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Licence to Thrill

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The trouble with being a fan of something (and I mean a real fan - short for fanatic) is that we read everything on our subject and often know when the author is faking it, or if he knows his stuff. This Chapman guy knows his stuff, and I agree with most of what he says. I have a few quibbles here and there, but generally it is a good read. Being a fan of the series is, however, a prerequisite for understanding what he is saying, and I really like the way he often compares the Bond novels with their film counterparts. Stay away from the Steven Jay Rubin books, and get this (now if we could only get British author John Brosnan to update and edit his James Bond In The Cinema Book...)

Licence to Thrill is a cultural review of the James Bond movies and provides an excellent survey of the changing Bond image in movies; from its start with the 1962 Dr. No to its progression beyond Fleming's spy novels to classic films. Bond became a symbol of a Cold War world where Britain was no longer the ruler: this examines how movies reflect and affect social change through images of politics and culture.

Over the past five decades, James Bond films have established themselves as the most popular film series in history. Some estimates have it that a quarter of the world's population has seen a 007 film, and this worldwide fascination with the Bond character has manifested itself in the thousands of fan clubs, fan conventions, web sites, and movie guides in existence today. But while there exists an abundance of literature about Ian Fleming's fictional spy, no book has actually considered the 007 phenomenon in the context of cultural and film history until now. James Chapman's Licence to Thrill attempts to examine the Bond series in a scholarly manner, and succeeds marvelously at doing so.

From the start, Chapman's meticulous, comprehensive study of these films is presented in an objective and refreshing manner. Chapman immediately sets the tone for the book, arguing that the viewer needs to look beyond the fantastic scenarios and hedonistic nature of Bond's life in order to grasp the real meanings of these films -- that is, that they nostalgically represent Great Britain's global strength during an actual period of decline. Chapman goes on to discuss the various film genres (spy thrillers, cliffhangers, action movies) that have been hybridized into the "Bondian" formula, and goes on to show that the Bond films themselves, despite borrowing upon other formulas, have actually developed their own ideology.

The most impressive aspect of Licence to Thrill is its comprehensiveness. Chapman places the Bond films in the context of film history, and by doing so, provides a larger framework by which to assess their cultural impact. He also examines the influence of other film genres on the Bond series; for example, the influence of the "blaxploitation" movement of the early 70's on 1972's Live and Let Die, which features an unusually high proportion of black characters for a Bond film. The rest of the book concentrates on the Bond films themselves, grouping them according to theme and charting the development and evolution of the franchise.

Although Chapman clearly illustrates that the generic formula of these films is virtually designed to change with the British political climate, he also maintains that Bond's adventures are representative works of nostalgia for British imperialism and nationalism. For example, in discussing 1983's Octopussy, which is set largely in India, Chapman notes the numerous television series in Britain during the 1980's devoted to the former British colony and the abundance of works at the time analyzing Anglo-Indian relations. Other films are set against the contemporary British political mindset, such as 1981's For Your Eyes Only, which strongly references Thatcherism, and the end result is that we see the films in an entirely new light.

Enlightening, entertaining and thought provoking, this book is highly recommended for anyone who is serious about film. For the rabid Bond fan, it is simply indispensable.

Interesting review of the Bond movies beginning, as it should, with Ian Fleming and his novels. Overall the book does a good job of looking at different reasons how each 007 movie reflects the time it was released. Misses a few points here and there but a solid effort by the author to capture the fascination with Bond, James Bond.

