What is a movie? Is it just a dramatization of a book or a script? Is it a collection of images and dialogue? Is it just a fantasy based on a book? Is it a tribute to a book? Is it just a collection of a collection of chapters from books? The answer to all of these questions is no. A movie is so much more than that. A movie is not just a script, it is a story that takes place in a world that is based on the author’s imagination.

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James Bond is not a hitman – at least not in the sense we often see when we compare him to other Hollywood characters.

Many filmmakers, given the rampant success of Ian Fleming’s secret agent James Bond for nearly six decades, classify him as a hit man.

This isn’t surprising, since – as the promo for the first Doctor No film reminds us – Bond has a license to kill whenever, wherever and whomever he wants, and EON Production has been embracing this narrative since 2002: In Die Another Day, two North Korean characters turn 007 into a British hitman, while in SPECTRE, another villain, Mr. K., is used as a hitman. White, who doesn’t want to hear the killer’s words when Bond seeks him out to catch the man who is above him in the organization he previously joined.

In the same film, released in 2015, a secret agent is introduced to Madeleine Swann as a man who kills people, and she asks him during a romantic dinner on a train through the Moroccan desert why he chose the life of a paid hitman.

None of this happened in the days of Pierce Brosnan and Daniel Craig. In the 1983 film Octopussy, Roger Moore’s penultimate work as Bond, the star, played by Maude Adams, for whom the film is named, calls him an underpaid killer during a heated discussion that predictably ends in a passionate kiss.

But does all this really make James Bond a killer? Does the license to kill immediately put him in the same category as Arthur Bishop in Mechanic, Leon in The Professional, Agent 47 in the Hitman film and video game series, or Edward Fox’s jackal in Day of the Jackal, who nearly killed French President Charles de Gaulle?

According to the Cambridge Dictionary, a hitman is defined as a person who kills a known or important person, usually for political reasons or in exchange for money. Mark Chapman, the killer of John Lennon, is cited as an example. Applied to our celluloid heroes, this description is much closer to the above characters than to 007 himself. Although James Bond participates in assassination missions, the legal restrictions and, to some extent, the ethical codes of the branch of government to which he is subject.

Pierce Brosnan: A new James Bond for a new world

Casino Royale and the origins of James Bond

Let’s go back to where it all started: Casino Royale, the spy story that would end all of Ian Fleming’s spy stories, was published in 1953. From the book we know that Bond acquired the rank of 007 (the famous license to kill) after killing two enemies of the country who were spying for the Germans, which makes him suitable for operations where killing is necessary, in self-defense or not.

However, as soon as we meet Bond for the first time in the novel, he is given a very simple assignment: He must eliminate Le Chiffre, the banker of the Soviet agents, by betting against him at baccarat. Why? Because the man used the officers’ money for reckless gambling. Why not kill him if Bond has a license to kill? British intelligence believes that if Le Chiffre had simply been killed, he would have been considered some kind of hero or martyr.

Excluding him from the chips would expose him as a crook, and that would burn a hole in Russian pride that would eventually kill him in retaliation. A few books later, in Goldfinger 1959, Bond reflects on the fact that he killed a hitman with his bare hands in Mexico (in self-defense, in this case) and feels uneasy, but he reminds himself that, as 00, he must be as cold as a surgeon when it comes to life and death.

In the films, starting with Dr. No with Sean Connery in 1962, we rarely see Bond explicitly charged with murder, except for a few instances, and at the end 007 kills in self-defense. Unlike Leon or Agent 47, Bond is not given a few dollars and information about the mysterious Dr. Julius Noh to complete his mission.

He is simply sent to Jamaica to investigate the disappearance of a colleague, and eventually discovers that a red Chinese scientist plays a role in the rockets being launched from Cape Canaveral. Bond commits two cold-blooded murders: Professor Dent, who tried to shoot him with an empty gun, and an unnamed guard patrolling Crab Key Island. He was not ordered or urged to do so, and the decision was made at his insistence, mainly to show his toughness: when to vote, where to vote, and who to vote for, to use the poster’s slogan.

