Alice Doesn’t Live Here Anymore

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1970's, Alfred Lutter, Alice Doesn't Live Here Anymore, Diane Ladd, Drama, Ellen Burstyn, Harvey Keitel, Jodie Foster, Kris Kristofferson, Martin Scorsese

Film Title

Alice Doesn’t Live Here Anymore

Director

Martin Scorsese

Starring

• Ellen Burstyn as Alice Hyatt
• Alfred Lutter as Tommy Hyatt
• Kris Kristofferson as David
• Diane Ladd as Flo
• Harvey Keitel as Ben
• Jodie Foster as Audrey

A change of pace for Martin Scorsese, Alice Doesn’t Live Here Anymore provides great evidence of his directorial skill and versatility. Focusing on the odyssey of a woman attempting to discover herself and hoping to fulfill long forgotten dreams, it’s a moving, at times funny and heartfelt film, beautifully lead by an Oscar-winning Ellen Burstyn.

Alice Hyatt is a downtrodden housewife, living in Socorro, New Mexico, with her inattentive husband Donald and precocious 12-year-old son Tommy. She once had some success as a singer, but after marrying gave it up for her husband. Desperately unhappy with a man who she is always trying to please, Alice is starting to come apart. Then Donald is killed in a car accident and Alice is left with barely anything. Packing up Tommy with what little she has, she starts out on a journey back to her childhood home. Alice hopes she can rekindle her old singing job again, especially as it will probably be her only source of income. Because of a money shortage, the two have to stop off every now and then. The first stop is in Phoenix, Arizona, where Alice finds some work as a lounge act. While singing is her passion, her wages are menial and it is becoming a struggle to keep Tommy in line. Add to this volatile Ben, who quickly becomes violent towards her and Alice must leave and attempt to get by once more. Fleeing from Phoenix, Alice, along with spoiled Tommy, stop in Tuscon. It is here that Alice gets a job as a waitress, something she hates at first. But as she manages to get through her days and becomes friends with loud, sassy Flo, life looks like it could be going up. She also meets rancher David, who is a kind but firm man taking an interest in her. Alice, obviously considering her history with men, is apprehensive about pursuing any kind of relationship. Eventually, she lets some of the walls down and opens up to the idea of romance. Yet will Alice’s blooming attraction to make her reconsider her pursuit of her dreams?

While a very different sort of movie than one would expect from Martin Scorsese, his style and command over the camera ensure Alice Doesn’t Live Here Anymore is a fine movie. Scorsese really gets the tone of the movie right; with melancholy moments being followed by laughter, much in the way that life can get and best exemplified by the almost always moving camerawork. Some of the film’s passages get uneven, but Scorsese allows the acting and story to play out with a naturalness and warmth that can’t be mistaken. The feminist streak throughout the story was well attuned to the 70’s, yet still bears semblance today as it examines the growing independence and struggles of a woman trying to cope on her own. The character of Alice is wonderfully written and her situation is a universal one that strikes a chord with any viewer. The relatable nature comes through in the first frames of a dream-like memory that resembles an old musical; which is bluntly counteracted by the reveal of Alice’s miserable home life years later. That scene really plays into much of what unfolds, as Alice journeys to discover herself and what she should do, even if its elusive at first. Now as I mentioned earlier, the pacing of the film can sometimes get a little off. I did find that some areas could have been expanded on and a few moments get superfluous, but these quibbles don’t distract from a moving story, undercut by both a bittersweetness and hopefulness. The film really picks up once Alice begins working as a waitress; the gentle humour and drama are wonderfully brought to life through the supporting characters and situations. The almost improvisational approach to the dialogue is another high point, letting everyone have a good rapport with both each other and the audience. A wide collection of songs are featured on the soundtrack, which fit in pretty splendidly with the constant ups and downs of Alice’s life.

