In Bed With Bond: Redux: by Scott Murray

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Patricia Fearing (Molly Peters) and James Bond (Sean

Connery) in Thunderball
In Bed With Bond: Redux

by Scott Murray
Scott Murray is a filmmaker and co-Editor of Senses of Cinema.
Dominated by the Villain, [] Flemings woman has already been previously

conditioned to domination, life for her having assumed the role of the villain. The
general scheme is (1) the girl is beautiful and good; (2) has been made frigid and
unhappy by severe trials suffered in adolescence; (3) this has conditioned her to the
service of the Villain; (4) through meeting Bond she appreciates human nature in all
its richness; (5) Bond possesses her but in the end loses her. (1)
Umberto Eco began a new era of Bond scholarship when this passage first appeared in Il
caso Bond: le origini, la natura, gli effetti del fenomeno 007 in 1965 (then, The Bond
Affair, 1966).
Eco posited a model that he argues fits (with small qualifications) 13 of the 16 major
Women in Ian Flemings Bond novels. (2)
This model is widely supported, especially by Tony Bennett and Janet Woollacott in Bond
and Beyond: The Political Career of a Popular Hero, published in 1987. (3) They even
argue that Ecos analysis applies to the Bond films.
Variously differing views are taken by O. F. Snelling in Double O Seven: James Bond: A
Report (4), Kingsley Amis in The James Bond Dossier (5), Tim Greaves in The Bond
Women: 007 Style (6), and Maryam dAbo and John Cork in Bond Girls Are Forever: The
Women of James Bond (7), among others.
This article begins with a brief look at the creation of Bond, followed by a detailed look at
007s sexual partners (the Bond Women) in the books and films. (8) It is followed by a
point-by-point examination of the Eco model, in an attempt to accurately define the true
Bond Woman.
The Birth of Bond

On 15 January 1952, at Goldeneye on the island of Jamaica, Ian Lancaster Fleming, Old
Etonian and former agent of Naval Intelligence, began work on a novel. He claimed it was a
distraction from his upcoming marriage to Anne Charteris:
Horrified by the prospect of marriage and to anesthetize my nerves, I sat down,

rolled a piece of paper into my battered portable and began. (9)
The novel, Casino Royale, was finished on 18 March 1952 and Fleming was married six
days later.
An unputdownable yarn with graphic scenes of high adventure, gruesome torture and
female bondage (10), Casino Royale is also notable for its deconstruction of British
manhood. Fleming had unleashed a torrent of anxiety about his personal transition from
playboy to husband, instilling in secret agent James Bond a near pathological fear
of women:
Women were for recreation. On a job, they got in the way and fogged things up with
sex and hurt feelings and all the emotional baggage they carried around. One had to
look out for them and take care of them.
Bitch, said Bond [] (11)
The bitch, of course, is British agent 3030, Vesper Lynd, the first and greatest of all the
Bond Women.
James is certainly impressed, even if his desires are dark:
He wanted her cold and arrogant body. He wanted to see tears and desire in her
remote blue eyes and to take the ropes of her black hair in his hands and bend her
long body back under his. (12)
But first there is a job to be done:
The prospect of working with her stimulated him. At the same time he felt a vague
disquiet. On an impulse he touched wood. (13)
Bond is right to feel disquiet, because Vesper will completely outsmart him, leaving him a
physical and psychological wreck.
After succeeding in their Casino Royale mission, and while recovering from a savaging of
his genitals that may have left him impotent, Bond abandons his fear of being entrapped
by a woman and falls for Vesper.
In her room at LAuberge du Fruit Dfendu on the Normandy coast, prior to a romantic
dinner of broiled lobster and champagne, Bond asks:
Will you marry me?
She snorted. You need a slave, not a wife.
I want you.
Well, I want my lobster and champagne, so hurry up.
All right, all right, said Bond. (14)
Soon after, Vesper commits suicide, unable to balance being with Bond and being
blackmailed by the Soviets.
The book ends with the famous passage:
This is 007 speaking. This is an open line. Its an emergency. Can you hear me? Pass
this on at once. 3030 was a double, working for Redland.
Yes, dammit, I said was. The bitch is dead now. (15)
It can be argued that everything Bond does from this point on is shaped by how Vesper
swept into, and took over, his life.
Seducing or Seduced by the Bond Woman?

Eco: Bond possesses her
Snelling: Offhand, I can think of no character in fiction so lucky in love as James
Bond. Almost every personable female he meets seems more than ready to hop into
bed with him at his merest nod. (16)
Charles McCarry: There is nothing one man admires in another so much as sexual
luck. (17)
THE NOVELS
One can define a Bond Woman in many ways, but it is generally understood to mean a
woman Bond sleeps with or wishes to. That is why Miss Moneypenny (Private Secretary to
M) and Leolia Ponsonby (a secretary in the 00 Section) are not included in the list of the 16
major Bond Women. Flirtatious games are one thing, a genuine desire to seduce is another.
Also not included are the many minor dalliances Bond has along the way (including the
lose of his virginity and his note-case at 16 in Paris (18) and so forth), which have no
meaningful bearing on the direction of the main narrative.
In order of publication, the novels and Women are:
Casino Royale first edition
Casino Royale (1953)

Vesper Lynd (30+) (19) is a British agent. She and Bond slowly fall in love while he
recuperates from his brutal injuries:
In their talk there was nothing but companionship with a distant undertone of
passion. In the background there was the unspoken zest of the promise which, in due
course and in their own time, would be met. (20)
Partially recovered, Bond and Vesper drive to LAuberge du Fruit Dfendu (her choice),
where she rejects his clumsy advances. It is only that night, after his marriage proposal is
rejected (quoted earlier), that they finally come together:
It was only half past nine when he stepped into her room from the bathroom and
closed the door behind him.
The moonlight shone through the half-closed shutters and lapped at the secret
shadows in the snow of her body on the broad bed. (21)
The next day, Bond ends the affair, having discovered Vespers betrayal of him and the
mission. Vesper is soon dead and, too late, Bond realizes how the Soviets have destroyed
this rare chance at happiness.
Partners: 1. Woman seduces Bond: 0. Bond seduces Woman: 0. Mutual
seductions: 1 (Vesper).
***
Live and Let Die (1954)

Simone (Solitaire) Latrelle (25) is a Haitian reader of Tarot cards and possibly (but not
certainly) a virgin. She is waiting for someone to help her escape from the evil Mr. Big, who
exploits her talents and wants to marry her.
When Bond turns up, Solitaire does all she can to seduce him. She sits down almost
touching his right knee (22) and nonchalantly drew her forearms together in her lap so
that the valley between her breasts deepened (23). Moments later, she deliberately lies
during a Tarot reading ordered by Mr. Big to test Bonds fidelity. She says his bogus
reasons for being in Harlem are actually genuine. He speaks the truth, she said coldly.
(24)
Despite this, Kinsley Amis writes in The James Bond Dossier:
Some sorts of wish-fulfilment do abound in the Bond chronicles. Only twice [sic] in
thirteen books does he fail to seduce the girl who has taken his fancy. Resistance to
his approaches is never prolonged. On the contrary, it tends to collapse the moment
he appears. I hoped I would one day kiss a man like that, Solitaire says at a very
early stage [actually, p. 113] in Live and Let Die. And when I first saw you, I knew it
would be you. One gets the general drift. (25)
Like so many others, Amis has toppled head-first into a narrative trap set by Fleming, who
invites the reader to think its all about the irresistible sexual charisma of Bond, when, in
fact, 007 is here just a pawn in a womans web.
Did not Amis learn the lesson of Casino Royale one year earlier, where Bond is completely
out of his depth in Vespers double game? Did he not see that delicious double meaning
dangled so cheekily by Fleming in front of the readers eyes when Solitaire says, And
when I first say you, I knew it would be you?
Solitaire took matters firmly in her own hands from the start, but Bond has a broken finger
-Curse this arm, he said. I cant hold you properly or make love to you. It hurts too
much. - and puts off further physical contact for quite a while (117 pages, in fact).
After surviving being dragged naked with Solitaire over a coral reef, a nude Bond is
sponge-bathed back to health by a male British agent named Strangways! Despite this (or
because of it), on the books last page Bond says to Solitaire:
Were going to a house on stilts with palm trees and five miles of golden sand. And
youll have to look after me very well because I shant be able to make love with only
one arm.
There was open sensuality in Solitaires eyes as she looked up at him. She
smiled innocently.
What about my back? she said. (26)
John Cork writes in Bond Girls Are Forever:

It was the character of Solitaire [] that set the tone for what we think of as the Bond
woman. Strong, exotic, sexually aware, Solitaire was the kind of woman who simply
did not appear in the popular literature of the day, at least not as a good girl. [She is]
the first incarnation of the sexually liberated heroine [] (27)
Partners: 1. Woman seduces Bond: 1 (Solitaire). Bond seduces Woman: 0. Mutual
seductions: 0.
***
Moonraker (1955)
Galatea (Gala) Brand (25+) is a policewoman working for British Special Branch on a
mission with Bond. But she never has eyes for him.
At the end of the book, having not slept with 007, Gala rejects his amorous proposal and
reveals she is marrying Detective-Inspector Vivian.
Oh, said Bond. He smiled stiffly. I see. [] I was going to take you off to a
farmhouse in France [] And after a wonderful dinner I was going to see if its true
what they say about the scream of a rose.
She laughed. Im sorry I cant oblige. But there are plenty of other girls waiting to be
picked. (28)
seductions: 0. Failures: 1 (Gala).
***
Diamonds are Forever (1956)

Tiffany Case (27) is a ditzy American criminal and possibly the weirdest of the Bond
Women. It is very difficult to be precisely sure what she is ever thinking or doing.
When Bond first meets T. Case (he sees her name on a Pan-American Airways label),
Fleming writes: T? [] Teresa? Tess? Thelma? Trudy? Tilly? None of them seemed to fit.
(29) This is extraordinary; it is almost as if Bond is imagining the Women he is still to
meet: Teresa (di Vicenzo), Tilly (Masterton)
Tiffany seems underwhelmed by Bond at first, treating him with a touch of condescension.
[] His nonchalance seemed to irritate her. (30)
Later, over their first drink together, Tiffany boldly states: Im not going to sleep with you,
[] so dont waste your money getting me tight. (31) Really! What sort of man does she
think Bond is? And this is before he has even made a move.
Many chapters later, Tiffany drags Bond into his cabin aboard ship. I want it to be in your
house, James. (32) And so it will be: I want it all, James. Everything youve ever done to
a girl. Now. Quickly. (33)
Never having had so forward an offer, Bond accepts without hesitation and guides her
gently to the cabin floor. This leads Snelling to rightly ask:
I cant imagine why he chooses the floor with a perfectly good luxury liner bed an
arms length away, but Ive no doubt at all that he knows what hes doing After all,
Bond has enough experience in this gentle art. (34)
Partners: 1. Woman seduces Bond: 1 (Tiffany). Bond seduces Woman: 0. Mutual
seductions: 0.
***
From Russia, With Love (1957)

Tatiana (Tania) Romanova (24) is a Soviet spy who is ordered to sleep with Bond by her
superior, Rosa Klebb:
You will meet this man. You will seduce him. In this matter you will have no silly
compunctions. Your body belongs to the state. Since your birth, the State has
nourished it. Now your body must work for the State. Is that understood? (35)
While Fleming is regularly accused of preferencing British values and standards above all
others, it is worth pointing out that M. orders Bond to do exactly the same, albeit with
more subtlety:
Bond shrugged his shoulders. [] Should be a piece of cake, sir. As far as I can see
theres only one snag. Shes only seen photographs of me and read a lot of exciting
stories. Suppose that when she sees me in the flesh, I dont come up to
her expectations.
Thats where the work comes in, said M. grimly. [] Its up to you to see that you do
come up to her expectations. (36)
Bond finds Tatiana in his Istanbul hotel bed, naked except for a strip of black velvet around
her neck. Bond plays at being reticent, until finally he relents and pulls back the sheet.
Partners: 1. Woman seduces Bond: 1 (Tatiana). Bond seduces Woman: 0. Mutual
seductions: 0.
***
Dr No (1958)
Honeychile (Honey) Rider (20), as the whole world knows, stands near naked in front of a
stupefied Bond on a Caribbean beach. What she doesnt do is walk out from the water, as
most people believe. (37) She is already on the beach, innocently collecting seashells,
Bond viewing her from behind. This leads to Flemings infamous description of her bottom
as almost as firm and rounded as a boys (38).
At the end, after victory over Doctor No, Honey leaves a note on Bonds pillow: You are
staying with me tonight [] you owe me slave-time. I will come at seven. Your H. (39)
Partners: 1. Woman seduces Bond: 1 (Honeychile). Bond seduces Woman: 0.
Mutual seductions: 0.
***
Goldfinger (1959)
Goldfinger first edition
This is the first Fleming novel with more than one Bond Woman.
Jill Masterton (age unknown) works for a gold fetishist, Auric Goldfinger, helping him cheat
at cards. Bond enters her unlocked hotel room and finds her sitting on some cushions,
watching through binoculars Goldfingers card game below.
Whoryou? Whatyouwant? The girls hand was up to her mouth. Her eyes screamed at
him. (40)
Bond quickly calms, rather than charms, her. She clearly dislikes Goldfinger and is happy to
go along with Bonds plan of humiliating the card-cheat.
Later, on a train and after Bond has taken her hostage, she is willingly initiated into the
joys of sexual life.
Tilly Masterton (24) meets Bond in Switzerland, where she is trying to kill Goldfinger in
revenge for painting her sister Jill gold.
Tilly puzzles Bond from the start: There was something faintly mannish and open-air
about the whole of her behaviour and appearance. (41) Hes still puzzled long after hes
got to know her and been kidnapped by Goldfinger: She was beautiful - physically
desirable. But there was a cold, hard centre to her that Bond couldnt understand or
define. (42)
In his book The Sexual Fix, Stephen Heath, who (like Eco) bizarrely changes Tillys
surname to Masterson, writes:
Tilly Masterson [] The woman-enigma, the woman-problem. But, of course, Bond
can understand and define the cold, hard centre: she is one of those girls whose
hormones had got mixed up (the result of fifty years of emancipation), one of a
herd of unhappy sexual misfits - barren and full of frustrations. (43)
Not that it matters: Bond and Tilly never make it to bed together.
Pussy Galore (30+) is leader of a lesbian criminal gang, The Cement Mixers. At the end of
the book, after Goldfingers plot to rob Fort Knox has come unstuck and the Stratocruiser
crashes into the sea, Bond and Pussy are rescued by the Weathership Charlie.
The connecting door with the next cabin opened and the girl came in. She was
wearing nothing but a grey fishermans jersey that was decent by half an inch. []
She said, People keep on asking if Id like an alcohol rub and I keep on saying that if
anyones going to rub me its you, and if Im going to be rubbed with anything its you
Id liked to be rubbed with. [.] So here I am. (44)
Partners: 2. Woman seduces Bond: 1 (Pussy). Bond seduces Woman: 1 (Jill).
Mutual seductions: 0. Failures: 1 (Tilly).
***
Thunderball (written in collaboration with Kevin McClory, 1961)

Patricia Fearing (age unknown) is a health worker at Shrublands. She is sexually assaulted
by Bond after some osteopathic treatment:
[] when she told him to release his hands, he did nothing of the sort. He tightened
them, pulled her head sharply towards him, and kissed her full on the lips. She
ducked quickly down through his arms and straightened herself, her cheeks red and
her eyes shinning with anger. (45)
Later, after he blacks out on the rack, he is massaged by Patricia wearing fur gloves and
then given some dandelion tea:
That was marvellous. Now how about some more of the mink treatment. And by the
way. Will you marry me? Youre the only girl Ive ever met who knows how to treat a
man properly.
She laughed. Dont be silly. And turn over on your face. Its your back that
needs treatment.
How do you know? (46)
While the banter has a sexual edge, it never feels as if they will ever sleep together. Others
might disagree.
Dominette (Domino) Petacchi (29) is the Italian mistress of mobster Emilio Largo.
Dominos surname is usually given as Vitali, but she is a sometime actress and that is
merely her stage name.
Bond first sees her outside The Pipe of Peace (a cigarette store) in Nassau. She offers to
drive him to a bar (he is thirsty), but she didnt talk to Bond or seem to be aware of him
(47). Over a vodka and tonic, he tries to charm her but gets: If youve got to flirt, dont
be obvious. (48) She leaves him at the bar and tells him to get a taxi home. One last
attempt to seduce her is rejected and Bond is left to mutter Bitch (49), his infamous
description of women. How the shadow of Vesper hovers.
It is only much later that Domino and Bond mutually fall into sex when he has to save her
on the beach from sea-egg spines stuck in her foot. The chapter is entitled How to Eat a
Girl. How did Fleming get away with it?
seductions: 1 (Domino). Failures: 1 (Patricia).
***
The Spy Who Loved Me (with Vivienne Michel, 1962)