If youre like I am, you probably cannot get enough of the world of James Bond, Agent 007. The male (and female) fascination with Ian Flemings fictional creation is now clearly ubiquitous since 007 conventions, fan clubs, web sites, and official and unofficial James Bond movie guides can be found all over the world. The recent re-release of special edition James Bond films on VHS and DVD provides a clearer indication of the success that the Bondian industry enjoys. While there exists an abundance of literature about Ian Flemings fictional spy, few works actually consider the 007 phenomenon in a serious manner. In fact, the only title that comes to mind is Kingsley Amis 1965 work, The James Bond Dossier, an extended essay analyzing Ian Flemings secret agent as he appears in print. There has yet to be a thorough discussion of the Bond novels and their adaptation into film  until now.
Released this past spring by Columbia University Press, Licence to Thrill by James Chapman breaks new ground as an in-depth study of James Bond and lends credibility to addressing the 007 phenomenon in a scholarly manner. Chapmans introduction, Taking James Bond Seriously, sets the tone for the work: this is not another fan guide to the behind-the-scene insights from the movies. As Chapman writes, the numerous books on the Bond filmsall emanated from what might be termed the Bond fan culture rather than academia. Arguing that one must look beyond 007s hedonistic male fantasy life in order to observe how his imaginary world nostalgically represents Great Britains global strength as Empire and Cold Warrior during an actual period of decline, Chapmans meticulously researched and comprehensive critical study of James Bond is presented in an objective and refreshing manner.
Chapmans early discussion of various genres of film (British imperialist spy thriller, cliffhanger adventure serial, Hollywood action movie, etc.) and the nature of British cinema adequately provides the reader with the requisite knowledge necessary to understand the role of cinematography. Chapman allows proper transition so as to introduce his concept of the Bondian genre  that is, that the Bond films themselves, despite borrowing upon other formulas, have actually developed their own ideology. The most impressive aspect of Licence to Thrill is its comprehensive narrative. Despite an overabundance of facts (citing, for example, that Kingsley Amis himself argues that Bond is not a spy but is rather presented as a secret agent), quotes, and analyses, the book flows smoothly. That Chapman does not limit his analysis merely to Bond films but rather incorporates British and American films preceding them  Bulldog Drummond (1929), Dick Barton  Special Agent (1948), North by Northwest (1959)  allows the reader to place Bond films within a larger framework. In doing so, Chapmans argument that the James Bond film series exemplifies the progression of spy thrillers films from B-movie to big-budget motion picture stature is soundly supported. Chapman also explores other film movements impact upon the Bond series, particularly the blaxploitation movement of the early 1970s (Live and Let Die, 1972) and the rise in popularity of kung-fu movies (The Man With the Golden Gun, 1974). Chapman illustrates that Stephen Spielbergs 1975 blockbuster, Jaws, inspired the creation of Bonds infamous seven feet two inch steel-toothed nemesis bearing the same name.
Having provided background in the broader subject of cinema, Chapman devotes the rest of his work to the actual Bond films themselves and groups them according to theme, the development and implementation of what he terms the Bond formula, and, in some cases, the actor who portrays Agent 007. Although he clearly illustrates that the generic formula of the Bond films is quite malleable depending upon numerous political and cultural developments of the period, Chapman nonetheless maintains that the James Bond films serve as representative works of nostalgia for empire and British nationalism. In his discussion of Octopussy (1983) in which much of the action is set in India, for example, Chapman notes the numerous television series in Britain during the 1980s devoted to the former British colony and the abundance of works analyzing Anglo-Indian relations while other films, such as For Your Eyes Only (1981), reference Prime Minister Margaret Thatchers Iron Lady reputation.
Surveying all the Bond films from Dr. No (1962) to Tomorrow Never Dies (1997)  including the comical Casino Royale (1967) and Never Say Never Again, the 1983 remake of Thunderball (1965)  Chapmans Licence to Thrill is a definite must-read for any James Bond enthusiast. Enlightening and thought provoking, the book maintains the readers interest throughout and documents the chronological progression of the longest and most successful film series to date. And while it will certainly not leave you shaken, Licence to Thrill definitely stirs interest.