Ellen Burstyn is the biggest shining light of the film, winning a much deserved Oscar for her sensitive work as the title character. Blessed with a genuinely sympathetic and expressive face, Burstyn covers the whole gamut of her character’s journey. From despair and uncertainty to growing in confidence, Burstyn’s work is authentic and beautifully done. You feel warmth when she smiles and want to cradle her when the hardships get too much. The biggest compliment I can give her is that she truly makes the part of Alice seem like a real human being, and I think that’s a testament to her talents as an actress. Alfred Lutter is appropriately questioning and pestering as the spoiled Tommy, who drives his mother up the wall. While it is easy to say he’s annoying, the part calls for that the mother and son don’t share the smoothest dynamic with one another, but there is a genuine love that is always present even when they are at loggerheads. Props to both for really forging a believable bond that runs throughout the movie. In what could have been just a role that took advantage of his handsomeness, Kris Kristofferson brings a lot more verve and soul to his part of rancher, smitten by the eponymous Alice. Stealing any scene in which she appears in is Diane Ladd, bringing forth a big personality and brassy mouth to the proceedings. Ladd is fabulous as the tough-talking waitress at first distant from and later close to Alice. The scenes between Ladd and Burstyn are a real delight too. A brief but memorable appearance by Harvey Keitel as a possessive and violent man who becomes involved with Alice, makes the drama really hit hard in his segment. A young Jodie Foster has the spirited attitude and rebelliousness as the girl who befriends Tommy and while it is a pretty small role, its noticeable.

Directed by Martin Scorsese and illuminated by Ellen Burstyn, Alice Doesn’t Live Here Anymore may not be his finest film, but it’s a dramatic triumph of care and heart that retains an impact through its story and mix of drama and comedy.

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What Impression Do You Get of Me Through My Writing?

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Impression

The saying goes that you can often get an inkling of someone through their writing. I do believe in this sentiment, but I’ve often wondered what impression my writing gives. Which is precisely why I decided to ask you all today, what is the impression of me you get from what I write on here? Does my personality shine through. Whatever your opinion, I welcome it. Below are some things that people who know me often describe me as or attribute to me;

• I’m tall and particularly skinny
• I can be quite shy when first meeting someone.
• Once I’m at ease, I’m often difficult to shut up.
• I care deeply about those closest to me.
• I am the king of doing whatever it takes to avoid things I don’t like.
• I have a cute bum.
• I’m very loyal as a friend.
• I can relate almost any situation to something filmic or cinematic.

And as I feel like being nice a photo of myself.

And on a side note, I promise that the next few days will be dedicated to catching up with all your blogs. Just had some busy stuff I’ve had to deal with. Fear not, I haven’t forgotten any of you.

I’m Back Again!

Tags

Announcement, Blogging Return

After enjoying some days in the sun, which have now been replaced by showers, I’m properly back to blogging. I know I have a lot of catching up to do sith everyone. And I can’t wait to read all of your work. Just bear with me, as I work my way through it. I can be lazy, but have made it a priority to catch up quickly. And below is something to help you imagine my break.

 

Enjoying the Weather

Tags

Announcement, Enjoying the Weather

Just a quick post to say that I am around, but am taking advantage of the nice weather. I’m not disappearing, just might not be on as much. Hope you all understand.

The Manchurian Candidate

Tags

1960's, Angela Lansbury, Frank Sinatra, James Gregory, Janet Leigh, John Frankenheimer, Laurence Harvey, The Manchurian Candidate, Thriller

Film Title

The Manchurian Candidate

Director

John Frankenheimer

Starring

• Frank Sinatra as Major Bennett Marco
• Laurence Harvey as Raymond Shaw
• Angela Lansbury as Mrs. Eleanor Iselin
• Janet Leigh as Eugenie Rose Chaney
• James Gregory as Senator John Iselin

A most unusual and highly compelling slice of Cold War paranoia and trickery, The Manchurian Candidate still holds intense power today, for its winding plot, direction and acting. With various switches in tone and much food for thought, it’s a movie that definitely burns into the brain with its intricate plot and terrifying notions.

During the Korean War, a platoon of U.S. soldiers, headed by the distant Raymond Shaw and included Captain Bennett Marco, their group is ambushed. After the war, they return to life in America, but something is amiss. For starters, Raymond is given the Medal of Honor, though we later see that he was a loner in his company and that while the men all say that “Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I’ve ever known in my life”, there is something not right about it. The main person who it impacts is Marco, now a captain, who experiences a recurring nightmare of his dazed platoon being observed by Chinese and Russian agents, as a cold Raymond murders two of their members. Delving deeper, Marco comes to realise that the platoon was brainwashed while in captivity, with particular attention lavished upon Raymond. Yet while he has these parts of what looks like an elaborate Communist conspiracy, it’s getting it into some semblance of reality and reason that proves difficult for him to understand. At first not helped by Army Intelligence, when a fellow member of the squad speaks of the same thing, he receives some backing. Marco isn’t going down without a fight, as he rushes to uncover sinister machinations that continue to grow more complex. Meanwhile, Raymond’s mother Eleanor Iselin begins to use her pernicious influence to further her zealous and easily led husband John Iselin’s campaign. She is linked to something dark, but to explain it would be to spoil it. With memories eventually slotting into place, Marco knows that Raymond is unwittingly being commanded and primed to do something terrible. But can Marco put the pieces together before something truly horrifying can take place?