Vivienne Michel (23) is a French-Canadian editorial assistant on holiday in America, where
she is terrorised in a motel in the Adirondack Mountains by some hoods. Bond accidentally
comes along (his car tyre goes flat) and rescues her from imminent rape. The story is told
in the first person and Vivien Michel is listed as co-author.
After the hoods are killed, Fleming and Michel write:

I felt like blushing. I said obstinately, I dont mind what you think, James, but Im not
going to leave you tonight. You can choose either [cabin] 2 or 3. Ill sleep on
the floor.
He laughed, and reached out and hugged me to him. If you sleep on the floor, Ill
sleep on the floor too. But it seems rather a waste of a fine double bed. Lets say
Number 3. He stopped and looked at me, pretending to be polite. Or would you
rather Number 2?
No. Number 3 would be heavenly. (50)
That sounds about as mutual as it can get.
seductions: 1 (Vivienne).
***
On Her Majestys Secret Service (1963)

La Comtesse Teresa (Tracy) Di Vicenzo (25) seduces Bond as a reward for bailing her out
(to the tune of two million old francs) at the Royale-les-Eaux Casino. Bond had seen her
earlier that night when she passed him at great speed on the road to Royale-les-Eaux.
After personally losing another two million francs, Bond finds Teresa sitting with a halffinished bottle of Pol Roger:
She gave him a sideways, appraising glance. Why did you rescue me when I made
the coup du dshonneur?
Bond shrugged. Beautiful girl in distress. Besides, we made friends between Abbeville
and Montreuil this evening. You drive like an angel. []
She looked at him gravely, considering him. [] She said, My name is Tracy. [] I
am not interested in conversation. And you have earned your reward.
She rose abruptly. So did Bond, confused. No. I will go alone. You can come later.
The number is 45. There, if you wish, you can make the most expensive piece of love
of your life. It will have cost you four million francs. I hope it will be worth it. (51)
Ruby Windsor (age unknown) is a patient at Blofelds clinic, Piz Gloria, in the Swiss Alps,
having treatment for her allergy to chickens. She takes the bold step of visiting Bond in his
room and, with dexterous hand movements (the room is bugged with microphones),
suggests they talk in the secrecy of his bathroom. She seems to be more interested in
information than sex, but when Bond makes his move, kissing her full on the mouth, she
didnt recoil. She just stood there like a great lovely doll, passive, slightly calculating,
wanting to be a princess. (52)
Later that night, Bond enters her room and the cuddling begins.
Partners: 2. Woman seduces Bond: 1 (Tracy). Bond seduces Woman: 1 (Ruby).
Mutual seductions: 0.
***
You Only Live Twice (1964)

Kissy Suzuki (23) is a diver for clams on the island of Kuro, Japan. Bond lives with her (but
does not marry her, as in the film) while tracking down Blofelds henchwoman, Irma Blunt.
Kissy, like others before her (most notably Vesper), restores Bond to health after he is
injured during a mission. Keen to make love with him, but worried about his inactive sexual
state, she goes to a sex shop to buy toad sweat and other herbal remedies. Few women
have gone to this much trouble to bed Bond. All of which has a dramatic effect because, at
the end, Kissy is pregnant with Bonds only known child.
seductions: 0.
***
The Man with the Golden Gun (1965)

Mary Goodnight (25+) is a former secretary to 007 and now a British agent who shares a
mission with Bond.
Bennett and Woollacott claim that Bond and Goodnight sleep together (Bond subsequently
possess Mary Goodnight (53)). As evidence, they quote:
Bond put his hand under the soft chin and lifted up her mouth and kissed her full on
the half-open lips. He said, Why didnt we ever think of doing that before, Goodnight?
Three years with only that door between us! What must we have been thinking of?
(54)
But all Bond and Goodnight are doing is kiss in the public bar of a hotel. No sex between
them has occurred, or ever does, within the confines of the novel. What happens
afterwards is in dispute.
At the close of the book, Goodnight invites Bond to stay in a spare room at her villa. He
seems ambiguous at best:
He said, and meant it, Goodnight. Youre an angel. (55)
The wordplay on Goodnight is presumably deliberate, given Fleming continues:
At the same time, he knew, deep down, that love from Mary Goodnight, or from any
other woman, was not enough for him. It would be like taking a room with a view.
For James Bond, the same view would always pall. (56)
That doesnt sound like he is accepting her offer, though John Cork in Bond Girls believes
he does. (57)
Anyway, who knows what twist of fate might have intervened in the unlikely event Bond
did decide to bed down with Goodnight.
seductions: 0.
BOOK
PARTNERS
WOMAN
SEDUCES
BOND
BOND
SEDUCES
WOMAN
MUTUAL
SEDUCTIONS
FAILURES
Casino Royale
Live and Let Die
Moonraker
Diamonds are
Forever
From Russia,
With Love
Dr No
Goldfinger
Thunderball
The Spy Who

Loved Me
On Her Majestys
Secret Service
You Only Live

Twice
The Man with the

Golden Gun
12
75.0
58
17
25
Total
Percentage
Book Summary
There are only two occasions where one can meaningfully claim that Bond seduces the
Woman: Jill Masterton and Ruby Windsor. But, as we have seen, both cases are debatable.
There are seven Women who clearly seduce Bond: Solitaire Latrelle, Tiffany Case, Tatiana
Romanova, Honeychile Rider, Pussy Galore, Tracy di Vicenzo and Kissy Suzuki.
The other three relationships are mutual, in that it is difficult to say who seduced whom:
Vesper Lynd, Domino Petacchi and Vivienne Michel.
Bonds has one major failure among the major Bond Women, Gala Brand. There are three
other minor failures or disappointments: Tilly Masterton, Patricia Fearing and
Mary Goodnight.
So, of the 12 Women who sleep with Bond, seven (or 58%) do the seducing. Bond only
seduces 2 (17%) and the rest (25%) are mutual.
This is not as Eco and others would have you believe.
***
THE FILMS
It is generally agreed that the films are different to the books in regard to the Women and
Bonds relationships with them. But are they?
In order of release:
Ian Flemings Dr. No (Terence Young, 1962)
Honey Ryder (Ursula

Andress) in Dr No
James Bond (Sean Connery) comes in contact with nine women, five of whom he sees only
in passing and has no time to pursue, even if he had the desire to.
As mentioned above, Bond does not ever attempt to seduce Miss Moneypenny (Lois
Maxwell), but he does go to bed with three Women:
Sylvia (Eunice Gayson) (58), the first Woman Bond sleeps with on screen, actually
seduces him.
After meeting Bond at a casino, Sylvia breaks into his flat (how is that possible if 007 is a
security-conscious secret agent?), and stands there playing golf in nothing but one of his
shirts. Bond has little time to spare before his flight to Jamaica, but find time he does.
Cork writes:
Introducing James Bond through Sylvia Trench was a stroke of pure genius. Having a
woman of such rarefied tastes hurl herself at 007, elevated Bond himself. (59)
Sylvia then becomes a steady (if not sole) girlfriend of 007, re-appearing in Ian Flemings
From Russia With Love (Terence Young, 1963).
Miss Taro (Zena Marshall) works for the sinister Dr. No (Joseph Wiseman) and is forced into
having sex by Bond. He has turned up to her house, eluding the efforts of Dr. Nos
henchmen to kill him en route. She is surprised, to say the least, to see him.
Bond then overhears her talking on the phone and realizes she is being told to keep Bond
on the premises until another killer can arrive. Bond coldly lets her know that the only way
hell stay is if she sleeps with him. This is very close to rape, but apparently secret agents
do this sort of thing all the time.
Honey Ryder (Ursula Andress), her surname changed from Rider in the novel, is Bonds
main love interest for the movie. It is a pity the filmmakers bowed to the censorship of the
time and had Honey wear a bikini rather than appear as Fleming so perfectly imagined the
scene. Few agree, however, as this moment is universally regarded as one of the sexiest
in cinema.
Starting an occasional trend, Honey cuddles with Bond in the last sequence (aboard a boat,
a franchise favourite). One assumes things will mutually grow more sexual after the final
credits, not that one can tell with any certainty.
Cork writes:
The Bond Girls from Dr. No marked a new kind of woman in the cinema. Sylvia
Trench, Miss Taro and Honey Ryder were strong-willed, resourceful, and sexually
independent. They signalled [] a new generation of women who wanted and
expected more out of life. (60)
Partners: 3. Woman seduces Bond: 1 (Sylvia). Bond seduces Woman: 1 (Miss
Taro). Probable mutual seductions: 1 (Honey).
***
Ian Flemings From Russia With Love (Terence Young, 1963)

Sylvia reappears from Dr. No and has fun with Bond down by the river. Bond decides to
delay a meeting with M (Bernard Lee) to more fully enjoy the moment (a joke that will be
reprised in the film series).
As in the novel, Tatiana (Daniela Bianchi) is blackmailed into going to bed with Bond by
Rosa Klebb (Lotte Lenya). (Here, Klebb works for SPECTRE, not SMERSH.)
Bond is likewise instructed by M. (Bernard Lee) to do the same. When Bond remarks,
mirroring the book, Suppose when she meets me in the flesh I dont come up to
expectations, M. coldly replies, Just see that you do.
Tatiana makes things pretty easy for Bond by walking naked across his hotel room in
Istanbul (a rare and pioneering moment of narrative nudity) and gets into bed. All she has
on is a black velvet choker. Bond enters and things take the inevitable course, all recorded
on film as Tatiana, the seductress, intended.
She and Bond end the film happily together in a gondola.
Vida (Aliza Gur) and Zora (Martine Beswick) are two women involved in a catfight at a
Gypsy camp. Bond pleads that the hideous spectacle be stopped, and in doing so is asked
to personally settle the dispute. Kerim Bey (Pedro Armendriz) brings the girls to Bonds
caravan and says, Vavra [Francis de Wolff] said for you to decide. So, decide. Theyre both
yours. Kerim laughs and Bond replies: This may take some time. The mnage trois is
implied, not seen.
As Bond has made no effort to seduce these Women (his agreeing to arbitrate the dispute
was an innocent act), one must assume that whatever happens happens mutually, as each
has something to gain.
Bond does not attempt to seduce Rosa Klebb. Now, that would have been interesting.
Partners: 4. Woman seduces Bond: 1 (Tatiana). Bond seduces Woman: 0. Mutual
seductions: 3 (Sylvia, Vida, Zora).
***
Ian Flemings Goldfinger (Guy Hamilton, 1964)

While Bonita (Nadja Regin) lies stunned on the floor of Bonds hotel room, 007 delivers the
greatest pre-credits punch-line ever: Shocking positively shocking. It is clear that
Bonita and Bond have slept together prior to the films narrative starting because, when
Bond takes off his shoulder holster, a near-naked Bonita says, Why do you always wear
that thing? The odds are it was Bond who seduced her, in the line of duty.
Dink (Margaret Nolan) is a masseuse at the Miami hotel. The confident way Bond
introduces her to Felix Leiter (Cec Linder) and the body language between them (the
bottom slap and reaction, especially) suggests these two are already an item. As there is
no contrary evidence, one must assume any seduction was mutual.
Jill Masterson (Shirley Eaton), her surname changed from Masterton, helps Auric
Goldfinger (Gert Frbe) cheat at cards. Bond seduces her and, almost straight away, she is
rendered gold.
Tilly Masterson (Tania Mallet) has all the possibilities of being a great Bond Woman, but the
filmmakers sell her short. Childishly, Bond is affronted when Tilly doesnt swoon in his
presence. His I hate to leave you here all alone is meet with I can take care of myself.
A gentleman, and Bond is certainly not one on this occasion, would never reply: Yes, Im
sure you can. The audience is totally on her side when she turns Bond down.
Tilly is Bonds first on-screen failure.
Pussy Galore (Honor Blackman) is a lesbian who, at first, is underwhelmed by Bonds
presence. Then, seemingly against all the odds, she sleeps with Bond in a stable full of hay.
It is a delightful and spirited meeting of equals, until Bond presses his weight down on top
of her and ignores her resistance. However, they end the film in a park, happily cuddling
under a parachute.
Cork:
She is the first Bond woman who is Bonds equal in virtually every aspect. She can
fight, make love, seduce, and scheme right alongside 007. She is, like her name,
unique. (61)
Mei-Lei (Mai Ling) is a flight attendant on Goldfingers plane. Bond tries to seduce her, but
fails to get any response.
Partners: 4. Woman seduces Bond: 0. Bond seduces Woman: 2 (Bonita, Jill).
Mutual seductions: 2 (Dink, Pussy). Failures: 2 (Tilly, Mei-Lei).
***
Ian Flemings Thunderball (Terence Young, 1965)

Patricia (Molly Peters) is a nurse at Shrublands, where Bond is recovering from injuries. It
is pure desire on Bonds part, though his seduction technique (pinning her with his arms
and forcing a kiss upon her lips) would get him into a lot of trouble these days. But it
gets worse.
After nearly dying on the rack, Bond tells Patricia:
Well, somebodys going to wish the day never happened.
Oh, you wouldnt tell Dr Wayne. Please, Id lose my job.
Well, I I suppose my silence could have a price.
You dont mean oh, no
Oh, yes.
That is sexual harassment on a major scale.
Fiona (Luciana Paluzzi) is a fiery and fast-driving executioner for SPECTRE who seduces
Bond. He finds her naked in the bath of his assistant, Paula (Martine Beswick). When she
asks, Would you mind giving me something to put on?, he thoughtfully hands her a pair
of gold slippers. She then tells him, Shouldnt you get out of those wet clothes. Youll
catch your death of cold. He agrees.
Domino (Claudine Auger) is the niece of SPECTREs number 2 man, Largo (Adolfo Celi).
She has sex with Bond while scuba diving underwater. I hope we didnt frighten the fish,
Bond remarks as they leave the water (the pristine nature of their bathing costumes giving
no indication as to what happened below).
Paula is a mystery. There is no sense of any past sexual contact with Bond, but she is very
displeased and possessive when Fiona turns up for a date with 007. It is possible Paula has
slept with Bond, but one cant be certain.
Partners: 3. Woman seduces Bond: 1 (Fiona). Bond seduces Woman: 1 (Patricia).
Mutual seductions: 1 (Domino).
***
Casino Royale (Val Guest, Ken Hughes, John Huston, Joseph McGrath,
Robert Parrish [and Richard Talmage], 1967)
This non-official spoof has numerous 007s, male and female, and countless scantily clad
women, many of whom are uncredited. The film is a narrative swirl and difficult for
deconstructionists to make meaningful sense of. Who, for instance, is James Bond?
There is a Sir James Bond (David Niven), who goes to bed with no women, though he falls
for Agent Mimi (Alias Lady Fiona) (Deborah Kerr). Then there is Sir James nephew, but he
is called Jimmy Bond (Woody Allen), so that doesnt count.
Vesper Lynd (Ursula Andress) becomes an 007 midway through the film, but she sleeps
with no one after the name change. Ditto Cooper (Terence Cooper), who sleeps with
Moneypenny (Barbara Bouchet), but that is before he is made a James Bond. And so
it goes.
seductions: 0.
***
Ian Flemings You Only Live Twice (Lewis Gilbert, 1967)