It should be noted, however, that this advertising slogan is greatly exaggerated, as Bond is not allowed to kill innocent people and would be court-martialed if he did so, for example, with a troublesome neighbour who turns up the music at three in the morning. The evil doctor is killed by a fall into a vat of boiling water after a tense fight with 007, just as his secret laboratory is about to explode.

Later films continued on this path, with the main villain always dying in self-defense, or as Ernst Stavro survived Blofeld, or in the case of Thunderball was killed by the main character Domino with a harpoon in her back while trying to save the secret agent’s life as the villain Emilio Largo held 007 at gunpoint.

Something interesting happens in The Man with the Golden Gun, Roger Moore’s second film in 1974: Our hero meets a real-life killer who collects a million per shot, as the film’s catchy tune, performed by Lulu, puts it. In fact, it’s that hitman, Francisco Scaramanga, played by Christopher Lee, who comes out for Bond: He has already killed MI6 agent Bill Fairbanks, nicknamed 002, in Beirut, and now he is sending a warning to 007. M, the head of British intelligence, does not even order Bond to act: He relieved her of her current assignment and suggested she resign or take a year’s leave.

However, Bond decides to find Scaramanga alone, and eventually learns that the warning was sent by none other than Scaramanga’s tormented lover, Andrea Anders, who wants to get rid of him. You need a lawyer. I want 007! She insists on hers, influenced by Scaramanga’s flattery of Bond as a kind of peer, a fellow sufferer.

Towards the end, the two men come face to face and duel to the death on the villain’s island, but not before sharing a delicious meal. This is perhaps the first time in the entire series that Bond has distanced himself from Scaramanga’s assassin and sycophant image: Well, well, well, Mr. Bond. I’m disappointed in you. You like killing as much as I do, so why don’t you just admit it?

The secret agent admits that it would be a pleasure to kill this villain, but only after explaining that when he kills, it is by special order of his government and that those he kills are themselves murderers. Thus we see him expressing his disdain for Scaramanga’s pride in his profession. James Bond kills, but he shows a discretion that hitmen don’t usually have. In Leon’s case, it doesn’t involve women or children, but he never stops to consider whether the person he took out was another murderer or criminal, or just someone chosen for fairly simple reasons: Dishonest play, reckoning, business or political rivalry, etc.

James Bond: Souvenir of the heroes of the movie GoldenEye (1995)

Timothy Dalton and the final judgement on Bond

Another good example of Bond’s judgement differentiating him from the usual hit men is Timothy Dalton’s 1987 debut film Living Daylights. In this thriller, a secret cell of Soviet Russian intelligence is reactivated and systematically takes out British and American agents, one of whom is killed during an innocent training exercise on the Rock of Gibraltar (as well as two SAS officers who play the villains in this war game).

M gets information from General Koskov, a defector from the KGB, and orders Bond to kill the new head of the organization, General Pushkin. All Bond gets is a blue file with a black and white photo of a man sentenced to death by MI6. 007 is hesitant, doubting that Pushkin fits the profile of a psychopath and militant who could light the fuse in this way, so M initially wants to hand the task over to 008, who is more likely to follow orders than his instincts, until Bond insists that if someone is going to do it, he’d rather do it himself.

Before attempting to put a bullet through Pushkin’s temple, which any other assassin would have done without a blink, James Bond follows a lead: a female KGB sniper who pursued Koskov as he tried to run over, only to discover that she is in fact Koskov’s girlfriend Kara, and that her gun was loaded with blanks. Then he infiltrates Pushkin’s hotel room in Tangier, where he stayed before the conference. Bond holds the man at gunpoint, repeats Koskov’s accusations, which he categorically denies, and informs him that he will arrest the general for misappropriation of public funds. “You’re a professional, you don’t kill without reason,” Pushkin told Bond. If I trusted Koskov, we wouldn’t be having this conversation, Bond says.