John Frankenheimer crafts this political thriller with a considerable amount of unusual tension, layering events through a dreamlike haze, yet still making it in the realms of reality when it comes to the underhand tactics of power angle. His off kilter approach to such dynamite material is rapid and complex, trusting the audience to pay attention and follow the labyrinthine plot at play. It’s a daring high wire act keeping all the contradicting parts of irony and terror going, but Frankenheimer is up to the task and does it with intelligence. The Manchurian Candidate is a film filled with political manipulations, dastardly ploys for power and the things people are willing to do to gain a foothold in government. While it’s all shot through the eyes of the Cold War, the atmosphere of it is still very apparent and topical today. This suggests that The Manchurian Candidate was a film ahead of its time in what it depicted and how it visualized it. And talking of visuals, the surreal touches and how it bleeds into reality are strikingly evoked. Repeating motifs of Queen of Hearts playing cards, rhyming phrases and unusual tricks are all in there to tease us. A prime example of the effectiveness of The Manchurian Candidate is the dream/flashback of Marco. In it, the camera starts turning and we witness his troops sitting and listening to what seems to be a lecture on plants given by a posh lady. As the camera continues its journey, it cunningly reveals that it is a brainwashing exercise by Communist agents. Such sly precision and the overlapping cuts between the two extremes are marvellously structured and disquieting. Much can also be said about the unnerving close-ups and deep focus, which in black and white, really stay with you. This is a movie that is genuinely unpredictable from scene to scene with its ever-changing tonality. From surreal to hard-hitting, baffling to cynically up front, The Manchurian Candidate keeps you on your toes with its intricacies and corkscrew plot. Twisting and turning away is the order of the day and with unusual and intentionally mysterious parts that are scattered in there, it is a brain teaser of the highest order. One can definitely say that this is a movie that is rewarding on repeat viewings, as you’re bound to discover something you hadn’t thought of the first time. Certain areas like the unusual scene between Marco and a mysterious woman named Eugenie where they communicate almost in code, are kept ambiguous and esoteric, ensuring your rapt attention and providing the overall feeling of a complex puzzle box that the film greatly projects. If ever there was a movie that provoked thoughts, it was The Manchurian Candidate. As for the music, it has a slowly percolating menace to it that strums away in the background and uses haunting repetition to enhance the feeling of hypnosis.

A simply marvellous cast of actors flesh out this shocking and impactful movie. Frank Sinatra leads the way, projecting a tormented yet determined manner as the crusading Major. Playing against his usual persona of cool and suave, Sinatra finds an exemplary change of pace that shows of his dramatic muscles. Often times, we are perplexed as he is in all this conspiracy and web-spinning, but his unwavering desire and desperation is what truly makes Sinatra ideal in this role. Laurence Harvey’s detached and remote demeanor fit perfectly with his character of Raymond, who is brainwashed into a remorseless killer for sinister purposes. Yet Harvey finds real moments of pathos and sympathy beneath the aloofness, contributing a tragic layer to the character. Yet it’s Angela Lansbury who is the person you remember most for her startling performance as the mother from hell. At first seeming to be just overly smothering, slowly and subtly her power crazed motives and single-minded persistence come through in chilling effect. Mrs. Eleanor Iselin is a master manipulator who pulls the strings of everyone, delivered with gusto and alarming coldness by the great Lansbury. Angela Lansbury formidably plays this woman as a shocking, monstrous and calculating harridan, insistent on getting what she wants and doing everything it takes to get it. For those who mainly think of Lansbury for her motherly and sweet roles, her performance here should make you re-asses that due to its jaw dropping impact and delicious evil. Janet Leigh appears as a most enigmatic lady, who you aren’t sure what to make of. Her scenes with Sinatra have a most unusual and eerie feeling as they raise so many questions, which is part of the beauty of it. James Gregory aces it as the buffoon and bombastic Senator, manipulated like a marionette by his wife for her own gain.