What should one make of Bonds time in Hong Kong with the woman Bond calls Ling, but is
credited as Chinese Girl (Hong Kong) (Tsai Chin)? Many authors count her as one of Bonds
conquests. But is she?
Bond and Chinese Girl (Hong Kong) are seen naked kissing in bed. Bond asks (with wicked
dialogue courtesy of Roald Dahl):
Why do Chinese girls taste different to other girls?
You think we better, eh?
No, just different. Like Peking Duck is different from Russian caviar. But I love
em both.
Darling, I give you the very best duck.
Well, thatll be lovely.
The reference to taste is regarded by some critics as implying sexual activity has
occurred. What is not discussed by critics is how Bond, an Eton-educated man, says
different from instead of different to. The English school system has let him down
rather badly.
Later in the same scene, Bond says: Weve had some interesting times together, Ling. Ill
be sorry to go. Chinese Girl (Hong Kong) then presses a red button, Bonds bed retracts
into the wall and British Hong Kong police charge in and fire their weapons. The wall-bed is
opened and Bond is pronounced dead.
After Bonds burial at sea and his revival in a submarine, he meets Miss Moneypenny,
who asks:
Oh, by the way, how was the girl?
Which girl?
The Chinese one we fixed you up with.
Oh, another five minutes and I would have found out.
Shell never know what she missed.
So, Bonds bedroom activities were interrupted by the police before anything sexual
happened and Chinese Girl (Hong Kong) was working for the British intelligence to help
fake Bonds death. It is unlikely, therefore, that anything sexual happened. The taste was
just a kiss.
But how does one explain Bonds Weve had some interesting times together, Ling if
Moneypenny (and others) only arranged her for this one event? Poor scriptwriting may be
the answer.
In Tokyo, the head of the Japanese Secret Service, Tiger Tanaka (Tetsuro Tamba), takes
Bond to his home, where he gets a massage from Bonds Masseuse (Jeanne Roland). Bond
tells her:
Last time someone gave me a massage was in Hong Kong. But, unfortunately, I had
to cut it short. We were rudely interrupted by a couple of gunmen. So, we never got
round to finishing it.
Aki (Akiko Wakabayashi) silently replaces Bonds Masseuse. She is one of Tiger Tanakas
special agents.
This time you shall finish it, she says.
Aki!
No one will disturb you tonight. I think I will enjoy very much serving under you.
Helga Brandt (Karen Dor) is no 11 in SPECTRE. She threatens a rope-bound Bond with
torture, using a plastic surgeons scalpel:
Ive got you now, she says.
Well, enjoy yourself, Bond replies.
Despite being fiercely slapped, Bond tries to bribe her with money and a flight to Europe,
and Helga cuts away his ropes. He then slices through her dress straps and mutters Ah,
the things I do for England. The next day, she tries to kill him on a plane.
After Aki is killed by the drip of poison intended for Bond, 007 is sent to an island to marry
Kissy (Mie Hanna), another of Tiger Tanakas agents. This is the first of Bonds two
marriages. Almost all commentators claim that the film Bond is only married once,
dismissing the Kissy nuptials as fake. However, there is not a shred of evidence to support
that reading. Bond is told by Tiger he is getting married and he does. And, despite Kissys
protests that their living together is only in the name of duty, and while Kissy refuses
Bonds offer of sharing a bed for appearances sake, they do fall in love with each other.
(Akiko is forgotten very quickly.)
As has become a series trend (with Honey in Dr. No and Domino in Thunderball), Bond has
not made love with Kissy by the end of the film. One suspects they will soon afterwards.
But it may be a little uncomfortable: they are in an inflatable lifeboat atop a
British submarine.
Partners: 3. Woman seduces Bond: 2 (Aki, Helga). Bond seduces Woman: 0.
Probable mutual seductions: 1 (Kissy).
***
Ian Flemings On Her Majestys Secret Service (Peter Hunt, 1969)

As in the novel, Bond bails Tracy (Diana Rigg) out at a casino by claiming she was his
partner. He later finds her in the bar. She tosses him the key to her suite and says, I hope
Ill be worth it.
But things arent that simple. In her suite, Bond is attacked by a man. Bond wins and
retreats to his room, bleeding. There, after a wilful and under-dressed Tracy points Bonds
gun at him (hes not happy), they move to a lounge on the terrace, where they lie
together talking:
Think about me as the woman youve just bought.
Who needs to buy?, Bond says disdainfully. Look, you dont owe me a thing.
This is a major change from the Fleming novels, where prostitutes are definitely on Bonds
agenda and 007 is far less moralistic.
I think youre in some kind of trouble, says Bond. Would you like to talk about it?
No, Mr Bond. The only thing you need know about me is that I pay my debts.
And so she does.
Tracy (Diana Rigg) and James Bond

(George Lazenby) in On Her Majestys
Secret Service
Later, they fall in love and marry. (There is no mention of Bonds previous marriage to
Kissy.) That same day, Tracy is shot dead by Irma Bunt (Ilse Steppat).
At the females-only clinic at Piz Gloria, Bond arrives in the disguise of Sir Hilary Bray. Over
dinner, he talks of a book on heraldry in his possession containing references to golden
balls. Ruby (Angela Scouter) is so keen on reading it she writes her room number of his
thigh with red lipstick (hes wearing a kilt). As Ruby has already made a point of
seductively eating a chicken leg just inches from his face, it is fair to assume she is out to
seduce Bond. However, when he breaks into her room later that night, she seems more
interested in the book than Bond, until he presses the point.
On returning to his own room, Bond finds Nancy (Catherina Von Schell) waiting for him.
She, too, claims to want the book, but takes the opportunity to pull Bond down onto
the bed.
Though both dalliances could be called mutual, one should credit the first to Bond (he does
more of the work) and the second to Nancy (same reasoning).
Partners: 3. Woman seduces Bond: 2 (Tracy, Nancy). Bond seduces Woman: 1
(Ruby). Mutual seductions: 0.
***
Ian Flemings Diamonds Are Forever (Guy Hamilton, 1971)

On the trail of Blofeld (Charles Gray), Bond (Sean Connery) strangles Marie (Denise
Perrier) without giving her the chance to get properly acquainted.
Tiffany Case (Jill St John) entertains Bond the first time in her underwear and turns up
again in lingerie, lying seductively on his hotel bed. What is Bond supposed to do? In a
particularly unpleasant scene (like much in this unlikeable film), Tiffany and Bond look the
least-happy bed companions in Bond history. No matter, they end up standing together on
the balcony of a ship at sea. But, despite being in Bonds arms, Tiffany seems to only have
eyes for diamonds in the sky.
Bond almost gets to bed with Plenty OToole (Lana Wood), but some bad guys cramp his
style, tossing poor Plenty into a hotel swimming pool from several storeys above.
As for Bambi (Lola Larson) and Thumper (Trina Parks), they try to kill Bond the moment
they see him. No chance of any romance there.
Partners: 1. Woman seduces Bond: 1 (Tiffany). Bond seduces Woman: 0. Mutual
seductions: 0.
***
Ian Flemings Live and Let Die (Guy Hamilton, 1973)

Immediately after the opening credits, Bond (Roger Moore) is seen in bed with Beautiful
Girl (Madeline Smith) in his apartment.
At 5:48am, M (Bernard Lee) and Moneypenny arrive. Despite just having spoken French,
Beautiful Girl is apparently a missing Italian secret agent called Miss Caruso by M.
When the unwanted intruders leave, and with Beautiful Girl now speaking Italian, she and
Bond get back to it. There is no indication of who seduced whom.
Rosie (Gloria Hendry) breaks into Bonds hotel room with a gun, but is quickly
overpowered. She sees a voodoo hat on his bed and panics. Bond is calm: Why, its just a
hat, darling, belonging to a small-headed man of limited means who lost a fight with a
chicken. Very funny, Mr Bond, but shouldnt it be who won a fight with a chicken, given
its feathers are neatly placed around the hat?
Rosie is not reassured by Bonds joking about:
Its a warning. Get it out of here Oh, please, please dont leave me alone tonight.
James, please promise me.
All right, darling, if you insist. I promise.
As it later turns out that Rosie is working for Kananga Mr. Big (Yaphet Kotto), as the credits
credit him, it is clear this is a set-up and that Rosie seduced Bond.
Solitaire (Jane Seymour) is Bonds principal love interest and they make it to bed in
unusual circumstances. Bond breaks into her house and dons the High Priestess robe she
wears for Tarot readings. Solitaire enters, justifiably upset at this sacrilege. Bond says:
The cards say we will be lovers
Youre mistaken. Its impossible, forbidden for me Now, you must go.
But you do believe I mean, really believe in the cards?
Well, they have never lied to me.
Then, they wont now Pick one.
She draws The Lovers. Bond:
You knew the answer before it was given. Strangely enough, somehow, so did I.
Bond then reveals (to the audience only) that the deck was stacked with only The Lovers
cards. Bond has clearly seduced her.
Partners: 3. Woman seduces Bond: 1 (Rosie). Bond seduces Woman: 1 (Solitaire).
Mutual seductions: 1 (Beautiful Girl).
***
Ian Flemings The Man with the Golden Gun (Guy Hamilton, 1974)
Andrea (Maud Adams) is the mistress of the assassin Scaramanga (Christopher Lee). Bond
breaks into her Peninsular Hotel room in Hong Kong and finds her naked in a shower.
Unlike Connerys Bond, who cheekily hands Fiona a mere pair of slippers in Thunderball,
Moores Bond hands Andrea a fluffy bathrobe. Bond then tortures her (very unpleasant)
and leaves.
Much later, Andrea enters his hotel room - where Goodnight (Britt Ekland) has just tried to
seduce Bond and is hiding under the blankets - and unburdens herself to him:
Hes a monster. I hate him,
Then leave him.
You dont walk out on Scaramanga. Theres no place he wouldnt find me.
You need a good lawyer.
I need 007. Who do you think sent that bullet to London with your number on it? []
I want him dead. Name your price anything. Ill pay it. You can have me, too, if
you like. Im not unattractive.
Bond doesnt disagree and goes to bed with her, Goodnight hiding in the cupboard. Like
many a good Bond Woman, Andrea is resourceful, clever and totally in charge.
If Goodnight fails the first time around to seduce Bond, she at least gets him at the end,
on the slow boat to China. Its been a long haul for her, but she deserves the credit.
Cork does not have a high opinion of Goodnight:
Goodnight becomes the films bumbling heroine [] She ends the film wandering on
Scaramangas island in a bikini, blithely causing problems such as setting off a chain
reaction that blows the island to bits. Needless to say, Bond finds this exasperating,
but left without an alternative, he happily takes her into his arms at films end. (62)
Bond also tries to seduce the belly dancer Saida (Carmen Sautoy), but runs out of time.
That is also the problem with the delightful Chew Mee (Franoise Thierry), swimming naked
in a pool of one of Scaramangas (temporary) employers.
Partners: 2. Woman seduces Bond: 2 (Andrea, Goodnight). Bond seduces Woman:
0 . Mutual seductions: 0.
***
Ian Flemings The Spy who Loved Me (Lewis Gilbert, 1977)

Bond begins his part of the film in the snow-covered Austrian mountains with Log Cabin
Girl (Sue Vanner). The audience is not told who seduced whom. Regardless, as soon as
Bond is gone, Log Cabin Girl is on the phone to the Soviets, setting Bond up for death.
In Egypt, Bond visits an old mate from Cambridge, Sheikh Hosein (Edward de Souza), in
his desert tent. After an offer of sheeps eyes, Hosein enquires:
Can I persuade you to accept a bed for the night?
Thats kind of you, Hosein, but I really feel I
An Arab Beauty (Dawn Rodrigues) appears holding a red flower. Bonds eyes widen.
Are you quite sure I cant persuade you to stay the night?
When one is in Egypt, one should delve deeply into its treasures.
Major Anya Amasova (Barbara Bach) is a Soviet agent Bond meets briefly near the Sphinx.
He runs into her again at the Mujaba Club, where a game of one-upmanship ensues, both
demonstrating how much they know about the other. Amasova:
Commander James Bond, recruited to the British Secret Service from the Royal
Navy. Licensed to kill and has done so on numerous occasions. Many lady friends but
married only once. Wife killed in
All right, youve made your point.
Given Amasova is clearly a brilliant and well-informed spy, it is extraordinary that she
doesnt know of Bonds betrothal to Kissy (in You Only Live Twice). Bond has been married
twice, not once.
Bond runs into Amasova again on a felucca sailing along the Nile:
Its getting cold.
Is there anything I can do to warm you up?
You dont have to worry about me, Mr Bond. I went on a survival course in Siberia.
Yes, I believe a great many of your countrymen do. What did they teach
you there?
That its very important to have a positive mental attitude? []
What else?
When necessary, shared bodily warmth.
Thats the part I like.

Naturally, Bond thinks he is onto a winner (he is far less suspicious than Connerys Bond),
but all he gets is the powder from a fake cigarette blown into his face. Yet again, Bond is at
the mercy of a Woman.
Told by M that he is now to work with Amasova, Bond tries to seduce her on a train and
fails. After rescuing her from the teeth of Jaws (Richard Kiel), they happily share a
bunk together.
At the end, they are snuggled together in a sea-rescue capsule.
Bond wants to sleep with Felicca (Olga Bisera), but has no time. Ditto Hotel Receptionist
(Valerie Leon).
Presumably Bond does have time to make a play for Naomi (Caroline Munro), along with
the other Arab Beauties, but there is no evidence he tries.
seductions: 3 (Log Cabin Girl, Arab Beauty, Anya).
***
Ian Flemings Moonraker (Lewis Gilbert, 1979)

Bonds most notable screen failure is probably Hostess Private Jet (Leila Shenna) in the
pre-credits sequence. He does his best to woo her (hes on the last leg, as a verbal leadin from Moneypenny has it), but she pulls a gun on him.
Corinne Dufour (Corinne Clery), a helicopter pilot for the Drax Corporation, flies Bond to
the French chteau of Hugo Drax (Michael Lonsdale), transposed most unconvincingly to
California from France. But then Drax has a thing for European possessions on his estate,
including Lady Victoria Devon (Franoise Gayat), Countess Labinsky (Catherine Serre),
Mademoiselle Deradier (Batrice Libert) and Signoria Del Mateo (Chicinou Kaeppler). Bond
has no time to properly make their acquaintances.
Bond enters Corinnes boudoir at night to find her dressed in a silk nglige. She has
clearly been hoping he will come and immediately begins flirting:
My mother gave me a list of things not to do on a first date.
Maybe you wont need it. Its not what I came for.
No? What do you want, then?
Would your feelings be shattered if I were to say information?
Why should I tell you anything?
Why, indeed.
Bond kisses her.
You presume a great deal, Mr Bond.
He kisses her again. She walks to the bed, tempting him more. But rather than cuddle her,
Bond quizzes her for information and she makes a few vague remarks about a secret
laboratory. She then lies back, tempting Bond once more to make love to her.
What about that list of your mothers?
I never learned to read.
Realizing he has no choice, Bond makes love to her. She has completely seduced him.
Bond has no time for Blonde Beauty (Irka Bochenko) and Museum Guide (Anne Lonnberg),
both at the Venini glass showroom.
The dalliance with Manuela (Emily Bolton) is a close call (and generally regarded as the
fastest seduction in Bond history). She sits provocatively on a couch, in a see-through
outfit that falls away to reveal a naked leg. Bond is not one to remain unstirred, asking
how do you kill five hours in Rio if you dont Samba?
Holly Goodhead (Lois Chiles) is a Vassar-educated astronaut from NASA, working on
secondment to the Drax corporation.
John Cork writes that, She is just as conniving as Bond when it comes to the mercenary
use of sex. (63) This is true.
Holly Goodhead (Lois

Chiles) and James Bond
(Roger Moore) in
Moonraker
Bond breaks into her suite at Venices Hotel Danieli, where he plays with various of her
possessions: a pen that injects poison, a diary that fires darts, a perfume bottle that
sprays fire.
Standard CIA equipment and the CIA placed you with Drax, correct?
Very astute of you, James.
Oh, not really. I have friends in low places.
Could this possibly the moment for us to pool our resources?
It could have its compensations.
She kisses Bond, but he is far more interested in opening and searching her desk drawer.
When he realizes she will never be honest with him, he gives in to her seduction:
Oh, I suppose youre right, Holly. We would be better off working
together? Dtente.
Agreed.
They fall into bed and make love. As with Major Anya Amasova in The Spy Who Loved Me,
one gets the impression Bond is trailing the Woman in talent and nous. No matter: Holly
and Bond happily end the film congressing weightlessly in space.
Partners: 3. Woman seduces Bond: 2 (Corinne, Holly). Bond seduces Woman: 1
(Manuela). Mutual seductions: 0. Failures: 1 (Hostess).
***
For Your Eyes Only (John Glen, 1981)