Earlier in the film, when 007 was covering Koskov’s escape in Bratislava, Bond was tasked with killing a KGB sniper sent to track down the general and prevent his defection. Seeing in his sights that she was not used to holding the gun, he decided to shoot her in the forearm instead of the head. This leads to a heated altercation between Bond and Saunders, an MI6 liaison officer in Czechoslovakia, who accuses 007 of jeopardizing the mission and deliberately disobeying a direct order. However, the secret agent insists that he only kills professionals.

James Bond: Review of the film Licence to Kill (1989) by Timothy Dalton.

Permit to kill or revocation of permit?

Licence to Kill, released in 1989, showed the limits of the famous James Bond privilege used for that film after the original title, Licence to Kill, failed to make the right impact domestically. In this film, Bond, played by Timothy Dalton, takes revenge on drug lord Franz Sanchez, brilliantly played by Robert Davy, when he escapes from captivity and brutally attacks CIA agent Felix Leiter and his wife Della.

When Bond commits his first act of revenge – feeding a corrupt cop, bribed by Sanchez, to the same sharks that maimed his friend – he is arrested by American agents and turned over to M, who chides Bond for going into Dirty Harry mode by disobeying orders and breaking American laws. The secret agent resigns and M strips him of his license to kill, just before the 007 thug runs away from his boss and his bodyguards to pursue Sanchez without the support of the British government.

At the beginning of Diamonds Are Forever, when Bond seeks Blofeld out everywhere and throws him (one of his doppelgangers, we later learn) into a vat of boiling mud to avenge the death of his wife Tracy, M. shyly turns a blind eye, but in this case it’s a straight-up revenge plot to break the laws of an EU country and embarrass MI6 diplomatically when things go wrong.

James Bond, who was seen (even in Fleming’s novels) as a man who never went against the system and did everything at Her Majesty’s behest, this time defies M’s authority and takes on his organization, with the British and Americans hot on his heels, in an attempt to infiltrate the vast Sanchez drug empire that stretches from Chile to Alaska. If he were an assassin or hitman, as many imagine Bond to be, that would not be an attractive argument, and we would not be surprised at his desire for revenge. But this film has certainly made it clear that there is something about Bond that puts him in a kind of law enforcement category, guided by a certain ethic or code – which are violated in John Glenn’s film.

This ethos is subtly illustrated in the prologue to the 1995 film GoldenEye, starring Pierce Brosnan as James Bond. Agents 007 and 006, Alec Trevelyan, infiltrate an illegal nerve gas factory in the Soviet Union. As the two men enter the facility’s vault, Trevelyan uses his momentum to shoot the unarmed scientist, while Bond uses the gadget to open the door.

This moment will be confusing for viewers, as we are supposed to believe that the same rules apply to a Bond-like 00 agent and that civilian casualties should be avoided at all costs. However, as the plot unfolds, we learn that this man, Trevelyan, played by Sean Bean, is actually the villain of the film, who betrayed Bond and the kingdom by staging his death during the operation. This case of reckless brazenness and unauthorized fleeing crime served as a warning to the public that there is something strange about this officer and that he cannot be completely trusted. The difference between the good guy and the bad guy is highlighted by the fact that the bad guy doesn’t care about taking innocent lives, whereas the hero doesn’t.

James Bond, played by Pierce Brosnan, is given two assassination assignments in the films Small World and Die Another Day. In the 1999 film, he is tasked with protecting the oil heiress Elektra King from Renard, the terrorist who kidnapped her and carried out an attack on MI6, killing Elektra’s father, Judi Dench’s personal friend as M. It is implied that his mission also includes taking out Renard, who was a threat to MI6 and Elektra : During the kidnapping of the woman, M 009 sent to kill him, but Renard survived.

