as the Cold War intensified and SPECTRE agents replaced Russian agents (who were the villains in Ian Fleming’s original Bond novel) to not further inflame tensions. President Kennedy told Life Magazine that From Russia With Love was one of his favorite novels. The film version premiered on October 10, 1963, the same day U.S. Attorney General Robert Kennedy (crazy guy’s dad) approved J. Edgar Hoover’s wiretapping of Martin Luther King, Jr.. The film was screened at the White House for JFK before he left for Dallas, where he was assassinated. From Russia With Love received mixed reviews, some saying it was slower than Dr. No, but has gone on to be held up as one of the best of the Bond series.
Here’s how FRWL charts with our five evaluations.
Driver of Action – Director Terrence Young had established a formula and he’s not going to break it on the sophomore outing. This is Bond in all his glory, now supplied with cool gadgets by MI-6’s Agent Q (played by Desmond Llewelyn, who remained as Q to 1999’s The World is Not Enough). There is a great “buddy” feature between Bond and Bey (similar to Dr. No’s Quarrel role) and a fun subplot about SPECTRE operatives Rosa Klebb and Kronsteen, groveling before Blofeld as they attempt to kill Bond for offing Dr. No. (The “R” in SPECTRE is for “revenge”- Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion. FYI.) But the story doesn’t happen without their dastardly plot to kill Bond and the delight of our man James foiling their fiendishness.
Role of Violence – There is considerably less violence in Dr. No’s sequel. There are some cool explosions after a helicopter attack and a boat chase, but 007 only kills one person, SPECTRE assassin Donald Grant (played by Robert Shaw, who will always be Captain Quint in Jaws to me). Grant’s death is the result of a beautifully choreographed fight scene in a train car on the Orient Express. (Fight scenes in train cars become something of a trope in the Bond franchise.) The most shocking violence in the film is Bond’s full-handed smack across Russian agent Tatiana’s face, after which she repeatedly tells him that she loves him. I bet that clip has showed up in a few “Sexism in Film” classes.
Vulnerability – Again, there’s no chink in James Bond’s armor. No glimpse inside. Even when Bond is literally on his knees prostrate before assassin Grant, we know he has a plan to quickly turn the tables.
Sexual Potency – The first shot of Bond in the film is him making out with Sylvia Trench (from Dr. No) in a floating punt, probably on the banks of the River Cam in Cambridge. He’s playing hooky from MI-6 to work his way around the bases with Trench. (Is there a cricket version of “third base”?). When Bond first meets Tatiana, she is naked in his Istanbul hotel bed. Later she asks him, “James, will you make love to me in London?” He answers, “Day and night.” There’s another strange segment where Bond must decide which of two young, attractive “gypsy” women will be awarded the man they both want. They arrive at his room to seductive music. “This might take some time,” he says. We see the women the next morning with broad smiles as James leaves. All these women are happy for a piece of 007’s sexual mojo, even when he slaps them.
Connection – The scenes with Pedro Armendáriz as Ali Kerim Bey sparkle. They have immense chemistry, enhanced by the knowledge of the great pain he was in from his cancer. Had he lived, one could see Armendáriz as Bond’s Morocco Mole sidekick in future Bond films. But both Armendáriz and his character are dead by the end of the film. His relationship with Tatiana is less mutual, even though they have to pretend to be a married couple while on the train, and she dreams of marrying him when they reach London. She even saves him from the venomous boots of Rosa Klebb in a hotel room in Venice and his heart is unmoved. Like the closing scene in Dr. No, we end with Bond and Bond Girl #2 romantically floating together in a boat, this time a gondola, with end credits urging viewers to get ready for Bond #3, Goldfinger, which will most certainly present us with Bond Girl #3.
Toxic Masculinity Scale: 7/10
Summary – From Russia With Love really front loads the male gaze on women’s bodies thing. From the opening credits, to the (very) long shot of Ali Kerim Bey’s girlfriend’s cleavage, to a very oily masseuse on SPECTRE Island, to the camera endlessly hovering on a belly dancer’s torso, there’s plenty to ogle. Then there’s the weirdly placed “duel” between two scantily glad “gypsy girls” that has zip to do with the plot. If there’s any sense of balance, we do get Bond wrapped in a towel, which probably had some men wondering what they needed to do to grow crops of hair on their chests.
There’s also an odd lesbian subtext with Rosa Klebb. Props to having a female antagonist in the second Bond film. In 1963, there was a narrative that Russian (i.e. “communist”) women were more manly, so that tracks. But to make the point that women on the other side of the Iron Curtain are not bound by the same gender rules, they add a suggestion of sexual predation when Klebb is informing Tatiana of her mission to seduce Bond. And Romanova doesn’t seem to shirk as Klebb evaluates her body and places her hand on her leg. Russians, they not like us. (Or are they?)
From Russia With Love is rough film to place. It’s the most realistic of all the Bond films from the classic era. There’s a nice complexity to the plot but we know even less about the person of James Bond. It’s almost like Sean Connery is playing James Bond pretending to be a caricature of James Bond. A lot of people think this is one of the greatest British films ever made, but it felt flat to me. And the slapping scene seemed very un-Bond, even if it served as a reminder of how normalized violence against women is in film. Where is Wonder Woman when you need her?
Next: Goldfinger (1964)
Watching the Wheels 