It does not happen often, but Bond rejects a very willing candidate in Bibi (Lynn-Holly
Johnson), on the bizarre grounds that she is too young. Tim Greaves refers to the
teenagers ebullience (64) in his fastidiously researched The Bond Women: 007 Style, but
Bibis age is never given in the film. Johnson was 21 at the time of filming and looks it.
For Bond to turn down an attractive and naked twentysomething is irresponsible, given she
is being mentored by the probable Villain. The situation is made worse by his inane
comment: You get your clothes on and Ill buy you an ice cream. What were the
scriptwriters and director thinking?
Bond has to wait till he meets Countess Lisl (Cassandra Harris) before he finds anyone with
whom he wishes to embrace. She is having dinner with Columbo (Topol) on a casino
terrace in Corfu. They argue, she leaves and Bond offers her a lift to her beach house.
May I call you tomorrow, Countess?
Im a night person. I have champagne and oysters in the fridge.
Bond enters and the inevitable happens.
Afterwards, by the open fire, Bond asks:
What did Columbo whisper to you [on the casino terrace]?
That you were a spy. To find out all about you.
And have you?
Have I ever!
Thus, Lisl has seduced Bond on Columbos orders, and Bond was happy to play along.
Melina (Carole Bouquet) is a classic Bond heroine, independent and feisty. Like Tilly
Masterson in the film Goldfinger, she takes it upon herself to right a family wrong and kill
the killer of a loved one. Bond is patronising towards her, but she is doing just fine.
In the end, all Bond does sexually onscreen with Melina is take a nude swim. Moments
beforehand, they are seen kissing on a boat in their bathrobes. This often implies a postcoital moment, but not here. As they stand and get ready for a midnight dip, Bond pushes
the robe from her shoulders, leaving her naked.
For your eyes only, darling.
Melinda says this in such a way it can only mean Bond hasnt seen her naked before.
However, the swim implies sexual congress is not far off and it will be mutual.
Partners: 2. Woman seduces Bond: 1 (Lisl). Bond seduces Woman: 0. Mutual
seductions: 1 (Melina). Bond rejects Woman: 1 (Bibi).
***
Octopussy (John Glen, 1983)
Bianca (Tina Hudson) works with Bond during the pre-credits sequence in an unnamed
South American country. There is a hint of a past romantic closeness and Bond says he will
meet her again in Miami, but there really isnt anything to suggest Bianca and Bond have,
or ever will, make love. His goodbye kiss to her is way too chaste.
At Headquarters, Miss Moneypenny has an assistant, Penelope Smallbone (Michaela
Clavell), but her brief meeting with Bond suggests any future relationship with 007 is as
unlikely as one with Moneypenny.
The films first real Bond Woman is Magda (Kristina Wayborn). She is first seen working
with Kamal Khan (Louis Jordan) - Tim Greaves believes she is his girlfriend (65) - at an
auction for a Faberg egg. Later at a hotel in India, she invites him to her dinner table. A
photographer takes their picture and Magda does all the running.
You dont mind?, Magda asks.
Why, has Kamal forgotten what I look like already?
Its for me.
So that if I should depart this world suddenly youll have something to remember
me by?
Something like that. Its for my scrapbook. I collect memories.
Well. Lets get on with making a few.
Later, post-sex and holding an empty champagne glass, Magda utters one of the
franchises most outrageous double entendres: I need refilling. Not surprisingly, Bond
does a double-take.
Octopussy (Maud Adams) tries to buy Bonds services at her palace:
Oh James, we are two of a kind. There are vast rewards for a man of your talents
willing to take risks.
Im not for hire.
Oh, a man of principle with a price on his head. Naturally, youll do it for Queen
and Country. I have no country. I have no price on my head.
She goes to her bedroom, where they fall onto the bed.
At the end, they are cuddled together on Octopussys boat on her lake. It is the first time
Bond has finished a film in a Bond Womans domain.
While staying nearly 48 hours at Octopussys floating palace, Bond has plenty of
opportunity to seduce some of the 17 Octopussy Girls, but appears to make no effort in
that direction. But then Roger Moores Bond is starting to look a little too world-weary for
such activities.
The same problem may be at work with the servant Schatzi (Brenda Cowling). When she
shows Bond to his guest room, she flirts outrageously. It is an offer he implies he will
follow up, but we know he wont.
Partners: 2. Woman seduces Bond: 1 (Magda). Bond seduces Woman: 0. Mutual
seductions: 1 (Octopussy).
***
Never Say Never Again (Irvin Kershner, 1983)
First up in this remake of Thunderball is Patricia (Prunella Gee), a doctor at Shrublands.

When she works on his spine, Bond quips:
You know, there is a more beneficial therapy for a mans lower back.
Really? And what might that be?
She gives his back a good crack.
Later, at night, Patricia comes to his room.
I thought Id surprise you, James.
Well, you have. Come in.
Soon they are in bed. Mark that down to Patricia.
The feisty Fatima (Barbara Carrera) crashes into Bonds arms when she water-skies up the
ramp to a waters-edge bar:
Oh, how reckless of me. I made you all wet.
Yes, but my martinis still dry.
During the subsequent conversation, Fatima does all the leading.
Later, on a boat, it is the same, Fatima tossing Bond a wetsuit:
Ah, I think that will take care of you perfectly.
Im sure it will. Youre remarkably well-equipped.
Thank you
Bond starts undressing.
You affect me, James.
Well, thats bad. Going down, one should always be relaxed Is it far to the reef?
Far enough. Weve got time to kill.
Fatima embraces Bond and soon they are having sex, something rarely seen in a
Bond movie.
Then there is the fishing-keen Lady in Bahamas (Valerie Leon). She and Bond meet briefly
and exchange pleasantries. Later, he gives her fishing line a good tug, emerging from
underwater in his wetsuit:
Its you!, she exclaims.
Well, you did say youd catch me later.
They return to the hotel and make love.
Finally, there is Domino (Kim Bassinger), mistress to the evil Largo (Klaus Maria
Brandauer). Bond pretends to be her masseuse and works on her back. Could you go a
little lower?, she inevitably asks.
After dancing with Bond at a casino, she ends the film with Bond snoozing in a swimming
pool (the shot makes him rather look old and doddery). Domino hands Bond a fruit cocktail
instead of the desired martini. When he complains, Domino remarks:
Youll never give up your old habits, James.
No, youre wrong. Those days are over.

Bond and Domino are acting like a very settled and happy couple. There is no sexy clinch,
but few would doubt that they have been lovers for quite a while, which may explain
Bonds lethargy.
Partners: 4. Woman seduces Bond: 2 (Patricia, Fatima). Bond seduces Woman: 0.
Mutual seductions: 2 (Lady, Domino).
***
A View to a Kill (John Glen, 1985)

This is an equal high watermark for Bond, with four bed partners. But he seduces only one
of them, Kimberley Jones (Mary Stavin). Kimberley pilots Bond home from a mission in the
Artic in a boat camouflaged as an iceberg. When she moves near him, he revs the engine
and she topples down next to him.
Commander Bond!
Call me James. Its five days to Alaska.
May Day (Grace Jones) is a personal assistant to the dastardly Max Zorin (Christopher
Walken). At Zorins chteau at Chantilly, Bond waits naked in bed for May Day to arrive.
She sees him from the doorway.
May Day (Grace Jones) in A

View to a Kill
May Day, where have you been? Ive been waiting for you to take care of
me personally.
May Day turns to Zorin (unseen by Bond), who nods that she should go in and sleep with
him. She silently drops her robe.
I see youre a woman of very few words.
In bed, May Day does a Lilith and insists on being on top.
Pola Ivanova (Fiona Fullerton) is a Soviet spy who, when caught by Bond spying on Zorins
operation, does the right thing and hops into a hot tub with him. This is, after all, a time of
dtente, even if Bond and Pola both have double-cross on their minds.
Stacey Sutton (Tanya Roberts) is a good girl, an ordinary woman in extraordinary

circumstances (66), as Cork puts it. A rather lacklustre heroine (she was duded out of an
oil inheritance by Zorin and wants it back), she ends up with Bond in her shower, another
rare case of Bond finishing in a Womans domain. There is no indication of who led
whom there.
Bond never gets near Jenny Flex (Alison Doody), perhaps because Doody was only 19 at
the time of filming. Moores Bond has become rather age-gap puritanical, as witnessed by
his rejection of the 21-year-old Bibi as too young in For Your Eyes Only.
Partners: 4. Woman seduces Bond: 0. Bond seduces Woman: 1 (Kimberly). Mutual
seductions: 3 (May Day, Pola, Stacey).
***
The Living Daylights (John Glen, 1987)

There was a lot of press coverage when Timothy Dalton was hired to replace Roger Moore.
Dalton said the Bond franchise had entered a new, more responsible era and that Bonds
reckless bed hopping would stop. John Cork is a believer:
[The filmmakers] needed to confront a growing crisis. Since the early Eighties, the
spectre of AIDS/HIV had brought serious reconsideration of the more casual aspects
of the sexual revolution. By 1986, health professionals urged restraint and
responsibility in the media in the depiction of sex.
In The Living Daylights, for the first time, it is not clear whether or not Bond ever
sleeps with any of the women he meets on his mission [] Bond first meets a woman
(Kell Tyler) on a yacht who offers him champagne, but he never even kisses her onscreen. (67)
What actually happens is Bond parachutes out of a jeep that is falling from the Rock of
Gibraltar and guides himself towards a large pleasure craft. Lying there in a bikini is Girl on
Yacht (Kell Tyler), holding a champagne glass and talking on an early model mobile phone:
Its so boring here [] Theres nothing but playboys and tennis pros. If only I could
find a real man.
Bond lands on the deck, near the Woman.
I need to use your phone, he says. [] Exercise Control 007 here. Ill report in
an hour.
Girl on Yacht hands him a glass of champagne. Bond smiles.
Better make that two.
Apart from this being an obvious reprise of the moment by the river between Bond and
Sylvia in From Russia, With Love, there is absolutely no doubt Bond and Girl on Yacht are
about to have sex. Cork has overly bought the press hype.
Next up is the Czechoslovakian cellist Kara Milovy (Maryam dAbo), girlfriend and pawn of
General Georgi Koskov (Jeroen Krabb). Cork claims that she and Bond never sleep
together during the film, but they do twice.
The first time is on the Ferris wheel in Vienna. Beforehand, as they walk around the
amusement park, Kara tells Bond: Take me on the wheel. The pun is deliberate.
Aboard, Bond switches off the cabins interior light. Soon after, the Ferris wheel stops, with
Bond and Kara at the zenith.
Whats wrong?, Kara asks. Why did we stop?
I arranged it. We could be here all night.

Bond moves across and tries to kiss her.
Dont, she says. Its impossible. Knowing you only two days and all I can think of is
how we would be together.
Dont think. Just let it happen.
Bond lays Kara gently down on the bench seat, John Barrys Bond Love Theme soaring on
the soundtrack and the camera panning to a stuffed elephants very long nose. Surely,
there is no doubt what any of this means.
The second time is at the hideout of Kamran Shah (Art Malik), Bond and Kara shown
starting to make love in their guest bedroom.
Unusually for the series, it is clear that the Woman, Kara, is leaving Bond at the end - on a
world concert tour.
So, even though Timothy Dalton said in press interviews Bond only slept with one Woman
(which one did he have in mind?), and despite the sensitive New Age tone to Bonds
dialogue (Dont think. Just let it happen.), Bond goes to bed with two women, the
franchise standard.
Of the non-partners, Rubavitch (Virginia Hey) is the girlfriend of General Leonid Pushkin
(John Rhys-Davies). Bond treats her in a most ungentlemanly manner, ripping her clothes
off in the name of duty. But has no interest in her.
There is a new Miss Moneypenny (Caroline Bliss) and she seems genuinely interested in
Bond, rather than just flirting with him as Lois Maxwells Moneypenny did. The end result is
the same.
Other women include Liz (Catherine Rabett) and Ava (Duliece Liecer). Bond turns down
their offer to party. He didnt realize it at the time, but they work for Felix Leiter
(John Terry).
Finally, there is the Czech pipeline worker, Rosika Miklos (Julie T. Wallace), but Bond spends
just seconds with her.
Partners: 2. Woman seduces Bond: 0. Bond seduces Woman: 1 (Kara). Mutual
seductions: 1 (Girl on Yacht). Bond rejects Woman: 2 (Liz, Ava).
***
Licence to Kill (John Glen, 1989)

Pam Bouvier (Carey Lowell) is a freelance pilot who does jobs for both the CIA and Felix
Leiter (David Hedison). She and Bond make a getaway together in a powerboat, but it runs
out of fuel. Pam:
Out of gas. I havent heard that one in a long time.
After Pam and Bond verbally test each other out, Pam moves forward, touches some blood
on his check and kisses him.
Why dont you wait till youre asked?
Then why dont you ask me?
They end the film fully clothed in a swimming pool.
Lupe Lamora (Talisa Soto) is the girlfriend of a psychotic drug baron, Franz Sanchez
(Robert Davi), who whips her when hes mad. It takes a long time for her to get to bed
with Bond, seducing him in a guest bedroom at Sanchezs house.
At the end, though, Bond cruelly tosses her aside for Pam. Some audience members find it
odd Bond opts for dull old Pam over Lupe, who has a broken wing like other great Fleming
heroines (68). But even those few who like this film dont consider it a true Bond film. It is
just a not-very-bright action movie that Bond mistakenly wandered into. No wonder
Timothy Dalton opted out.
Partners: 2. Woman seduces Bond: 1 (Lupe). Bond seduces Woman: 0. Mutual
seductions: 1 (Pam).
***
GoldenEye (Martin Campbell, 1995)

Pierce Brosnans Bond begins the film driving through the South of France at great speed
with Caroline (Serena Gordon), who is supposed to be evaluating him psychologically, but
probably knows more about him physically.
James, it is really necessary to drive quite so fast?
More often than you think.
I enjoy a spirited ride as much as the next girl, but
Bond sees Xenia Onatopp (Famke Janssen) pull alongside in a red Ferrari.
Whos that?, Caroline wonders aloud.
The next girl.
After Bond dangerously races Xenias Ferrari, Caroline tells Bond to stop the car. He does
so, dramatically:
As you can see, I have no problem with female authority.
He then reveals a bottle of chilled bottle Bollinger in the centre console.
James, youre incorrigible. What am I going to do with you?
Lets toast your evaluation, shall we?
Xenia Onatopp (Famke

Janssen) and James Bond
(Pierce Brosnan) in
GoldenEye
Xenia Onatopp is one of the wildest women in cinema. Her sexual pleasure at seeing and
delivering death and destruction is awesome. She and Bond flirt many times, and Xenia
tries hard to squash him to death, but Bond never sleeps with her.
Natalya Simonova (Izabella Scorupco) is a Russian computer programmer. Kidnapped by
Janus (Sean Bean), she is placed in a helicopter with Bond to meet the Grim Reaper. Bond,
of course saves her, and does so again after the train on which they are trapped blows up.
Do you destroy every vehicle you get into?
Standard Operating Procedure Boys with toys.
When they are next seen, driving through Cuba in a car, it is obvious they have spent
intimate time together. They end the film in a helicopter - safely, this time.
Cork writes:
She is a strong, forceful character. She even hijacks an enemy helicopter to help save
Bond from a collapsing satellite transmitter. (69)
One should expect nothing less from a Bond Woman.
Bond also flirts with a (yet another) new Moneypenny (Samantha Bond), but gets no closer
to her than her predecessors.
That is also the case with the new M (Judi Dench). There is certainly a lively tension
between Bond and his boss, but it probably isnt sexual.
Partners: 2. Woman seduces Bond: 0. Bond seduces Woman: 1 (Caroline). Mutual
seductions: 1 (Natalya). Failures: 1 (Xenia).
***
Tomorrow Never Dies (Roger Spottiswoode, 1997)

Bond is first seen (post-credits) in bed with Danish Professor Inga Bergstrom (Cecile
Thomsen). There is no indication of how they got there. One must assume it was mutual.
At the launch party for Elliott Carver (Jonathan Pryce), Bond meets a blonde PR Lady
(Daphne Deckers), but time allows for no distractions. In fact, he doesnt even experience
any frissons from her presence.
This same lack of Bondian desire is shown to the blonde woman standing next to Carver.
What is happening here? Has Bond lost it?
Paris Carver (Teri Hatcher) is an old flame of Bonds, but now married to the insane Elliott.
She comes to Bonds Atlantic Hotel room to seduce him:
I was curious who Carver would send.
Hes on to you.
Well, we know where you stand. You made your bed. []
She closes the door.
Why did you marry him?
He told me he loved me.
Oh, that sounds good.
Do you know I used to look in the papers every day for your obituary.
Well, Im sorry I keep disappointing you.