Now it’s up to Bond to destroy this man before he strikes again, especially as a personal favor to M. He’ll do what Renard did when he tried to steal a nuclear bomb from a facility in Kazakhstan, and Brosnan’s words recall Moore’s statement in The Man with the Golden Gun twenty-five years earlier: I usually hate to kill an unarmed man. Cold-blooded murder is a dirty business. But in your case, I feel nothing, and neither do you.

Michael Apted: The filmmaker who decided the future of James Bond

What does Bond do before he pulls the trigger?

As in Living Daylights, Bond makes a decision before he pulls the trigger: Renard utters a phrase Elektra once said while playing blackjack in a casino, leading Bond to suspect that the businesswoman is not as innocent as she seems and may have something in common with her former captor. Her suspicions are confirmed when Elektra, who believes 007 was killed in an explosion, taunts M. and reveals that she planned her father’s death with Renard when the rich man delayed payment for the kidnapping.

In the pre-credits sequence in Die Another Day (2002), Bond takes the place of a diamond dealer with South Korean agents to end the life of North Korean Army Colonel Tan-Sung Moon. The plan was for 007 to remotely detonate C4 explosives hidden in a briefcase containing blood diamonds, but a mole in British intelligence reveals 007’s identity and a thrilling chase by hovercraft through the demilitarized minefields begins, with Bond killing Moon in self-defense during a fight on those speedboats. This is perhaps one of the few instances where 007’s actions fall into the category of political assassination, as defined by the Cambridge Dictionary, much like the black-and-white opening scene of the film adaptation Casino Royale, in which Daniel Craig’s pre-007 performs the elemental task of taking out two MI6 traitors.

However, in the 2006 reboot of the series, directed by Martin Campbell, it is M who clearly explains the difference between an assassin and Agent 00 to a new recruit called James Bond: Any bandit can kill. Arrogance and introspection rarely go together. During the tense meeting, M blames Bond for shooting an unarmed man at the Madagascar embassy where he was seeking asylum: The African terrorist Bond was to interrogate was filmed breaking an absolutely unbreakable rule of international relations, only to kill a shady person without getting any information out of him.

As in Licence to Kill, whenever Bond tries to break the system or international laws that might harm the image of Her Majesty’s Government, he is constantly reminded that he is not a freelancer or hitman without limits of ethics, laws or rules, which is the exact opposite of hitmen like Jackal of Leon.

It’s not time to die yet: Everything you need to know about the second James Bond trailer.

Daniel Craig and the modern Bond portrait

James Bond (Daniel Craig) and Mr. White (Jesper Christensen) in the Metro-Goldwyn-Mayer Pictures/Columbia Pictures/EON Productions film SPECTRE.

In Quantum of Solace, the direct sequel to the first film starring Daniel Craig, the relationship between Bond and M remains strained as the secret agent continues to kill every possible lead, albeit in self-defense. The situation reaches boiling point again when 007 breaks the rules: During a fight, he kills a special services officer, the bodyguard of the Prime Minister’s personal envoy, who has ties to a terrorist organization, the same one behind the villains from the previous film. Bond refuses to report to MI6, so M immediately classifies him as a threat, restricts his travel and puts a warning on all his passports. Things get worse when Bond becomes a suspect in the murder of Rene Mathis, an MI6 liaison officer who was actually shot by two corrupt police officers in La Paz, Bolivia. Once again we find ourselves in a similar license to kill situation, where the British and American governments consider Bond a risk and pursue him as he tries to track down Domingue Green, the only lead he can connect to the Quantum terrorist organization.

Although a draft of the script already alludes to James Bond as an assassin, the latest film SPECTRE also explores this aspect of Bond’s personality when he decides not to kill his nemesis Ernst Stavro Blofeld (recast as the secret agent’s adopted brother, played by Christoph Waltz) and instead arrests him for terrorism.