Menacingly suspenseful, darkly cynical and still timely after all these years, The Manchurian Candidate is a classic piece of mounting psychological tension and political satire That triumphs, complete with supreme direction and excellent acting.

What Is Your Favourite Angela Lansbury Performance?

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Angela Lansbury, Favourite Performance

Whenever someone says the words consummate professional and staying power, I immediately think of Angela Lansbury. The Grand Dame has been acting since the 40’s and is still going in her 90’s. Now that’s what I call a killer work ethic. With her dedication to her work, she has been seen in movies, television and stage. To many people of different ages, she can be remembered for countless roles. And adulation for her is well-earned. So which role of her illustrious career is your favourite?

Party of Five Season 4

Tags

1990's, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 4, Paula Devicq, Scott Wolf

We rejoin the Salinger siblings navigating through new challenges that life presents in Party of Five Season 4. It may not reach the heights of Season 3, but it still has its moments to treasure. Be warned, spoilers may well follow in my review of this fourth season of the dramatic show.

Bailey(Scott Wolf) is on the mend and getting back to himself after his crippling battle with alcohol last season. He has been supported by Sarah(Jennifer Love Hewitt), who has forgiven him for involving her in the near fatal car accident months back. But Sarah’s parents don’t see it that way, they file charges of DUI against Bailey. As the trial gets underway and seeing that everyone is willing to sacrifice things for his mistakes, Bailey accepts a plea bargain which leads to a suspended sentence for him. Yet even though he’s making amends, he still finds that the impact of his actions follows him around and won’t let go. Luckily, he does discover a job that also ties in with what will happen to Sarah. Sarah moves out from her parents, feeling that they have victimized Bailey unfairly. Finding out that life independent can be difficult, she finds a place where she enlists Bailey to help her be a manager to an apartment block. The two are now pursuing a platonic friendship as they become managers and maintenance to the tenants of the building. Around this time, Bailey meets Annie; one of the residents who is also a recovering alcoholic. Yet is Bailey ready to commit to a relationship just as his recovery is starting to go well? Charlie(Matthew Fox) is now properly head of the family, having grown up into the role he never really wanted. As the season starts, he is annoyed that he can’t find some romantic happiness. He also bumps into Kirsten(Paula Devicq), who is now remarried to a doctor and back on track following her depression. And though Charlie begins a brief relationship with someone else, he still carries a torch for her. This however takes a backseat as Charlie’s tiredness that he thinks is down to his overworking is diagnosed as Hodgkin’s Disease. he at first only confides in Kirsten. His anger and scared mind are laid bare as he undergoes treatment and the family rallies around, though it proves to be a strain. Julia(Neve Campbell) and Griffin(Jeremy London) are married, with Julia returning from travels to life as a wife. Yet while happy to be married to Griffin after all the struggles, she is still attempting to find her identity. She must also deal with the fact that she feels a bit disconnected from her family, having spent so much time with them yet wants to cut out on her own. This leads her to try new things, yet ultimately makes her get a little bit selfish. Griffin meanwhile discovers his new business is not a cakewalk as he finds a cash flow problem and makes the mistake of accepting a loan off a seemingly helpful man, who becomes something of a loan shark. This leads to money woes for the two, with Julia having to do what she can to provide and Griffin attempting to get them out if this hole. All of this puts a massive strain on their union. Claudia(Lacey Chabert) is now in high school and trying to fit in, and finding it a hard slog. She is tired of people treating her like a small child and wishes to be taken more seriously. Finding that she must grow up more herself, especially after her hopes of romance with a boy are dashed, Claudia still resentfully acts out to get her family’s attention and due to a feeling of loneliness. Can the family hold it together and weather the storm?

Coming off such a dark and engrossing last season, I think it was inevitable that Season 4 might not measure up, it still has plenty going for it. Though I found some of the stories lacked the pull of past , there is still something immensely watchable about Party of Five. The main stories that I didn’t appreciate or enjoy was the one of Bailey getting with Annie, whose many troubles only posed more or a burden for a recovering Bailey . For one, Bailey had already gone through hell and back with his alcoholism, so why did they have to include Annie? It isn’t that the story is bad, it’s just that alcoholism was dealt with so realistically and honestly in Season 3, that it feels a bit superfluous to use it again. Other little sub-plots are decent and sometimes diverting, yet some of them go nowhere and end up superfluous. I did like later on when Charlie starts a romance with Daphne, an uninhibited woman who works as a stripper. They are opposites, but I liked the unpredictable vibe they have. The saving grace here is the overall impact of Charlie’s illness that bears heaviest and most deeply on Season 4.