Paris sighs.
What was it, James? Did I get too close? Did I get too close for comfort?
Long pause.
Yes.
They kiss and go to bed.
Chinese agent Wai Lin (Michelle Yeoh), after the usual feisty banter with Bond, has to wait
till the end on a raft to get close to him. She seems in control of the seduction, but lets
call it mutual.
Theyre looking for us, James.
Lets stay undercover.
Thats it? Are the filmmakers kidding?
Despite the lush and romantic score from David Arnold, the pairing of Bond and Wai Lin is
easily the weakest (so far) in any Bond movie. There is zero spark.
Cork disagrees, finding the lack of chemistry a plus:
The pair work as a team, and remarkably, have no sexual interplay, or even much
flirting before the film draws to a close. [] Wai Lins sex appeal comes from her
abilities and her confidence and not just her physical beauty. She carries just as much
self-assurance as 007, and she carries it well. (70)
Partners: 3. Woman seduces Bond: 1 (Paris). Bond seduces Woman: 0. Mutual
seductions: 1 (Inga). Probable mutual seductions: 1 (Wai Lin).
***
The World is Not Enough (Michael Apted, 1999)

After Cigar Girl (Maria Grazia Cucinotta) turns into a terrorist and slips from his grasp, and
life, Bond seduces Dr Molly Warmflash (Serena Scott Thomas). Bond makes the moves, but
Molly demands her pound of flesh (Youd have to promise to call me this time).
Elektra (Sophie Marceau), one of the great Bond Women, is a psychotic Villain in the grand
tradition of Xenia Onatopp.
At a casino, Elektra risks $1million on high-card draw.
Wait, Bond says to the croupier. Bury the top three cards.
Youre determined to protect me, arent you?, says Elektra.
Perhaps from yourself. You dont have to do this.
Theres no point in living if you cant feel alive.
Elektra loses and gets up to leave.
Shall we?
Elektra, this is a game I cant afford to play.
I know.
They are next seen in bed.

Cork:
Elektra is an accomplished seductress, playing the strong, confident superwoman
when it suits, and displaying a childlike fragility when that facade will help achieve her
goals. The combination is exhilarating and enticing for 007. As producer Barbara
Broccoli said [] Bond thinks he has found Tracy [], but hes really found Blofeld.
(71)
Christmas Jones (Denise Richards) is a nuclear physicist who doesnt like Xmas jokes.
Fortunately, Bond has others in his repertoire. When she and Bond jump down from the
exploded pipeline, Christmas remarks:
The worlds greatest terrorist running around with six kilos of weapons-grade
plutonium cant be good. I gotta get it back or someones gonna have my ass.
First things first.
At the end the film, in a hotel bed, Bond does get to tell another Xmas joke, the infamously
corny, I thought Christmas only comes once a year.
Partners: 3. Woman seduces Bond: 0. Bond seduces Woman: 1 (Molly). Mutual
seductions: 2 (Elektra, Christmas).
***
Die Another Day (Lee Tamahori, 2002)

Bond sleeps with two women. The first is Jinx (Halle Berry), the least successful Bond
Woman in film history. At least she lets Tomorrow Never Dies Wai Lin off the hook.
Bond sees Jinx emerge from the water in a listless redoing of Honeys Riders defining
moment in Dr. No. It goes downhill from there:
Magnificent view, Bond remarks to Jinx.
It is, isnt it. Too bad its lost on everybody else. [Meaning what, exactly]
Mojito? []
Jinx drinks.
Too strong?
I can learn to like it if I had the time.
How much time have you got?
Until dawn.
The scene is so badly acted - apart from Berrrys gaucheness, Brosnan looks as if hed
rather be at the dentist having root-canal work - it feels as if sex together is the last these
two secret agents would ever wish to endure. But into bed they tumble.
The other Woman, and one of finest in Bond films, is, of course, Miranda Frost (Rosamund
Pike), British secret agent and terribly naughty lady. Her dialogue with Bond is some of the
best ever written.
After a duel with Graves (Toby Stephens), Bond says to Miranda:
Can I expect the pleasure of you in Iceland?
Im afraid youll never have that pleasure, Mr Bond.
Cork writes, As her name implies, she is emotionally cold and remains unimpressed with
Bond when the pair meet. (72) The opposite is surely true. One can immediately sense
the emotional and sexual fire within Miranda, just as one does in the icy blondes in Alfred
Hitchcocks films. A disinterested woman would not say, Im afraid youll never have that
pleasure, Mr Bond. She would simply walk away.
In an extraordinary tense and rich scene, Miranda then meets with M (Judi Dench):
Before you leave on your mission for Iceland, M says, tell me what you know of
James Bond.
Hes a 00 and a wild one as I discovered today. Hell light the fuse on any explosive
situation and be a danger to himself and others. Kill first, ask questions later. I think
hes a blunt instrument whose primary method is to provoke and confront. A man no
one can get close to. A womaniser.
Brilliant! So brilliant, in fact, the filmmakers borrowed Mirandas blunt instrument remark
and gave it to M to say in Casino Royale, where critics enthused so enthusiastically that
one wonders if any of them actually saw Die Another Day.
The sexual energy of the Mirandas tirade (and the brilliant ordering of Bonds faults,
ending with A womaniser) is turned by Pike, an actress on fire with her part, into one of
the great Bond Woman moments.
Mirandas encounter with Bond in a snow-covered car park is just as good.
Bond is walking away from some of Graves thugs, when Miranda reaches out and grabs
him. Before he can blink, she is kissing him.
M warned me this would happen.
Oh, thats why you tried so hard not to be interested in me.
Oh god, youre even worse than your file says. (Pikes delivery of that line gets this
writers vote as the sexiest repartee in Bond.)
Bond and Miranda observe the thugs
They dont look convinced, Bond says. Come on, put your back into it, heh?
They kiss again.
Remember, I know all about you, 007. Sex for dinner, death for breakfast. Well, its
not going to work with me. []
They kiss even more passionately.
Mmmm, Youre getting good at this.
Oh, stop it. . Are we still being watched?
No, they left ages ago.
Oh god, youre impossible. []
And into bed they go. Not that that weakens Mirandas resolve. Next morning, Graves
orders her to kill Bond and she is thrilled:
I enjoyed last night, James, but it really is death for breakfast.
The greatest mistake this film makes - and it makes many - is that Bond is not allowed to
kill Miranda.
Bond is too smart to get playful with Peaceful (Rachel Grant), realizing she is a Chinese
agent before the audience can even blink an eye. Verity (a libelled Madonna; she acts just
fine) is just there for moral support.
seductions: 2 (Jinx, Miranda).
***
Vesper Lynd (Eva Green) in

Casino Royale
Casino Royale (Martin Campbell, 2006)

In this, the masterwork of all Bond films and the only one seriously faithful to Fleming,
Bond (Daniel Craig) sleeps with just one Woman: Vesper Lynd (Eva Green), the greatest of
cinemas Bond Woman. (Many writers list Solange (Caroline Murino) as a bed partner, but it
is clear that Bond leaves her before things get serious.)
Vesper and Bond meet on the train to Montenegro.
Im the money, she says.
Every penny of it, he replies.
After they finish eating dinner, the dialogue turns razor-sharp. Vesper:
Now, having just met you, I wouldnt go so far as calling you a cold-hearted bastard
[] but it wouldnt be a stretch to imagine you think of women as disposable
pleasures rather than meaningful pursuits. So, as charming as you are Mr Bond, I will
be keeping my eye on our governments money and off your perfectly formed arse.
The subsequent dinner in the casino restaurant after Bond beats Le Chiffre (Mads
Mikkelsen) at Texas Hold Em is even more astonishing, but lets leap to Lake Como, where
Bond is recovering from near emasculation. Vesper is with him as he wakes:
You all right?, Bond asks.
I cant resist waking you up. Every time I do, you look at me as if you havent seen
me in years. Makes me feel reborn.
If youd just been born, wouldnt you be naked?
You have me there.

Vesper leans forward and whispers.
You can have me anywhere.
I can?
Yeah. Here, there, anywhere you like.
Does this mean that youre warming to me?
Yeah, thats how I would describe it.
Its just that not so long ago I would have described your feelings towards me as
Im trying to think of a better word than loathing.
Im a frank and complicated woman.
That is something to be afraid of.
After the Swiss banker arrives to arrange payment to Bond, Vesper adds:
You know, James I just want you to know that if all that was left of you was your
smile and your little finger, youd still be more of a man than anyone Ive ever met.
Pause.
Thats because you know what I can do with my little finger.
Ive no idea.
But youre aching to find out.
She shakes her head slightly.
Youre not going to let me in, are you? Youve got your armour back on. Thats that.
I have no armour left. You stripped it from me. Whatever is left of me whatever is
left of me, whatever I am Im yours.
The desire and caring is mutual. But then Vesper commits suicide, brilliantly visualised by
director Martin Campbell in a sunken Venetian lift. This is a love story with the romanticism
and dramatic power of Leo McCarey at his best. And, like in Love Affair (1939) and An
Affair to Remember (1957), it is about a man who must deconstruct himself down to
almost zero so that he can, in the rebuilding, become a man receptive to, and deserving
of, love.
Just imagine what might have been had the Bond film series started with an intelligent
adaptation like this of the first and greatest Bond novel, and then carefully worked forward.
At least todays producers have had the great common sense to make Quantum of Solace
(Marc Forster, 2008) follow on from Casino Royale.
seductions: 1.
***
Quantum of Solace (Marc Forster, 2008)

For those capable of believing anything, the ghastly named Strawberry Fields (Gemma
Arterton) has some vague affiliation with British Intelligence. Clearly a young woman way
out of her depth, she meets Bond and Mathis at La Paz airport. The dialogue, sadly, is not
up to its predecessors standards:
Mr Bond, my name is Fields. I'm from the consulate.

Of course you are. And what do you do at the consulate, Fields?
That's not important. My orders are to turn you around and put you on the first plane
back to London. [] Mr Bond, these orders come from the highest possible authority.
James Bond (Daniel Craig), Ren Mathis (Giancarlo

Giannini) and Strawberry Fields (Gemma Arterton)
in Quantum of Solace
Taxi! Fields, when is the next flight to London?

Tomorrow morning.
Well then, we have all night.
If you attempt to flee, I will arrest you, drop you off in the gaol and take you to the
plane in chains. Understand?
Perfectly. After you.
I think she has handcuffs, adds Mathis.
Do hope so, Bond replies.
Soon after, with no build up other than Bond asking Strawberry to help him find the hotel
stationery, Bond and Strawberry are in bed. The audience at the Melbourne preview
screening gave a loud gasp of disbelief. There had been so little spark between them, so
little screen time together, that their having sex feels absurd.
The scriptwriters try to dig themselves out of the hole by later having M denounce Bond for
his callous seduction of the females he meets, including Strawberry. But, of course, M was
not there and has absolutely no idea what happened. So, why does M think it was Bonds
fault? How moronic does M think women are that Bond can so easily brainwash them?
This is what happened. Bond looked at Strawberry from an adjoining room and said: I cant
find the um the stationery. Come and help me look. Strawberry gives a gasp of
annoyance, thinks for a second and then her eyes glow with desire. Clearly, she has
wanted Bond from the word go and, after realizing he is interested, she happily goes for it.
Thus, Strawberry is a typically independent Bond Woman, and not the stupid and easily
manipulated pawn M assumed.
Not long after, Strawberry is found naked and dead, drowned in oil. Rather than try and
eke some drama or pathos from the moment, director Marc Forster goes instead for the
cheap effect of mimicking the death scene of Jill Masterton/Masterson in Goldfinger, where
she is found naked and painted gold.
The other Bond Woman is Camille (Olga Kurylenko), who is perfectly suited to Bond on
many levels, but he shows little sexual interest in her and vice versa. Their parting at the
end suggests that, had they both not been haunted by events from the past she by the
murder of her father, he the death of Vesper they might have had a chance. But the
scene comes out of nowhere and is largely at odds with their body language in the rest of
the film.
Camille, therefore, must be counted as a failure for Bond. However, as Quantum of Solace
has no real ending it feels like the last page of a chapter in an epic and tiresome book
it is possible there could be a romantic resolution in the future. But Quantum of Solace is
so dire a movie, so bleak and incoherent an experience, that it would be better if the
producers scrapped what they are doing, got rid of the joyless Paul Haggis and his grim
cohorts, and started again from scratch. First up, they should call director Martin Campbell
and plead, Help!
seductions: 1. Failures: 1.
FILM
PARTNERS
WOMAN
SEDUCES
BOND
BOND
SEDUCES
WOMAN
MUTUAL
SEDUCTIONS
(incl.
PROBABLES)
FAILURES
BOND
REJECTS
WOMAN
Dr. No
From Russia
With Love
Goldfinger
Thunderball
Casino
Royale
You Only
Live Twice
On Her
Majestys
Secret
Service
Diamonds
are Forever
Live and Let

Die
The Man with

the Golden
Gun
The Spy who

Loved Me
Moonraker
For Your
Eyes Only
Octopussy
Never Say
Never Again
A View to a
Kill
The Living
Daylights
Licence to
Kill
GoldenEye
Tomorrow
Never Dies
The World is
Not Enough
Die Another
Day
Casino
Royale
Quantum of
Solace
60
19
11
30
32%
18%
50%
Total
Percentage
Film Summary
In the 24 official and non-official Bond films (so far), Bond sleeps with 60 women. There
are three failures (where Bond tries hard and fails), one almost (time beats him) and one
incomprehensible (Bond makes no effort when they are perfect for each other).
As well, there are 93 other Women Bond has time to seduce, or be seduced by, but
doesnt. That means, Bond sleeps with 60 of 153 Women or 39%. (That is not counting the
other 114 or so Women he meets but doesnt have the time to test his luck with.)
Of the 60 bed (and floor, boat, raft, space, etc.) partners, 30 (or 50%) are mutual
seductions. Bond only seduces 11 women (18.3%), while he is seduced 19 times (31.7%).
In other words, Bond is almost twice as likely to be seduced by a Woman as he is to
seduce her. Why do academics (and M) insist otherwise?
***
Bonds Women are young, hence girl