However, the plot of the film begins during the Day of the Dead parade in Mexico City, where Bond accepts a murder assignment, but that assignment is actually a posthumous request from the late M, played by Judi Dench : If anything happens to me, 007, I want you to find Marco Sciarra. Kill him… and don’t miss the funeral, says a recorded message on Bond’s voice mail. As the British agent is about to pull the trigger and aim for Sciarra’s head from the building across the street, we hear dialogue in Italian in which a man talks about blowing up a stadium full of people, reinforcing the idea that Bond only kills professionals and won’t do the job for the highest price or without any code of honor.

Eventually the assassination mission turns into an operation to prevent a terrorist attack, and Sciarra’s death comes after a long chase on foot and a fight in a helicopter flying over Zocalo Square. Once again Ralph Fiennes’ character Gareth Mallory, who has taken on the role of M in the British Secret Service, abuses Bond by arbitrarily relieving him of duty on this mission (which resulted in the destruction of two buildings in Mexico).

Importantly, this new head of MI6 will continue to protect the activities of Division 00 from Mandarin Whitehall, played by Andrew Scott in the second Bond film directed by Sam Mendes: Have you ever had to kill a man, Max? What about you? To pull the trigger, you have to be sure Yes, you can analyze, research, evaluate, set goals, but then you have to look yourself in the eye and make a decision. (…) A license to kill is also a license not to kill. With these words, M marks the difference between Bond or a member of Department 00 and gangsters or hitmen.

The most obvious conclusion of this analysis is that considering James Bond a hitman is strictly related to a simplistic interpretation of the word hitman, where the simple act of taking the life of another makes him a hitman. However, if you take into account all the assessments, judgments, investigations and even hunches that Bond had before he pulled the trigger – and apply certain rules that are consistent with a law enforcement ethic, then you can say without question that James Bond is not a killer – at least not in the way he is often compared to other Hollywood characters.

Frequently Asked Questions

How does James Bond differ from other assassins?

There is no denying that James Bond is a skilled assassin. Many of his colleagues and enemies have tried to kill him numerous times throughout the franchise’s 50+ year lifespan. However, should we consider Bond an assassin? The simple answer is no. Let’s take a look at the source material to see how he differs from other assassins. James Bond is one of the most recognized fictional characters in history, with an illustrious military career and a love of martinis and gadgets. One of the most significant aspects of James Bond’s character is his killing ability. While his opponents are usually dispatched with a single bullet, Bond has killed dozens of people with his bare hands in the movies. These aren’t the only text links (that can break after the original source is deleted) that I will create in the future, but they are the most interesting and useful, I think. There are also certain text links that I have already created, for example: I will be creating more text links, using a similar template (although not exactly), that will reference other texts in the future.

Is James Bond an anti hero?

Nobody questions James Bond being a super spy and his amazing adventures, even though those adventures are more of a farce than a dramatization of reality. We have no reason to question that he’s really wealthy and very good at the art of espionage . He’s a tremendously successful person, and we don’t even question that he does all of his missions in secret. Yet, we do question one thing: if James Bond is so good at being a super spy, why is he an anti-hero? James Bond is undeniably the most popular spy in history but he is also a fallible character. Writers have made Bond into an anti-hero because he is almost always the protagonist of the book and film. However, when he does meet a villain he almost always reverses course.

What type of character is James Bond?

James Bond is known for many things: the gadgets, the women, the cars, the money. But what does he stand for? One thing James Bond stands for is being a complex, deep character. However, I feel that, in the context of the Bond series, he is not an assassin. Like it or not, James Bond is considered one of the greatest screen villains in the history of film. He’s undeniably a bad guy, and his motives are never clear. He’s been known to commit cold-blooded murders as well as cold-hearted stunts. Why then, is Bond regarded as one of the greatest screen villains of all time? Well, the answer starts with the character himself. James Bond is a complex character, and I don’t mean that in a bad way. Where other villains are motivated by greed, jealousy, or a drop of bloodlust, Bond seems to be driven by something much less tangible. I believe it’s his complete inability to feel empathy that makes him an effective villain.

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