The early 60's were filled with strife between Britain and many Eastern European countries. Significant international events such as the Bay of Pigs fiasco and the Cuban Missile Crisis were shaping global tensions. The primacy of Western Europe, particularly Britain, was diminishing in the global theater and the Soviet Union and the United States had emerged as superpowers during this pivotal time in Cold War history. In an attempt to regain "Britshness," a new film series was introduced to the masses in 1962. License to Thrill chronicles the history of 007 movies and carefully illustrates the evolution of the Bond character.
The author, British film historian James Chapman, argues that the Bond films reflected the cultural nuances of the Cold War from the mid-60's until the early 90's. Utilizing a broad array of sources such as film reviews, trade press, newspaper and magazine reviews, Chapman thematically groups the Bond movies to "illustrate the generic and stylistic development of the series." To this claim, Chapman succeeds marvelously at advancing a coherent understanding of the stylistic and generic progression of the series. Chapman loosely categorizes the films into four generic contexts: British imperialist spy thriller, cliff-hanger adventure serial, modern Hollywood action movie, and `Bondian.'
The series collectively portrays a swashbuckling British hero (James Bond) who fights international terrorism for the benefit of his majesty's secret service. Hedonistic adventures coupled with state of the art technology and hair raising action scenes mark the stylistic environment of most Bond films. The aforementioned Bond "formula," according to Chapman, is present throughout the series. However, several transformations of 007 occur throughout the series. Bond, notes reviewer Tom Tapp, develops "from snob to swinger to safari-suited wisecracker to Thatcherite to Batman-like brooder to consumerist action hero." Not only did the Bond character evolve, but the films themselves adjusted their themes to reflect society at large. As the years progressed, strands of societal issues merged into the film series and included such topics as communism, sexism, racism, imperialism, and Thatcherism.
The author claims that the Bond series reflects the cultural nuances of the Cold War from the mid-sixties until the early nineties. In fact, it is difficult to glean a comprehensive parallel between the cultural Cold War and the Bond series. The connections that Chapman illustrates between the Bond films and cultural nuances seem circumstantial. The first sixty pages of Chapman's work, for instance, provide tedious background on Ian Fleming novels and their eventual transformation into Bond movies. Since these novels were written in the 50's, it seems counterproductive to form cultural arguments on the movies that were produced decades later.
After a lengthy opening chapter, Chapman adopts a logical film history template for studying the Bond films. In essence; he summarizes the film, discusses the characters, the budget, the Fleming novel the film mirrors, and the overall success of the movie. And then Chapman assigns one of his societal monikers (sexism, racism, communism, etc.) to the film and advances a simplistic cultural connection between the two. Finally, he provides an in depth comparison of various Bond movies (mainly from the perspective of the film maker) and their particular novelties in the film series. This template is more than sufficient for a film history study, but lacks the necessary mechanics for a cultural Cold War examination.
This template, for example, is evident in Chapman's survey of the first Bond film, Dr. No. We discover, for instance, that Bond is investigating the disappearance of his colleague Commander Strangways. Dr. No, the first Bond villain, is described in the Fleming novel as a Chinese-German "scientific mastermind backed by the Russians," but in the film he is depicted as an agent for SPECTRE (Special Executive Counter-Intelligence, Terrorism, Revenge, and Extortion). This fleeting comment about the ideological transition from novel to film seemed like a relevant segue into a discussion about Cold War culture. According to Bennett and Woolacott, "the primary impetus for this ideological readjustment came from the requirements of the film industry." Chapman dismisses this rather logical assertion by calling it "spurious." Unfortunately, he offers little reasoning for this comment - other than it followed the narrative formula of Fleming. Of course, this information is relevant to aficionados of the Bond series and those interested in film history. However, for those historians who are interested in bridging a cultural connection between Bond and the Cold War - very little significant insight will be garnered by Chapman's sparse analysis. In short, the reader will be bogged down with an over emphasis on the creation of the Bond series and its place in British film history. One reviewer echoed this sentiment, and noted that Chapman's "comprehensiveness weighs the book down."