The Salinger family repeatedly drift apart and then come back into closeness, just like any family does. And while the individual stories have their moments, the subject of family and its many facets is still the successful force of Party of Five. It’s been the main selling point and chief weapon in its arsenal and one that is still prevalent in the fourth season. The reliability and sometimes hard sacrifices are evident here, as the siblings realise how much their lives have changed and how things have turned out differently for each of them. Charlie’s battle with Hodgkin’s  and the reactions of the family to it are a manor dramatic high point, sensitively observed and credibly performed. Even though everyone has a different way of coping with the news, they all see that banding together, despite differences, is the only way to get their brother through his trying time. It feels like how a family would react; with obvious worries, trepidation and uncertainty, but all unite by a common love for their sibling. Plus, the inevitable fall out of these pressures, particularly confused Claudia’s acting out and skipping school, gives an emotional depth and honesty to it all. The Salinger’s are frequently at the brink of being pulled apart, but somehow manage to get through a hell of a lot. The writing ensures that we do care about their struggles in the long run and boy the show still knows how to get your emotions working. And special credit must be given to ‘Go Away’, the finest episode of the season. While Charlie awaits news of a crucial batch of tests, he, Bailey and Julia travel to a cabin they frequented as children. Claudia confides in Kirsten about her fears of Charlie dying, while at the cabin, the rest of siblings are dealing with their own struggles. old wounds are opened and slowly some resolution looks like it could be on its way, after much revealing conversation on how their lives have been impacted by their parent’s death. It’s one of those episodes that really allows things to be eventually expressed and for a bigger meaning to come in.

The ever dependable cast is on hand for great work that registers beautifully. Matthew Fox movingly displays the leadership Charlie has gained that is curtailed by the devastating blow of illness. He doesn’t want to admit that he is sick, but simply carry on as normal. Which is obviously going to be difficult, but you do feel bad on Charlie mainly due to the sympathetic work of Matthew Fox. Scott Wolf successfully charts Bailey’s recovery, that isn’t easy, but is worthwhile in establishing him again as a caring guy pulling his life back together. While he still has struggles, Bailey is now back to the amiable guy he was before, albeit one who has been through hell and managed to get himself sorted out. Neve Campbell is up to the task of making Julia both selfless and alternatively selfish, and yet you still can’t hate her. Julia is at the biggest crossroads of her life( wrestling with doubt and pangs of regret)  and feels that she has sacrificed enough for everyone else, making her occasional bout of self-absorption pretty reasonable. And as Campbell is adept at depicting the frequently misguided but longing Julia, you do feel for her. Lacey Chabert continues to impress as troubled Claudia, who is really having a rough time with everything that has transpired. She has for someone so young been through the wringer and Chabert is a mature performer who pulls off the melancholy confusion of Claudia. Jennifer Love Hewitt isn’t given as much to do as before, but her sweetness and sensitivity playing Sarah are still there in lovely fashion. And with regards to Jeremy London as the hopelessly unlucky Griffin, while the issue of him never amounting to anything is overplayed, London finds sympathy in there too. Paula Devicq returns more frequently here, and captures how Kirsten may be married, yet still has a love of Charlie that won’t ever go away.

So while it lacks some of the pull of past seasons, Season 4 of Party of Five has enough to recommend on the dramatic front.

Another Ask Me Anything

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Ask Me Anything

I’ve had such fun with these kinds of posts in the past that I wanted to bring them back. So feel free to ask me anything, well almost anything as long as it isn’t horrible or offensive. Movie related or just life related, I’m open for questioning. Ask away my fellow friends.

What Do I Love?

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What Do I Love?

After reaching 3000 followers on here, I’m in a very caring and thankful mood to everyone. Especially because blogging has really inspired my confidence and openness. So I thought it best to share some of the things I love, which will hopefully give more of an insight into me.

I love movies. That’s pretty much a given considering my content on here, but I simply  adore the filmic world. There’s a certain magic that can’t be replicated in anything  else. You all know what I mean?