Eco: The general scheme is (1) the girl []
Bennett and Woollacott: It is, moreover, always a girl he encounters, never a
woman. (73)
Snelling: Of course, almost without exception the girls in the books are fresh, young
and sexually exciting (74)
THE NOVELS
Umberto Eco repeatedly refers to the girl (as, indeed, does Fleming). Furio Colombo in
The Bond Affair goes even further and employs the term girl-child (75).
In the novels, Fleming gives nine specific ages and there are clues to five others. The
youngest is Honeychile Rider (20), the oldest Vesper Lynd and Pussy Galore (both in their
thirties). The average age is at least 25.
She is always a Woman, never a girl.
THE FILMS
Producer Albert R. Broccoli insisted that Bonds love or sex interest must be a woman, not
a girl, Otherwise it becomes rape. Bonds ladies [] must give the impression of being
experienced with men. (76)
Character ages are rarely given in films, but the average age of the actresses at the start
of principal photography (and many had birthdays during production) is 27.8.
Yet again, these are Women, not girls.
***
Looks
Eco: the girl is beautiful
THE NOVELS
Response to physical beauty is, of course, largely subjective. However, it is clear that
Fleming wished that most of his female characters be seen as physically attractive. And, in
his attempts to render them so, he created a physical type to which most of Bonds
romantic interests conform.
The mistake made by commentators is to claim these Women are usually blonde. Amis, for
one, gets it wrong in The James Bond Dossier (77) and again in The Book of Bond or Every
Man His Own 007, written under the pseudonym of Lt.-Col. William (Bill) Tanner. (78) A
study of the novels shows that Fleming has a clear preference for women with black or
dark-brown hair. There are only four (out of 16) true blondes: Tiffany Case, Honeychile
Rider, Jill Masterton and Ruby Windsor. Mary Goodnight once had blue-black hair but now it
is golden, while Tracy di Vicenzos is described as fair.
In fact, the Bond Woman archetype can be paraphrased as:
Dark hair; blue eyes; high cheek bones; small nose; wide, sensuous mouth; clean
sweeping jawline; lightly suntanned skin; little-to-no make-up and jewellery; about
57 in height; and, as Kingsley Amis writes, with fine, firm, faultless, splendid, etc.,
breasts (79).
THE FILMS
The most common hair shade of the Bond Women in the cinema is also dark, not fair. It
would be impolite to generalise further about the actresses physical attributes.
***
Character
Eco: the girl is [] good
THE NOVELS
Inner goodness may not always be readily apparent, given that several of the Bond Women
are working for the Villain. However, good is an accurate description of 15 of Flemings 16
major Bond Women. Tiffany is the worry.
THE FILMS
Elektra (Sophie Marceau) and James Bond

(Pierce Brosnan) in The World is Not
Enough
The films differ from the novels in that several of Bonds companions are evil, rather than
just in service of a Villain. One thinks, in the early films, of Miss Taro, Bonita, Fiona and
Helga Brandt. More recent ones include Elektra and Miranda Frost.
When Fleming created a truly evil woman, such as Rosa Klebb, he never put her in bed
with Bond. The films take a different position, though significantly Bond never sleeps with
the pathologically disturbed Xenia Onatopp.
***
In the service of the Villain

Eco: Dominated by the Villain, [] Flemings woman has already been previously
conditioned to domination [] this has conditioned her to the service of the Villain
THE NOVELS
Eco argues this is true of 13 of Flemings Bond Women. He does not include in his list:
Tracy di Vicenzo, a wealthy playgirl without any connection to the villainous Blofeld; and
Vivienne Michel, for reasons already discussed.
However, of the 13 Eco includes, his analysis is not true of:
Gala Brand, a member of the British Special Branch on a mission with Bond. Eco says she
became the secretary of Hugo Drax, and established a relationship of submission to him
(80). Yes, but only by choice. She can hardly infiltrate Draxs company by being stroppy
and uncontrollable. Her submissiveness is fake.
Honeychile Rider is an innocent beachcomber. Eco says she has a purely symbolic
relationship with the power of Dr. No, except that at the end Dr. No offers her naked body
to the crabs (81). The only trouble with that theory is that Honeychile only knows of, and
encounters, Doctor No after she has come under Bonds protection. This is not a case of
previously conditioned.
Jill Masterton helps Auric Goldfinger cheat at cards. She can hardly be said to be
dominated by him. After all, Goldfinger lets her leave with Bond on the train. Had Bond not
been so nave and sent her back, shed still be alive.
Tilly Masterton is the vengeful sister of Jill. She has never met Goldfinger, so to argue that
she is dominated [] by Goldfinger (82) is silly. Is the sister of a slain soldier dominated
by the person who killed him? Of course not.
Domino Petacchi is Emilio Largos mistress. Eco claims she is subservient to the wishes of
Blofeld through the physical relationship with the vicarious figure of Emilio Largo (83). On
those grounds, Eco would have to include practically every human in a sexual or romantic
relationship with someone who is answerable to a bad boss. Anyway, Domino is innocent of
both Largos and Blofelds treachery.
Ruby Windsor is a patient at Blofelds resort who, according to Eco, is under the hypnotic
control of Blofeld (84). Presumably Eco believes anyone visiting a hypnotist to cure, say, a
smoking addiction is being dominated. It is a trivialising use of the word.
Kissy Suzuki is a diver for clams. Eco claims Kissy lives on her island in the shade of the
cursed castle of Blofeld, suffering a purely allegorical domination shared by the whole
population of the place (85). That is like saying all Americans are dominated by the
inhabitant of the White House.
Of those Fleming Women Eco lists, the only ones left who possibly fit his model are Vesper,
Tatiana, Pussy, Solitaire and Tiffany:
Vesper is blackmailed by the Soviets, but the actual Villain is Le Chiffre, who is in danger of
being killed by the Soviets. Technically, Vesper isnt dominated by the Villain but by a
subordinate character. However, if one allows a little leeway, Vesper can be included.
Tatiana is blackmailed by Rosa Klebb, certainly the Villain in Tatianas life and
(sometimes) Bonds.
Pussy, Solitaire and Tiffany do, at some stage, work for the benefit of the Villain.
Book Summary
In conclusion, only Vesper, Tatiana, Solitaire, Pussy and Tiffany can be meaningfully said to
be on dominated by the Villain; that is, in only five of Ecos 13 examples.
The reality is that, of the Flemings 16 major Bond Woman, 69 percent are not dominated
by the Villain.
Eco is simply wrong.
THE FILMS
Eco was writing about the novels, but does his theory hold true for the films? Certainly
Tony Bennett and Janet Woollacott think so:
Initially in the service of the villain, and thus on the wrong side, in the contest
between good and evil []
The list of possible inclusions is not as long as one may think. There are only 12 Women
who are indisputably bad, dominated by the Villain and in his or her service:
Miss Taro (Dr. No)
Bonita (Goldfinger)
Pussy Galore (Goldfinger)
Fiona (Thunderball)
Helga Brandt (You Only Live Twice)
Rosie (Live and Let Die)
Log Cabin Girl (The Spy who Loved Me)
Fatima (Never Say Never Again)
May Day (A View to a Kill)
Pola Ivanova (A View to a Kill)
Elektra (The World is Not Enough) and
Miranda Frost (Die Another Day).
Furthermore, there are 2 who are blackmailed by the Villain into bad deeds:
Tatiana (From Russia with Love), a Soviet secret agent being blackmailed by her KGB
superior, Rosa Klebb; and
Vesper Lynd (Casino Royale).
Then there are those dominated by, but not truly aiding, the Villain:
Jill Masterson (Goldfinger), who only helps Goldfinger cheat at cards;
Solitaire (Live and Let Die), a clairvoyant working for Kananga Mr. Big. She is terrified of
him and, after briefly meeting Bond, lies to him;
Andrea (The Man with the Golden Gun), the girlfriend of the assassin Scaramanga
(Christopher Lee). But she hates him. Like Solitaire, she is dominated by the Villain but not
in his service;
Corinne Dufour (Moonraker), one of Draxs pilots. She seems unconnected to his evil;
Kara Milovy (The Living Daylights), girlfriend of General Georgi Koskov (Jeroen Krabb).
She is in his thrall and unable to see his dark side;
Lupe Lamora (Licence to Kill), girlfriend of the ghastly Franz Sanchez (Robert Davi), who
whips her. That she stays with him not only suggests that she fears for her life but that she
has a thing for bad and powerful men; and
Paris Carver (Tomorrow Never Dies), married to the Villain and dominated by him. The
level of her service is debatable.
Bad but unclassifiable:
Tiffany (Diamonds are Forever), who works both for Blofeld and herself. Ultimately, she is
too independently minded to be in the service of anyone but herself; and
Magda (Octopussy), who technically works for Octopussy but does a lot of work on the side
for Kamal Khan. She doesnt initially realize how bad a Villain he really is. When she does,
she abandons him.
Not really that bad:
Octopussy (Octopussy). She is not really a Villain - a little smuggling and pilfering aside because she is in no meaningful way at war with Bond or Britain. In fact, she seems a nice
enough Woman, who is looking for something and someone to help occupy her overly
fertile mind.
Not bad at all:
Domino (Thunderball), innocent niece of the evil Largo (Adolfo Celli). She has no
knowledge of his criminal activities.
Major Anya Amasova (The Spy Who Loved Me), a Soviet agent working with Bond in a
spirit of Anglo-Soviet co-operation. She is no way dominated by a Villain. However, she
does want Bond dead after discovering that he killed her lover in Berngarten. However,
when faced with the chance to kill Bond aboard a sea-rescue capsule at the end, she
chooses instead to share her body heat with him.
Domino (Never Say Never Again), an innocent at the hands of Largo (Klaus
Maria Brandauer).
Natalya Sirminova (GoldenEye), a Russian computer programmer who seems loyal to the
State. She is not in any way bad or dominated.
Strawberry Fields (Quantum of Solace) works for the British Consulate in Bolivia. She is
loyal and true.
Film Summary
In the 24 official and non-official Bond films (so far), Bond sleeps with 60 women. Of
these, only 22 are dominated by a Villain in any meaningful way and only 1 (Tiffany) is
independently bad. That is, 37 percent.
To argue, as many do, that the Woman is usually in the service of the Villain is just
plain wrong.
***
Bond ideologically repositions the girl ideologically

Eco: through meeting Bond [the girl] appreciates human nature in all its richness
Bennett and Woollacott: In winning the girl from the service of the villain and, in the
process, into his own bed, Bond repositions her both sexually and ideologically.
THE NOVELS
Eco does not appear to differentiate, as perhaps he ought, between Bonds mere presence
on the scene and his having slept with a Woman. Eco writes of how Bond frees the Woman
from the Villains domination and, thus, from her unhappy past. In the process, she goes
through an ideological transformation: that is, she now sides with Bond instead of
the Villain.
There are five Bond Women on the wrong side ideologically:
Vesper Lynd, a double agent, sleeps with Bond only near the end of Casino Royale, after
the mission is completed. But she does not have a complete ideological transformation and
commits suicide. So, in Ecos terms, she is a failure for Bond.
Solitaire Latrelle has decided to escape Mr. Big before meeting Bond and is waiting for
someone to help her. When she decides that person is Bond, she blackmails him into aiding
her. Her ideological conversion, therefore, is independent of Bond.
Tiffany Case ideologically abandons her employer after meeting Bond, but well before
sleeping with him. However, Fleming makes it clear that she is partially attracted to Bond
by the fact he is not a criminal like those she works for and with. It is telling that, when
she later suspects Bond of being a crook, she immediately loses interest in him.
Tatiana Romanova sleeps with Bond on their first meeting; she has been ordered to do so
by Rosa Klebb, just as Bond has been so instructed by M. Her ideological conversion is
post-sex, but Fleming tosses in intriguing hints that Tatiana may have planned a defection
to the West before meeting Bond (a result of Klebbs lesbian attack, perhaps?). However,
most of the evidence suggests that her conversion must be put down to Bonds presence
and the sexual magnetism she feels he exudes.
Pussy Galore is one of Bonds most challenging conquests. But Pussy abandons Goldfinger
only at the very last moment: that is, after the raid on Fort Knox. Clearly the decision to
defect reflects her sudden realisation that Bond represents a better route to safety than
does Goldfinger. One cant count this as an ideological transformation.
Anyway, the decision was made entirely by Pussy, her contact with Bond to this point
having been only minimal and non-sexual. It is thus quite incorrect for Bennett and
Woollacott to write:
in repositioning Pussy Galore sexually, Bond also repositions her ideologically,
detaching her from the service of the villain and recruiting her in support of his own
mission. (86)
Book Summary
Only one Woman changes ideological sides after sleeping with Bond (Tatiana); two do so
independently of him (Solitaire, Tiffany); one doesnt fully (Vesper); and one does after
having spent time with Bond, but not having slept with him (Pussy).
This is scant support for Ecos theory.
THE FILMS
Fiona says to Bond in Thunderball:
James Bond, who only has to make love to a woman and she starts to hear heavenly
choirs singing. She repents and immediately returns to the side of right and virtue.
This may be the perception of Fiona and many critics, but does the evidence support it?
Dr. No
Miss Taro does not change sides ideologically after meeting and sleeping with Bond - she is
evil to the end. According to Ecos criteria, she must be considered a failure for 007.
James Bond (Sean Connery) and Tatiana

Romanova (Daniela Bianchi) in From
Russia, With Love
From Russia With Love

The film leaves until the last moment the revelation of whether Tatiana, a Soviet agent
acting under the orders of Rosa Klebb, has had an ideological conversion. When Klebb
enters Tatiana and Bonds hotel suite in Venice, Tania looks as if she has no intention of
giving her away to Bond. It is only after Tatiana has left the room that she begins siding
with Bond and charges back to disarm Klebb. Her attraction to Bond must be regarded as a
primary factor in this decision. However, since she is a victim of blackmail for the entire
film, with death her only out, it is absurd to claim she was ever ideologically at one with
Klebbs beliefs. Surely she just sees Bond as a means to escape (a not uncommon Bond
Woman situation). Most list Tatiana as a repositioning victory for Bond, but there is no real
evidence for it.
Goldfinger
In the celebrated opening, Bond leaves Bonita stunned in the floor, totally
unrepositioned ideologically.
Pussy Galore converts after sleeping with Bond in the stable. Unlike in the novel, Pussy is
ideologically repositioned by Bond.
Thunderball
Bond fails to reposition Fiona, who goes to her death still hell-bent on killing him (Bond
expertly spinning her into the path of bullet from one of her associates guns). A
total failure.
Domino is not a dominated Woman, but she turns against Largo not because of any kiss or
sexual passion. As she tells Bond: James, understand. Im doing this for my brother.
Casino Royale
As Bond sleeps with no one in this film, there is no chance of any repositioning.
You Only Live Twice

The only bad girl Bond has sex with is Helga Brandt, but he fails totally to put her on the
straight and narrow. One of his greatest repositioning failures.
One Her Majestys Secret Service

No one Bond sleeps with in this film needs ideological repositioning. Irma Bunt is
desperately in need of it, but Bond never gets close to her.
Diamonds Are Forever

Tiffany begins on the wrong side and ends on the right, shifted by Bond. But she is such
a twitty character that no one really knows in what direction she will flit off on next. Hard
to consider her a victory for Bond, but many do.
Live and Let Die

Unlike in the book, Solitaire does not appear to have planned to escape from Kananga Mr.
Big before meeting Bond, though she is clearly frightened of him.
At their first meeting in her boss Harlem offices, she does a reading for Bond:
I know who you are, what you are and why you have come. You have made a
mistake. You will not succeed.
This is puzzling. If Solitaire is the brilliant Tarot reader she is supposed to be, why has she
got this wrong? (We know Bond will succeed and, indeed, he does.) As Kananga Mr. Big is
not within earshot, it is unlikely she is deliberately lying out loud to deceive him - unless,
of course, the place is all miked up, which it may be.
As Bond is about to leave, he draws The Lovers card (Us?, he asks of Solitaire). She is
clearly troubled, but not as much as when she some time later draws The Lovers as
representing Bonds fate in a reading for Kananga Mr. Big. She lies and says she sees death
for Bond. This shows she has already changed sides and it is before she sleeps with Bond.
Rosie is still working for the Villain after Bond sleeps with her, so another failure. At least
he is there to see her die, shot by a remote-control gun.
The Man with the Golden Gun

Andrea despises Scaramanga and wants him dead. The reason she sleeps with Bond is
because she hopes she can seduce (or even pay) him into killing Scaramanga. There is no
ideological repositioning here.
The Spy who Loved Me

Bond sleeps with Log Cabin Girl, but she wants him dead as soon as he departs. A
dismal failure.
Moonraker
There is only one Woman associated with the Villain with whom Bond makes love and that
is Corinne Dufour. She is said by most critics to change sides after sleeping with him. John
Cork is one:
Corinne Dufour [] also aids 007. Bond offers to sleep with her if she will uncover
information. Corinne goes for the idea, and the following day, Drax, having discovered
her treachery, unleashes her guard dogs on her. (87)
But that is not what happens. While Corinne seduces Bond, she does nothing to help Bond
in his mission against Drax. She even tries to stop Bond opening Draxs hidden safe. What
she doesnt do is denounce him to Drax, but that may well have been an attempt to
protect herself.
For Your Eyes Only