Chapman also spends considerable time rationalizing his research efforts to the reader, and notes that the Bond films have been disregarded by most academics (maybe Cold War historians?). The author quite straightforwardly notes that his work seeks to place Bond films into the context of British cinema history. In this regard, Chapman flourishes with a keen step-by-step depiction of the transformation of the Bond films over four decades. Furthermore, Chapman contends that his "contextual analysis focuses on the critical and popular reception of the films, and discusses how they have responded to changes both in the film industry and in society at large." To this claim, Chapman is somewhat successful at explaining the changes in the film industry and society as they relate to the Bond series. Again, marketing demands seemed to be the impetus for the changes in the film industry.
For instance, with the opening of Moonraker in 1979, we are introduced to the first Bond sci-fi thriller - which was similar in style to other movies of the same period such as Star Wars and Jaws. In regards to Chapman's assertion to discuss the "popular reception" of "society at large," there is little, if any, contextual analysis of why viewers were attracted to this new genre of film. Chapman only provides fleeting remarks about the importance of the American space program and film marketing demands from other big Hollywood hits as justification for how society responded to Moonraker. The reader is left with the following question: how does movie marketing and the U.S space program in the Bond films relate to the cultural Cold War? Granted, there was an America space program in the late seventies - but was the film industry more interested in profiting on Bond films or reflecting cultural nuances of the space program? Since the majority of Chapman's evidence leans towards the latter, it makes sense to conclude that film makers were most interested in marketing concerns. Viewers could have flocked to the Bond movies for any number of reasons: they could have just been fans of the series, or attracted to the actors, or simply curious about the elaborate special effects. If, for instance, Chapman had personally interviewed a large pool of viewers who had watched the Bond movies - and recorded their responses - then his "society at large" argument may have carried more legitimacy.
The films collectively, argues Chapman, over inflate Britain's role as a primary actor in the Cold War. According to Chapman, the Bond novels also "represent a nationalist fantasy in which Britain's decline as a world power did not really take place." Chapman succeeds at providing many good examples of this point throughout the series. For instance, in six of the novels Bond liaises with American CIA Officer Felix Leiter. This relationship between Bond and Leiter, according to the author, represented a "special friendship" between America and Britain - but with a "quaint reversal of the real balance of power," as Leiter is "the subordinate partner to the British Bond." During the Cold War America was considered dominant to Britain in the global theater; however, the reader has to make this deduction based on scant details provided by Chapman.
To a lesser extent, Chapman touches on the Bond films association with sexism and racism. The series reflected the 60's sexual revolution with Bond casually and frequently rendezvousing with young, attractive ladies. In the first Bond films women occupied innocuous roles, but this later changed as women gradually gained more significance in the Bond series and portrayed more dominant characters in later movies. Chapman again draws simplistic parallels between the evolving equality movements of women in society with the Bond series. The author also notes that film makers tailored movies for "black audiences" in the 60's and 70's. The Bond series was no exception to this rule, and this resulted in the release of the 1973 Bond thriller, Live and Let Die. One of the main characters in this film, Mr. Big, was portrayed as an African American gangster. Unfortunately, we again learn that marketing (the emergence of the African American audience), vice cultural, demands were the main impetus for the production of the film.
In conclusion, this work is intended for those individuals who are aficionados of Bond and his five decades of big screen debuts. Film historians may also discover a fresh approach to studying British films and a new appreciation for the `Bondian' genre. Chapman is successful at chronicling the Bond series, and illustrating the transformation of the films over time. However, Chapman makes the grandiose mis-calculation that his readers already have a sophisticated understanding of the Cold War, and are able to make keen analysis based on meager references to film culture nuances.

James Chapman's "Licence to Thrill" examines the James Bond cinematic series from the perspective of its time and place as it fit into the real world. The series had its effect on society and in turn society affected the series. Initially the James Bond series was an innovative trend setting piece of filmmaking that had a great influence on society in the 60s. In a reversal the series soon became a reflection of society going into the 70s copying trends rather than setting them. Withstanding four decades the James Bond cinematic franchise is still a survivor and has remained an ever changing constant for an ever changing world. James Chapman's insights are objective and intelligent and always endearing.

James Bond is a cultural icon of the second half of the Twentieth Century, half the population of the world has seen a 007 film and a good majority have read the books. This book doesn't tread on any new ground.