I love my family’s so much. They have been there for me no matter what and its invaluable. I wouldn’t be the man I was today without them.

I love women. Obviously I think women are beautiful, but I love women in general for their determination and their spirit. Women have been through a hell of a lot and deserve love and respect for their achievements.

I love being naked. I’m sure you all know this, but I do like being without clothes. I never used to be this confident, but as I’ve grown, the clothes have just come off.

Anything else anyone wants to know? I’m an open book.

The Evolution of the Bond Girls

Tags

007, Bond girls, James Bond

I would like to thank Maddy for asking me to take part in her 007 blogathon. James Bond is a cinematic hero of mine so this seemed like a no brainer. The movies are one of my favourites franchises that cinema has to offer. My topic of discussion is going to be about how much the Bond girls have changed over the decades that they’ve graced our screens and the strength they have gained in popular context. A quick note, I won’t be referencing every Bond girl as the post would go on forever if I did.

The ladies of the Bond franchise have come a long way since 1962 when Dr. No, yet the beauty and style of them is still intact. I think everyone remembers Honey Ryder emerging from the sea in that white bikini, signalling sexiness from every angle and announcing something sensual for the 60’s. Yet some people forget that Honey Ryder, while a bit naive, was not just a bit of eye candy. Sure in today’s context, she seems pretty helpless at times but she wasn’t a bimbo either. Which brings onto the point that the Bond Girls aren’t always just there for looks, even in the early days. Now I know some may think I’m trying to be controversial here, but I’m really not. I will admit there is definite sexism in many of the early films, which extends to brutal treatment and demeaning attitudes from villains and even on occasion Bond. There are a good few Bond girls who are either mistreated victims or eye candy in these early films;

• Tatiana in From Russia With Love is easily manipulated by SPECTRE to lure Bond out into a conspiracy.
• Domino in Thunderball is kept as a virtual prisoner to the main villain and brutalised by him.
• And various women are brainwashed and used in a nefarious scheme in On Her Majesty’s Secret Service.

The treatment of women makes you cringe today as things have changed quite a bit. And though I love the Bond movies, certain parts are pretty shocking and uncomfortable today’s standards.

But these are counteracted by strong and capable women, who know their worth and are not just defined by their looks. In essence, the Bond girls of the 60’s represent the contrasting changes in society. In the decade you had the pill being supplied allowing women to take control, the mini skirt freed them from the constraints of restrictive clothing and the Women’s Liberation Movement was in full swing. But the times of change still had people clinging to the values of old, particularly when it came to gender roles. Some of the stronger women of the 60’s in Bond are Pussy Galore from Goldfinger, a pilot who largely resists Bond and can kick ass when needed, as well as verbally duel. She’s in charge of herself and not a pushover in any way, a certifiable match for Bond. To be honest,you aren’t certain whose side she’s on for a lot of the time. Fiona Volpe is a seductive and villainous Bond Girl, who uses her attractive looks to lure men into a trap. Unlike other women who melt in Bond’s arms, she doesn’t and wickedly tells him that she isn’t going to become an angel for him. A trend of villainous Bond Girls who ensnared Bond would follow, with excellent results. Now I must mention one of the finest ladies in the series .Tracy is one of the more intriguing Bond ladies and all the better for it. She’s impulsive, combative yet also sensitive. She embodies a lot of things and is still one of the most commanding of the Bond women. Tracy did capture Bond’s heart quite differently from other woman and her influence on the series itself can’t be underestimated. She showed that Bond could be vulnerable when it came to women and was not always just a playboy. This trope would be employed in later movies to show that Bond had a chivalrous side.

On to the 70’s, where the amount of capable and strong ladies emerged slowly. Some of the damsel in distress parts where still there and the decade wasn’t the finest, but it still had some memorable women. You can forget about Tiffany Case and Mary Goodnight who were just eye candy, and focus on the alternative women of substance. The strongest lady of the decade is Anya from The Spy Who Loved Me. A Soviet agent and one of the top in her agency, Anya is an emotionally and physically strong woman, with an agenda of her own. She may collaborate with Bond, but at the same time even kill him. This sets up an interesting dynamic between the two as she isn’t going to be won over quite as easily as other woman have been. Add to this that she is basically at the same level as Bond, and Anya is a marvellous addition to the series of independent women. Holly Goodhead in Moonraker is a capable leading lady, who is already on a similar mission to Bond and has infiltrated first. In comparison with other decades, the 70’s girls are somewhat lacking, save for the ones praised above, but the impact of the interesting additions still could be found. It would be in the 80’s when it really got going for more promising and purposeful ladies were present.