As Bond never sleeps with anyone associated with the Villain, there is no one to reposition.
Octopussy
Magda is the only Woman who can be said to be in the service of the Villain, and the link is
tenuous at best. When she discovers Khans connection to General Orlov (Steven Berkoff),
she sides with Octopussy, her true boss. So, Bonds sleeping with her more than an hour of
screen time earlier has had no influence on her ideological position.
Never Say Never Again

Bond kills Fatima with the Q-designed pen, having failed totally to reposition her
ideologically. No other Women in this film is in need of re-alignment.
A View to a Kill
May Day does change sides, but it is a very long time after sleeping with Bond and only
after she has been abandoned by her boss. Bond had nothing to do with this
ideological repositioning.
Pola Ivanova fails to cheat Bond out of a cassette tape recording, just as he fails to
reposition her. She is naughty to the end.
The Living Daylights

Bond makes love with Kara Milovy on the Vienna Ferris wheel, but that does not stop her
drugging him on Koskovs orders. They later make it to a proper bed, but only after she
realizes what a Villain her former boyfriend is. Bond has not repositioned her.
Licence to Kill
Lupe Lamora stays with Sanchez not only because she fears for her life, but because she
has a thing for bad and powerful men. She starts helping Bond before he sleeps with her,
but this is not a girl in love. She is one with an eye to the main chance.
At the end, Bond jokes that Lupe and President Hector Lopez (Pedro Armendriz) look
perfect together. She even leads him away, clearly to bed, which proves that she still does
have an thing for bad and powerful men. In which case, Bond has not repositioned
her ideologically.
GoldenEye
Bond doesnt sleep with anyone bad.
Tomorrow Never Dies

The only Woman associated with the Villain Bond sleeps with is old flame Paris Carver. She
is like many such Women waiting for a white knight to rescue her from hell. It cannot be
said Bond repositions her. After all, she seduces him and is killed almost
immediately afterwards.
The World is Not Enough

Despite enjoyable sex with Bond, Elektra tortures him on a garrotte.
You should have killed me when you had the chance. But you couldnt, not me, not a
woman you have loved.
You meant nothing to me One last screw.
Oh, James.
When Bond is freed and chases Elektra upstairs, she knows she is going to die and is
sexually excited at the thought. As he points a gun at her, she says seductively:
James, you cant kill me not in cold blood. [] Youd miss me.
Bond shoots and kills her.
I never miss.
Bond has failed totally to reposition her. She is one of his saddest failures.
Die Another Day

The only bad girl is Miranda Frost (Rosamund Pike) and she stays bad till the end. Another
iconic failure.
Casino Royale
Vesper goes to her death, unable to live with what she has done. Blackmailed, she acted
against Bonds interests, but then agrees to steal the Casino Royale money to save his life,
knowing he will despise her and that she will inevitably die. Has he repositioned her? Yes.
Vesper is Bonds greatest success and yet his most monumental failure. He is totally unable
to understand what was trapping her, and thus save her.
Quantum of Solace
There is no Woman who needs repositioning.
As well, there are the failures where Bond doesnt even get to first base:
Mei-Lei (Goldfinger) spends hours with Bond, resisting his sexual advances and denying his
attempts to turn her to his side.
Hostess Private Jet (Moonraker), whom Bond is totally unable to reposition. His only
consolation is that she presumably dies when the plane crashes.
Xenia Onatopp (GoldenEye) never sleeps with Bond, but his presence certainly fails to
reposition her ideologically. She dies just as spectacularly bad as ever.
Film Summary
Of Bonds 23 sexual conquests of women dominated by the Villain, or a Villain in her own
right, Bond ideologically repositions only 2 (or 9%).
As well, Bonds fails to reposition the three bad women he is unable to seduce. This
means his overall success rate is just 8%.
For Bennett and Woollcott and others to state that Bond inevitably succeeds in ideologically
repositioning bad girls is just plain wrong.
***
Frigid, unhappy (or worse)

Eco: the girl [] has been made frigid and unhappy by severe trials suffered
in adolescence
Bennett and Woollacott: [The] enigma takes the form of a disturbing out-ofplaceness in the respect that, to varying degrees and in different ways, the girl
departs from the requirements of femininity as specified by patriarchal ideology. (88)
Snelling: most of the girls with whom Bond gets mixed up seem to deviate slightly
from the norm. You cant say that there is always a touch of perversion about them that is far too strong - and aberration isnt quite the word, either, but there is
something a bit queer about the majority of them. (89)
THE NOVELS
Writers on Bond have come up with many terms for what they see as a dislocation or
deviant sexuality in the Bond Woman, an out-of-placeness or frigidity. Many, they
claim, have endured setbacks. But have they?
Of Flemings 16 major Bond Women, the label of sexual out-of-placeness applies
meaningfully to only five Women, at best:
Tiffany Case (Diamonds are Forever)
Tiffany was raped by a gang of hoods when she was 16. She is lonely and scared. She
finds Bond attractive as much for his moral rightness as for his sexuality.
Honeychile Rider (Dr No)
Honeychile was raped at 15 and is a virgin at 20. Fleming may portray her as an innocent,
or unformed, but she has no sexual hang-ups.
Tilly Masterton (Goldfinger)
Tilly is a lesbian who later falls for Pussy Galore. (90)
Pussy Galore (Goldfinger)

Pussy was raped at 12 and is a lesbian.
Tracy di Vicenzo (On Her Majestys Secret Service)
Tracy di Vicenzo is promiscuous and possibly in need of psychiatric help; Fleming describes
her as A girl with a wing, perhaps two, down. (91) She is Flemings most neurotic
heroine, partly because of a short, unhappy marriage and the early death of a child.
Other possibilities for dislocated Women, but ultimately rejected, are:
Vesper (Casino Royale)
Bennett and Woollacott include Vesper for a challenging aggressiveness (92). However,
there is no evidence to support this reading. Rather, Fleming portrays her, as he does
almost all his Women, as being independently minded.
Solitaire (Live and Let Die)
Solitaire is said by Mr. Big to have nothing to do with men (93), but Bond has his doubts:
She seemed open to love and to desire. (94) Bond is surely a better authority than
Mr. Big.
Gala Brand (Moonraker)
Bennett and Woollacott claim Gala Brand has a resisting frigidity (95), but revise their
opinion on the next page to a reserve. She is certainly not sexually dislocated in any way,
happily turning Bond down and marrying a Detective-Inspector.
Domino (Thunderball)
Bennett and Woollacott claim that Domino (like Vesper) has a challenging aggressiveness
(96). But there is no aggressiveness in her behaviour with men. As for Bennett and
Woollacotts negative description of Domino as being over-masculine (97), because she
drives like a man, that is not only inaccurate but misses the point that Bond likes women
to be good drivers. As he tells the hell-raising speedster Tracy di Vicenzo, You drive like an
angel. (98)
Vivienne Michel (The Spy Who Loved Me)
Vivienne was orphaned at eight and has had two unhappy love affairs (by 23), one ending
in an abortion. Fleming, continuing his bird imagery, has her write, I had been a bird with
a wing down. Now I had been shot in other. (99) Despite these setbacks, Vivienne exhibits
no sexual or psychological hang-ups; again, she is just someone waiting for a
suitable lover.
As for Ecos argument that the Women are frigid, the insurmountable problem for Eco is
that there isnt a frigid Woman in all of Fleming.
Book Summary
Bond encounters five genuinely dislocated women out of the 16 (that is, 31%).
THE FILMS
The films dont provide much joy for those looking to test the sexually dislocated theory.
The films scriptwriters have made little attempt to give the Bond Women any complexity
and their sexual make-up is rarely hinted at.
Pussy Galore (Honor

Blackman) in Goldfinger
Honey Ryder (Dr. No)

Honey does tell Bond how she had been raped, but there is no evidence of her being a
virgin subsequently, or of her being inhibited about sex; the impression is quite the
contrary. The casting of Ursula Andress is significant.
Pussy and Tilly (Goldfinger)
Bennett and Woollacott write that, in the film Goldfinger,
neither Tilly nor Pussy are represented as lesbians [] Unmarked by sexual deviance,
[Pussy] is treated with respect by Goldfinger and handles Bond with little trouble.
(100)
But Pussy is quite clearly represented as a lesbian, albeit with a little more understatement
than in the novel. (101)
Tilly (Tania Mallet) is not represented as either sexually confused or gay.
Tracy (On Her Majestys Secret Service)
Tracy is independent, intelligent, scarred by a bad marriage and possibly a touch neurotic.
She is, then, a close approximation of her novelistic counterpart. But she is not
sexually dislocated.
Solitaire (Live and Let Die)
Solitaire is a virgin. After she goes to bed with Bond, she says, So, its finally happened.
Just as it did to my mother and her mother before her.
Fatima (Never Say Never Again)
Fatima appears to have put her sexuality totally in the service of evil. And she certainly
doesnt seem too keen on Bonds genitals, pointing a gun directly at them.
Octopussy (Octopussy)
Octopussy is an interesting case, for, though she lives exclusively surrounded by women,
there is no evidence that she is not attracted to men.
May Day (A View to a Kill)
There is a case to be made that May Day has a sexual dislocation in that she is a
total psychopath.
Lupe Lamora (Licence to Kill)

Lupe Lamora has a sickness for nasty and powerful men.
Xenia Onatopp (GoldenEye)
Xenia is terrifyingly perverse, having, like Fatima, put her sexuality totally in the service of
pain and death.
Elektra (The World is Not Enough)
Like Xenia, Elektra is sexually crazed.
Film Summary
Of the 59 Bond Women in the films, only 7 - Pussy, Solitaire, Fatima, May Day, Lupe
Lamora, Xenia Onatopp and Elektra - are sexually deviant or dislocated. Percentage wise
(12%), that is little more than a third of what is in the books (31%). In other words, the
cinematic Women are more sexually straight than the literary Women.
***
Bond repositions girls of dislocated or deviant sexuality

Bennett and Woollacott: Once the mystery of the girls displaced sexuality has been
accounted for, the problem she poses is one of action: will Bond successfully respond
to the challenge of effecting her sexual readjustment and, thereby, correctly
realigning her within the patriarchal order? Usually, of course, he does. In thus
responding to the challenge posed by the girl, putting her back into place beneath
him (both literally and metaphorically), Bond functions as an agent of the patriarchal
order (102)
THE NOVELS
As we have seen, of Flemings 16 major Bond Women, there are 5 sexually out-ofplace Women:
Tiffany Case
Tiffany and Bond are much delayed in making love and, despite her being tortured by
gangsters straight afterwards, it is a happy sexual relationship that develops. They even
discuss marriage, after having lived together for some time, but she finally decides to
marry an American Marine Corps Major.
Honeychile Rider
Though she has long been sexually inactive, when Honeychile finally meets a suitable
partner, in this case Bond, she has no hesitation about sleeping with him. However, as in
many Fleming novels, this is delayed by outside forces.
Tilly Masterton
Tilly is one of the select few not to have slept with Bond, so there is no sexual
repositioning here.
Pussy Galore
Pussy finally sleeps with Bond after having changed to the side of right and after Bonds
mission has been completed, her boss sucked out into space. Clearly it is Pussy who is
making the moves, free from any pressure from Bond. It is she who has independently
opted to try heterosexual sex. Bond has done nothing except exist in her presence.
Stephen Heath takes a different tack, arguing: she fits in the end, finally cured, identity
established, his and hers, in her place, name confirmed - pussy galore. (103) But there is
nothing in Flemings text that suggests in any way that Pussy is cured [sic]. Who knows
whom she will sleep with next and whether that person will be male or female.
The same goes for Heaths claim that Bond puts Pussy in her place. As Pussy has seduced
Bond (even Heath admits that), how can Bond have been put her in her place? Surely, it
would be more logical to say she has put Bond in his place. Unless, of course, you accept
the notion, and Heath may, that Bond has control over womens minds and wills. But if that
isnt a patriarchal fantasy, what is?
Tracy di Vicenzo
Tracys first sexual experience with Bond is a loveless one, Tracy repaying his expensive
chivalry at the gaming table. It is a long time before they meet again, but, when they do,
both realise they have found an ideal mate. However, Tracy is killed after the wedding
ceremony and it is Bond who becomes dislocated as he staggers through the first part of
You Only Live Twice.
Book Summary
Bond sleeps with four of the only five genuinely dislocated women (out of 16) and can be
convincingly argued to have repositioned only two (Tiffany and Tracy).
The argument put forward by Bennett and Woollacott simply isnt supportable.
THE FILMS
Again, the films dont provide much joy for those looking to test these theories.
Honey Ryder
As already discussed, especially as played by Ursula Andress, Honey is in no need of
sexual repositioning.
Pussy
Bennett and Woollacott claim, The Pussy Galore of the film requires no sexual positioning
(104), which is particularly odd as Pussy is the only woman Bond actually does sexually
reposition! Bond literally presses Pussy into trying heterosexual sex and she does emerge
from the stable a new woman.
Tracy
Tracy does seem happy about her sexual relationship with Bond, even if one often senses
in Diana Riggs performance a grim forbearance of her partners screen efforts. However,
Tracy is not in need of sexual repositioning.
Solitaire
After Solitaire and Bond have made love, she says:
The power, Ive lost it. The High Priestess is wife to the Prince no longer of this
world, the spiritual bridge to the Secret Church. By compelling me to earthly love, the
cards themselves have taken away my powers.
This has led several writers, including Robert Sellers (105) and Sally Hibbin (106), to claim
that Solitaire loses her powers after she sleeps with Bond. But this is incorrect: Solitaire
failed to notice that Bond used a rigged pack of Tarot cards before she slept with him. The
powers had already deserted her.
Fatima
Though Bond does sleep with Fatima, he fails utterly to reposition her within the
patriarchal order.
Octopussy
After a night with Bond, Octopussy doesnt behave at all like a Woman repositioned.
May Day
There is no evidence Bond helps May Day overcome her psychosis, even though there is no
doubt she seems a nicer person just before dying.
Lupe Lamora
Bond fails totally to heal Lupe of her penchant for nasty and powerful men.
Xenia Onatopp
Xenia is trouble, but Bond fails to seduce her or reposition her sexually.
Elektra
Elektra is sexual monster like Xenia (she tortures men to help strengthen their erections)
and she embraces death with a smile, totally unrepositioned by Bond.
Film Summary
Bond sexually repositions just 1 Women. As with the novels, the theory doesnt hold water.
***
Bond loses the girl

