"License to Kill" captured the essence of the best Fleming writing on screen. [/QUOTE]Indy007 said:Blofeld said:When I said I was a Fleming purist, I mean that the movies should stick to the novels and the enture Roger Moore era marked a time when the producers and Moore essentially threw Fleming out the window in favor of gadgets and the Bond movie formula...
Ian Fleming had to be thrown out the window during the 1970's because the way he viewed the world and what he believed in is not acceptable for late twentieth century and twenty first century western culture. His Bond had certain views, especially towards minorites and women, that would outrage western society atleast from 1970-present period. Flemings political and social views are what his novels are all about, and the nature of popular entertainment in film or the blockbuster is to entertain, not to push some sort of political agenda which Fleming did in his writings. The gadgets during the Moore era are ridiculous, but they are supposed to be as the cinema 007, as Roger Ebert once said, is only supposed to be a joke. Those gadgets, like the hoverboard gondola, are suitable for mainstream movie audiences and the culture of the popular film. As Bond progresses through different eras, the film makers are going to develop many ideas, some ridiculous of course, that Fleming or anyone during the 1950's would have never thought of or imagined. The silly gadgets during the Moore era were part of the humor and preposterousness that was needed to calm the tensions and create laughs from those distressed from Vietnam and Watergate.
I love Licence To Kill, but western film audiences didn't buy it and as a result, the film failed at the box office. It failed because Flemings Bond does not work on the big screen for most people, and most movies are made to appeal to a general audience, not to a few Fleming fans who think differently from the average person. After that bad financial experience, Michael Wilson and Barbara Broccoli have come to realize that Flemings world is not the same place as what is necessary and desired for motion pictures.
The bottom line is that with each decade passing, James Bond has to evolve and change and like GoldenEye tried to prove, he can't be stuck in a cold war era when Flemings beliefs, values, and ideas were acceptable. Vesper Lynd had damaged Bond and the mission simply because she was a woman, but that is not a lady today's culture wants. If the films stuck to Fleming, their messages would have to be anti-feminist and anti-minority because Flemings Bond had those sentiments. Licence to Kill actually does not capture the essence of Fleming even though Bond does not want Pam Bouvier to participate in the mission at first. She is essentially a feminist character and Fleming would have been outraged by her. Also, Bond is horrified with the murder of Della and it was the centerpeice of the picture; where in Flemings Goldfinger, Tilly Masterton's death was nothing and quite unimportant. Fleming's Bond would have interpreted Dellas death as caused by her failure as a woman. I like the darkness of Licence to Kill and Bond out for revenge, but unlike Flemings novels, many people will be exposed to the pictures and the movies are expected to conform to the tastes of the average person who is ignorant of Ian Fleming. The only way we could make Bond pictures more like Fleming, is if his novels hit most households and everyone was Fleming enlightened. But this is impossible, so the movies have to reflect a culture most people are part of.
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