The 80’s ups things and continues to feature a lot more ladies of depth, substance and strength. It was a clear reflection of cinema, that had started to feature more female heroines who could fight and handle themselves, just as well as a man. In For Your Eyes Only, Melina Havelock is not at all interested in romance with Bond. Her mission is vengeance and for the most, she wishes to work alone. Her intensity and rage can’t be contained, witnessed by her killing with a deadly crossbow. Her mission is her own and she only comes across Bond due to a connection with the Secret Service, but her personal vendetta is what really drives her in the story. The eponymous Octopussy is a very independent and shrewd businesswoman, who leads a diamond smuggling operation. Living in luxury through her hard work, she is surrounded by a large posse of women. Her living space is an island populated solely by women, enhancing her reputation as a tough and strong woman. Her interest in Bond is one of kinship as he helped her father years before. She even attempts to sway Bond to joining her business, a bold move and one that does sound tempting. Later on when fighting back against a fiendish plot, she leads a loyal group of athletic women, who display gymnastic and martial art skill when taking down the enemy. The villainous Bond Girl appears once more in A View to a Kill. This time it takes the intimidating form of May Day, a dangerously unstable and shockingly brutish woman. A powerhouse of physical strength and violent impulse, she tangles with Bond in almost every sense. She’s the kind of Bond Girl who will kiss you reluctantly and kill you, probably at the same time.

The 90’s and up until now are possibly the best representations of the Bond Girls evolution into equal to the man himself. They still had the good looks and sex appeal, but they had character and something else than just being love interest to 007. Starting with GoldenEye, where you had two very assertive ladies on either side of the law. In the heroic side, there was brainy Natalya, who was just an everyday woman thrown into a deadly string of events, but with gathering gumption and quick learning, became a formidable Bond Girl. On the side of bad there was the sadistic Xenia Onatopp, whose killer appetite for crushing victims between her thighs during sex really put the fatale in femme fatale. Both of these women are capable and contribute greatly to the changing face of the Bond universe. While on different sides of morality, the strength of both shines through. Natalya for her smarts and ability to adapt to danger and villainous Xenia for how she uses her sexuality to get the thrill, putting Bond out-of-place in more ways than one. Even the new incarnation of the ever loyal secretary Moneypenny experienced a makeover. Now rather than pining profusely over Bond, she easily matched wits with him and cut tie him in knots with her charm. And later on when she is reintroduced once more and we learn she was a field agent herself, this adds yet another layer to the character. One of the most kick ass of all the women appeared in Tomorrow Never Dies. Wai Lin worked for Chinese Intelligence and crossed paths with Bond, but being a lone wolf herself kept him at a distance. She was an expert karate student, showcased when she takes down a gang of goons with a graceful and supple ease. She could fend for herself and for the most part was not romantically entangled with Bond, though some sparks where there. Her main concern was the mission at hand.

Probably one of my favourites and one of the most fleshed out Bond Girls is Vesper Lynd in Casino Royale. Vesper is one of the most complex of the Bond girls, mainly because she represents and covers so many things. She’s confident yet terrified, loving yet forced to be deceitful and all around mysterious. Vesper makes her mark on Bond, and the viewer alike with just how different and noticeably rounded she is. Vesper is a fine example of how far the Bond Girl concept has come; while beautiful and charismatic, it’s her depth and conflicting emotions that truly make the impression.

And while not strictly a Bond Girl, the reintroduction of superior M as a woman heralded a big change in the franchise. It actually tied in with the fact that the real life head of MI6 was also a woman, supplying more social change for women in powerful positions. Now Bond was answering to a woman, who could cut him down to size with just a withering glare or put down. This allowed audiences to see that women where really changing for the better in the franchise and cut really put 007 in his place when needed. And in Skyfall, she was the main female focus in the story, even more so than the usual Bond Girls. Her arc is explored in a maternal way with Bond, who looks up to her and while not always listen, takes into account what this powerful woman says.

And so concludes my post on the changing faces of the Bond Girls. I hope you liked what I had to say about the evolution of the women and how they are a great addition to the franchise.