Eco: (5) Bond possesses her but in the end loses her.
THE NOVELS
Of the 12 Women who have an affair with Bond, one commits suicide (Vesper) and three
are murdered: Tatiana, Jill and Tracy.
As for the remaining 8 Bond Women:
Solitaire intends spending two weeks with Bond before they part. Cork writes:
The novel ends with Bond and Solitaire anticipating a libidinous fortnight together
after their adventure. Neither appears to hold any illusions about a future beyond.
Neither carries any guilt or any emotional burden as a consequence of their actions.
(107)
Tiffany Case and Bond spend several happy months together in London. The reason for
Tiffany deciding to leave Bond is revealed by 007 to M. in From Russia, With Love: (108)
Well, sir, we did get on well. And there was some idea we might get married. But
then she met some chap in the American Embassy. On the Military Attachs staff.
Marine Corps major. And I gather she is going to marry him. Theyve both gone back
to the States, as a matter of fact. Probably better that way. Mixed marriages arent
often a success. (109)
It is surprising, then, that Bennett and Woollacott should write:
Constructed according to the formula equal but yet subordinate, her destiny is not to
be a housewife - in Diamonds are Forever [actually, From Russia, With Love], Tiffany
case flirts with this possibility, only to reject it - but a free and equal partner, neither
dependent on Bond nor encumbering him with duties and responsibilities, but who
none the less, when it comes to the crunch (in bed) knows her place. (110)
Clearly Tiffanys destiny is to be a housewife. First she wants to marry Bond, and then she
gets engaged to a Marine Corps major.
As for poor old Bond, he has failed in the marriage stakes yet again. He was engaged to
Vesper but she died. He married Tracy and she died. He loved Gala but she married
another. Tiffany does the same.
Meanwhile, Kissy Suzuki happily adopts the role of housewife to Bond as she brings him
back to life.
All of this sounds like Bond is the kind of fellow who falls in love with Women who want to
get married.
Of the unmarried Women (as far as we know; they may all have grandchildren by now),
one is Honeychile Rider. How does Bond leave her? Infuriatingly, this is never revealed. It is
risky to presume, but it is possible that Bond left her in Jamaica when he returned to
London post-mission. If this is the case, she would be the first Bond Woman to be
abandoned in the line of duty.
We are also left in the same amount of dark about Bonds relationship with Pussy Galore.
Really, she ought to be in gaol, not out cavorting with 007.
There is also a narrative ellipsis regarding Domino Petacchi, whom Bond presumably leaves
in the Bahamas to return to England.
Vivienne Michel awakes after a night with Bond to find him gone. There was only the dent
down the bed where he had lain, and the smell of him on the pillow. (111) Hes also left a
note, saying goodbye. Bond had been driving from Toronto to Washington to report on a
case, and now he is back on the road. Duty calls.
Ruby Windsor is clearly only a one-night stand (to gather information about Blofeld) and
Bond leaves her to continue on his mission to rid the world of his wifes killer. It is difficult
to believe either Ruby or Bond had any regrets.
Finally, there is Kissy Suzuki. After all the hard work she put into nursing him back to
health, he ups and leaves Japan for the USSR, where he is captured and brainwashed. He
returns to London to try and kill M.
Eco argues that,
in the moment in which the Woman solves the opposition to the Villain by entering
into a purificating-purified, saving-saved relationship, she returns to the domination
of the negative. (112)
That isnt true. Of the 8 women Bond is sexually involved with who live, not one returns to
the service of the Villain. All 8 Women are, at novels end, totally free of the domination of
the negative, including Tiffany Case, who remains bad but is dominated by nobody.
Eco is wrong.
THE FILMS
Of the 44 women who sleep with Bond in the films and live, it appears as if Bond leaves 23
(39%) to continue his mission or they leave him to continue theirs. There is nothing to
suggest any of them suffered from the separation, with the exception of Miss Taro. Thats
not because Bond leaves her, but because he has had her arrested!
Of the 20 Women who end up in Bonds arms at the end (33.9%), not one reappears in
another film. There is no information as to whether Bond left them or they him. It is
tempting to think Honey Ryder and Domino may have suffered a little at the separation,
but one really shouldnt guess at suffering on anyones part.
In fact, there is overwhelming evidence the Women enjoyed their time with Bond and will
enjoy their time with others as well.
One thinks of Sylvia Trench, Tatiana, Pussy, Dink, Beautiful Girl, Tiffany Case, Major Anya
Amasova, Melina, Octopussy, Stacey Sutton, Wai Lin and Christmas Jones, to name just
a few.
Can you imagine anyone of them being sad? As Bond might say, You must be joking.
***
Conclusion
She is, naturally enough, beautiful. More importantly, she is independent, defiant,
and probably dangerous. She [ is] one of the lasting icons of feminine strength,
beauty and resilience of the past half-century [] And, despite the popular
conception, [she is] anything but subservient to 007.
Vesper Lynd in Casino

Royale
- Maryam dAbo (113)

Bond Women are strong, modern, tough, independent, resourceful, sexually confident
women, which may just be why audiences love them so much.
In fact, about the only person who suffers throughout many of these love affairs is none
other than James Bond.
Bond began narrative life in Flemings novel Casino Royale, an already scared and
damaged man with an almost pathological fear of female sexuality. He falls in love with
Vesper, abandoning his tough shell, and is almost destroyed in the process. From then on,
he walks lost in the wasteland of his emotional relationships, occasionally opening his heart
- to a Gala, a Tiffany, a Tracy - only to be rejected or denied love, his heart crushed.
Though the film Bond is a relatively tough and resilient creature, Flemings original creation
is a man without love and hope, a man as much a psychological wreck at the end of The
Man With the Golden Gun, dithering about what to do with Mary Goodnight, as at his birth
in Casino Royale.
What crueller irony could there possibly be than that the world thinks of him as a ruthless
seducer of women, who toys with their hearts and tosses them callously aside.
He must weep at the thought.
Endnotes
1. Umberto Eco, Narrative Structures in Fleming, originally published in Italian in
Oreste del Buono and Umberto Eco (Eds), Il caso Bond: le origini, la natura, gli effetti
del fenomeno 007 (Milano: Bompiani, 1965), then republished in English in The Bond
Affair (London: Macdonald, London, 1966), p. 49. Ecos website,
www.umbertoeco.com, calls The Bond Affair an unreliable translation. Part of Ecos
article (the same translation) is reprinted in Bernard Waites, Tony Bennett and
Graham Martin, Popular Culture: Past and Present (London: Croom Helm in
association with The Open University Press, 1982). This is more freely available and is
referenced from now on.
2. Bond Women missing from Ecos list are Vivienne Michel in The Spy Who Loved Me
(1962), a book Eco considers quite untypical (Waites et al, p. 244), Patricia Fearing
(Thunderball, 1961), for whatever undisclosed reason, and Mary Goodnight (The Man
with the Golden Gun, 1965).
3. Tony Bennett and Janet Woollacott, Bond and Beyond: The Political Career of a
Popular Hero (Basingstoke: Macmillan Education, 1987).
4. O. F. Snelling, Double O Seven: James Bond: A Report (London: Neville SpearmanHolland Press, 1964). There is a paperback edition with the slightly revised title of
007: James Bond: A Report from Panther in 1965.
5. Kingsley Amis, The James Bond Dossier (London: Jonathan Cape, 1965).
6. Tim Graves, The Bond Women: 007 Style (London: 1-Shot Publications, 2002).
7. Maryam dAbo and John Cork, with Tim Greaves (Editorial Consultant), Bond Girls Are
Forever: The Women of James Bond (London: Boxtree, 2003).
8. This article is based in part on a much shorter two-part article, The Bond Age and
Bond Age Women, published in Cinema Papers, No. 68, pp. 32-7, and No. 67, pp.
20-5. Since that article was written, seven more Bond films have been released (with
another due later this year).
9. Quoted in Henry A. Zeigler, Ian Fleming: The Spy Who Came In with the Gold (New
York: Duell, Sloan and Pearce, 1965), p. 88.
10. It is a pity Martin Campbells otherwise dazzling Casino Royale (2006) side-steps the
bondage scene with Vesper after she is kidnapped at the Casino: Apart from her legs,
which were naked to the hips, Vesper was only a parcel. Her long black velvet skirt
[] lifted over her arms and head and tied above her head with a piece of rope.
Where her face was, a small gap had been torn in the velvet so that she could
breathe. She was not bound in any other way and she lay quiet, her body moving
sluggishly with the swaying of the car. (p. 107). It is a crucial prefiguring of the
subsequent scene where Bond is stripped and tied up on a seatless chair. That made it
into the movie.
11. Ian Fleming, Casino Royale (London: Jonathan Cape, 1953) p. 33. All quotes from the
Bond novels are from first editions, as new editions (hardback and paperback) are
riddled with errors and re-punctuation.
12. Ibid, p. 98.
13. Ibid, p. 39.
14. Ibid, p. 168.
15. Ibid, p. 189. Eco writes (p. 242): Bonds reaction when it [Vespers suicide] happens
has the [Mickey] Spillane characteristic of transforming love into hatred and
tenderness into ferocity: Shes dead, the bitch Bond telephones to his London office
[] Given Bond never says in Casino Royale, Shes dead, the bitch, one must ask
whether Eco wrote his article based on Italian translations of the Bond novels rather
than the English originals. Is this one reason why he is sometimes so at odds with
Fleming?
16. Snelling, p. 43.
17. Charles McCarry, Lucky Bastard (New York: Random House, 1998), p. 30.
18. See Ian Fleming, From a View to a Kill, in For Your Eyes Only: Five Secret Occasions
in the Life of James Bond (London: Jonathan Cape, 1960), pp. 14-5. John Pearson
beautifully fleshes out this episode (the girl was Alys and the brothel the Elyse on
Place Vendme) in his imagined James Bond: the authorized biography of 007
(London: Sidgwick & Jackson, 1973), pp. 44-5.
19. Fleming never reveals Vespers age in Casino Royale, but evidence in the book
suggests she is most likely in her thirties, given she served in the RAF during the war;
it is now 1951.
20. Casino Royale, p. 157.
21. Ibid, p. 171.
22. Ian Fleming, Live and Let Die (London: Jonathan Cape, 1954), p. 72.
23. Ibid.
24. Ibid, p. 74.
25. Amis, p. 45. Amis errors in quoting Fleming have been silently corrected.
26. Live and Let Die, p. 240.
27. dAbo and Cork, p. 17.
28. Ian Fleming, Moonraker (London: Jonathan Cape, 1955), p. 255-6.
29. Ian Fleming, Diamonds are Forever (London: Jonathan Cape, 1956), p. 45. Eco claims
that Gala marries somebody else, although unwillingly (Eco in Waites, et al, p. 253).
There is no evidence in Flemings novel to support Ecos claim.
30. Ibid, pp. 46 and 47.
31. Ibid, p. 84.
32. Ibid, p 231.
33. Ibid, p 232.
35. Ian Fleming, From Russia, With Love (London: Jonathan Cape, 1957), p. 88.
36. Ibid, p. 113.
37. For example: Emerging naked from the sea at Crab Key, she [], Bennett and
Woollacott, p. 121.
38. Ian Fleming, Dr No (London: Jonathan Cape, London: Jonathan Cape, 1958), p. 92.
39. Ibid, pp. 252.

40. Ian Fleming, Goldfinger (London: Jonathan Cape, 1959), p. 48.
41. Ibid, p. 180.
42. Ibid, p. 230.
43. Stephen Heath, The Sexual Fix (London and Basingstoke: The Macmillan Press,
1982), p. 96.
44. Goldfinger, pp. 316-7.
45. Ian Fleming, Thunderball (London: Jonathan Cape, 1961), p. 30.
46. Ibid, p. 37.
47. Ibid, p. 117.
48. Ibid, p. 120.
49. Ibid, p. 123.
50. Ian Fleming with Vivienne Michel, The Spy Who Loved Me (London: Jonathan Cape,
1962), p. 192.
51. Ian Fleming, On Her Majestys Secret Service (London: Jonathan Cape, 1963), pp. 401.
52. Ibid, p. 146.
53. Bennett and Woollacott, p. 131.
54. Ian Fleming, The Man with the Golden Gun (London: Jonathan Cape, 1965), p. 61.
55. Ibid, p. 221.
56. Ibid.
57. Fleming does not have Bond recoil in horror at Goodnights vision of domestic bliss.
[] it is one Bond accepts. Cork, p. 36.
58. All character names are per the end credits of a film. Thus, it is Sylvia, not Sylvia
Trench.
59. Cork, p. 27.
60. Ibid, p. 29.

61. Ibid, p. 36.
62. Ibid, p. 57.
63. Ibid, p. 61.
64. Greaves, p. 60.
65. Greaves, p. 66.
66. Cork, p. 69.
67. Ibid, p. 70.
68. Fleming describes Tracy di Vicenzo as A girl with a wing, perhaps two, down (On Her
Majestys Secrete Service, p. 40). See later discussion in main text.
69. Cork, p. 77.
70. Ibid, p. 78.
71. Ibid, p. 81.
72. Ibid, p. 83.
75. Furio Colombo, Bonds Women, in del Buono and Eco, p. 100.
76. Quoted in Peter Haining, James Bond: A Celebration (London: Planet, London, 1987),
p. 167.
77. Her hair oscillates between blonde (clear favourite) and black or dark brown, Amis,
p. 55.
78. Ideally you need to be a blonde, Lt.-Col. William (Bill) Tanner, pseudonym for
Kingsley Amis, The Book of Bond or Every Man His Own 007 (New York: Viking,
1965), p. 93.
79. Amis, p. 55.
80. Eco, in Waites et al, p. 252.
81. Ibid.
82. Ibid.
83. Ibid.
84. Ibid.
85. Ibid.
87. Cork, p. 61.
90. In the first version of this article, Bennett and Woollacott were taken to task for
calling Tilly a lesbian, quoting a passage from Goldfinger where Fleming has Bond
think she is one of those girls whose hormones had got mixed up (p. 269). A later
passage that states Tilly Masterton was gazing at Miss Galore with worshipping eyes
and lips that yearned (p. 240) was completely overlooked by this author. Bennett and
Woollacott were correct.
91. On Her Majestys Secrete Service, p. 40.
93. Live and Let Die, p. 72.
94. Ibid, p. 103.
96. Ibid p. 115.
97. Ibid, p. 119.
98. On Her Majestys Secret Service, p. 40.
99. Ian Fleming, The Spy Who Loved Me (London: Jonathan Cape, 1962), p. 79.
100.
Bennett and Woollacott, p. 157.
101.
Not only are her riding outfit and pant suits stereotypically given to lesbians in
1960s films, there is also her all-girl crew, whom she eyes quite lasciviously. Most
explicit is the dialogue, ranging from her Im strictly the outdoor type to Bonds
Youre a girl of many parts, Pussy. This is said while Pussy holds a gun at crutch level
and points it straight out at Bond. Not exactly subtle, but amusing in context.
102.
103.
Heath, p. 97.
104.
105.
Robert Sellers, Kiss Kiss Bang Bang: Bond for Beginners, The Face, London,
July 1987, pp. 48-58.
106.
Sally Hibbin, The Official James Bond 007 Movie Book (Twickenham: Viscount
Books, 1987), p. 65.

107.
Cork, p. 17.
108.
From Russia, With Love, p. 102.
109.
Ibid, p. 108.
110.
111.
The Spy Who Loved Me, p. 205.
112.
Eco, p. 253.
113.
dAbo, 11.
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What is the Eco model?

What is the Eco model?

What are some of the criticisms of the Eco model?

What are some of the criticisms of the Eco model?

contents

Patricia Fearing (Molly Peters) and James Bond (Sean

In Bed With Bond: Redux

Dominated by the Villain, [] Flemings woman has already been previously

The Birth of Bond

Horrified by the prospect of marriage and to anesthetize my nerves, I sat down,

Seducing or Seduced by the Bond Woman?

Casino Royale first edition

Casino Royale (1953)

Live and Let Die (1954)

John Cork writes in Bond Girls Are Forever:

Diamonds are Forever (1956)

From Russia, With Love (1957)

Goldfinger first edition

Thunderball (written in collaboration with Kevin McClory, 1961)

The Spy Who Loved Me (with Vivienne Michel, 1962)

After the hoods are killed, Fleming and Michel write:

On Her Majestys Secret Service (1963)

You Only Live Twice (1964)

The Man with the Golden Gun (1965)

Live and Let Die

The Spy Who

You Only Live

The Man with the

Ian Flemings Dr. No (Terence Young, 1962)

Honey Ryder (Ursula

Ian Flemings From Russia With Love (Terence Young, 1963)

Ian Flemings Goldfinger (Guy Hamilton, 1964)

Ian Flemings Thunderball (Terence Young, 1965)

Ian Flemings You Only Live Twice (Lewis Gilbert, 1967)

Ian Flemings On Her Majestys Secret Service (Peter Hunt, 1969)

Tracy (Diana Rigg) and James Bond

Ian Flemings Diamonds Are Forever (Guy Hamilton, 1971)

Ian Flemings Live and Let Die (Guy Hamilton, 1973)

Ian Flemings The Spy who Loved Me (Lewis Gilbert, 1977)

Thats the part I like.

Ian Flemings Moonraker (Lewis Gilbert, 1979)

Holly Goodhead (Lois

For Your Eyes Only (John Glen, 1981)

Octopussy (John Glen, 1983)

Never Say Never Again (Irvin Kershner, 1983)

First up in this remake of Thunderball is Patricia (Prunella Gee), a doctor at Shrublands.

No, youre wrong. Those days are over.

A View to a Kill (John Glen, 1985)

May Day (Grace Jones) in A

Stacey Sutton (Tanya Roberts) is a good girl, an ordinary woman in extraordinary

The Living Daylights (John Glen, 1987)

I arranged it. We could be here all night.

Licence to Kill (John Glen, 1989)

GoldenEye (Martin Campbell, 1995)

Xenia Onatopp (Famke

Tomorrow Never Dies (Roger Spottiswoode, 1997)

Well, Im sorry I keep disappointing you.

The World is Not Enough (Michael Apted, 1999)