Ian Fleming: Master of the Sex/Death Ratio

 

Author Ian Fleming (1908-64) lived with the insouciance and bad behaviour reserved for those who have resigned themselves to an early death. Menefreghismo is an Italian noun which connotes one’s approach to life; it translates– roughly – as ‘don’t give a shit’. It’s hard to discern what held Fleming’s interest, but he certainly lived with a free form, unbridled, if not erotic, passion that seems awkward to a modern sensibility.

And that’s where James Bond comes in. Menefreghismo.

Ursula Andress & the ratio

Although about one half of the Bond novels were published in the 1960s, their genealogical roots are embedded in 50’s, and even earlier. That’s why a female character can be named ‘Pussy Galore’. Not a big deal at the time.

And that’s why James Bond, in books and films, was successful. Fleming knew how to balance the critical sex/death ratio like few authors before—or since. He was so good at it—and it is the ratio that gives the early films their life. When, later, the ratio became unstable, so began the era of Bad Bonds.

The ratio is based on the notion that the proximity of death heightens sexual tension—and, importantly, vice-versa. That’s one reason why you will never see a child in a Bond film—for a child is the strongest representation of Life we have. It just messes with the balance.

The ratio is based on post-WW II notions of masculinity and femininity. Small wonder Fleming was among John F. Kennedy's favorite authors. Times change. JB (James Bond) got the JB (Jason Bourne) reboot in Casino Royale (2006). Now it was mostly about hand-to-hand fighting, lightning cuts, and constant close-ups. However, the ratio did appear, however warily, when needed.

Ian Fleming died as he lived, fully aware that the ratio was unlivable. But longevity was never the point for Fleming, or Bond. It was to greet Death at his own door, look in his eyes, and say, ‘Your move’.

 

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JB: James Bourne/Jason Bond

James Bond always was a parody, we just didn’t see it.

A parody you say?

That’s why the ‘In Like Flint’ films and ‘Casino Royale (1967)’ are weak. You can’t parody a parody. It’s too diluted.

Although a creation of the Cold War 50s, it was Bond’s rapacious and indiscriminate sexual proclivities that embedded him in 1960s culture — and made him appear somewhat unwholesome and predatory throughout the 80s and 90s.

Giving women names like ‘Pussy Galore’ and ‘Plenty O’Toole’ was hardly clever, let alone alluring. Nobody has ever figured out author Ian Fleming’s penchant for misogyny (doubtful), lack of humour (probable), parody (likely). Whatever the roots, women in the 1960s Bond films actually do further the plots. Most are aggressive and rarely stupid.  

Ian Fleming: Details are in the smoke

There is a strong undertow of existentialism across all the novels: Bond’s death wish is likely Fleming’s own, who would be granted his desire at age 56, leaving his creation to toil on, experiencing Dr. Who-like regeneration across more than six actors…and counting.

Today, it is difficult to appreciate the impact James Bond had on 1960s pop culture. He became a swingin’ totem for the Rat Pack-like guys who laughed at hippies. Bond legitimized lone-wolf, anti-establishment behaviour and promiscuity, performing both in the defence of Queen and country.

Deadly Siren anyone?

Much later the Bond franchise was reinvented, adopting/adapting the persona of another famous ‘JB’, Jason Bourne –with a twist of British, shaken and stirred. Here comes Bond, wounded and panting, the hunter is now the hunted.

Very New Millennium. 

Still he lives on. An action hero whose place in pop culture we
follow down long winding stairs, descending to the 1960s, down past neon lava lamps to that timeless lounge of dry martinis and beautiful women in tight dresses who sway against the bar like undersea flora.

It has to do with The Look of Love