Masculinity of James Bond As Seen in from Russia with Love Film

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

MASCULINITY OF JAMES BOND AS SEEN IN FROM RUSSIA WITH LOVE FILM

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of Requirements for the Degree of Sarjana Sastra in English Letters

By NICHOLAS JAVIER SATRIA ADYNUGRAHA Student Number: 144214017

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

MASCULINITY OF JAMES BOND AS SEEN IN FROM RUSSIA WITH LOVE FILM

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of Requirements for the Degree of Sarjana Sastra in English Letters

By NICHOLAS JAVIER SATRIA ADYNUGRAHA Student Number: 144214017

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

vii

Freedom of the press is not just important to democracy, it is democracy.

Walter Cronkite

vii

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

viii

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ACKNOWLEDGEMENTS

First, I would like to thank Lord Jesus Christ for his blessing and guidance that makes me possible to finish my thesis and pass my study. Second, I would like to thank my parents, especially for my dad wherever he is, for raising and supporting me.

Next, I would like to express my gratitude to my thesis advisors A. B. Sri

Mulyani, Ph. D. as my advisor and Drs. Hirmawan Wijanarka, M. Hum. as my co- advisor for their guidances, advices, and encouragement throughout my undergraduate thesis process. My appreciation also goes to Ni Luh Putu Rosiandani,

S.S., M.Hum. for being my examiner and gave me advice for completing this thesis.

I would like to give a special thanks to Harris Hermansyah Setiajid, S.S.,

M.Hum. for helping me to get the English Active point and being my academic advisor. Lastly I would like to thank all the lecturers and staff of the English Letters

Department for their support and help for the last five years.

I also would like to give many thanks to all of my good friends: Iwang,

Yoyo, Yudha, Om Rangga, Akbar, Erwin, Theo, Teo, Josh, and the others that I can not address it one by one for the advice, sharing, and support.

Nicholas Javier Satria Adynugraha

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

TABLE OF CONTENTS

TITLE PAGE …………………………………………………………...... ii APPROVAL PAGE ……………………………………………………………. iii ACCEPTANCE PAGE ………………………………………………………… iv STATEMENT OF ORIGINALITY ………………………………………….... v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .. vi MOTTO PAGE ………………………………………………………………... vii DEDICATION PAGE ……………………………………………………...… viii ACKNOWLEDGEMENTS ………………………………………………….... ix TABLE OF CONTENTS ……………………………………………………..… x ABSTRACT ……………………………………………………………...….… xii ABSTRAK …………………………………….…………………………...…... xiii

CHAPTER I: INTRODUCTION ……………………………………………… 1 A. Background of the Study ………………………………………….………. 1 B. Problem Formulation ……………………………………………………... 4 C. Objectives of the Study ………………………………………….………… 4 D. Definition of Terms ……………………………………………………….. 4

CHAPTER II: REVIEW OF LITERATURE ………………………………… 6 A. Review of Related Studies ….………………………………………..……. 6 B. Review of Related Theories ..……………………………………….……. 10 1. Theory of Masculinity ………………………………………….……. 10 2. Theory of Types of Manliness ………………………………….……. 12 3. Theory of Character and Characterization ……………………..…….. 15 4. Theory of Gender Studies ……………………………………..……... 17 C. Theoretical Framework ………………………………………….…….… 18

CHAPTER III: METHODOLOGY ………………………………………….. 20 A. Object of the Study ………….………………………………….………... 20 B. Approach of the Study ………………………………………….………... 23 C. Method of the Study …………………………………………….……….. 23

CHAPTER IV: ANALYSIS ………………………………………………...… 25 A. James Bond’s Portrayal in From Russia with Love Film ……………..….. 25 1. Physical Appearance …………………………………………….…... 25 2. Social Status …………………………………………………….…… 28 3. Psychological Traits …………………………………………….…… 33 B. James Bond’s Portrayal and its Representation of Masculinity …………. 41 1. Physical Characteristics ………………………………...... 41 2. Functional Characteristics ………………………………………….... 47 3. Sexual Characteristics ………………………………………….….… 49 4. Emotional Characteristics …………………………………….……... 53

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

5. Intellectual Characteristics ………………………………….……….. 58 6. Interpersonal Characteristics ………………………………..……….. 65 7. Other Personal Characteristics …………………………….………… 67

CHAPTER V: CONCLUSION ……………………………………………….. 71 REFERENCES ...... 73

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

xii

ABSTRACT

ADYNUGRAHA, NICHOLAS JAVIER SATRIA. (2019). Masculinity of James Bond as Seen in From Russia with Love Film. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma.

This research is conducted to analyze the masculinity shown through James Bond’s portrayal in the From Russia with Love. James Bond is the protagonist in the film, which has the mission to secure the defecting Russian cipher clerk and a decoding machine Lektor. The reason why this topic is chosen because the writer finds that James Bond is a character that strongly proves and shows the masculinity of a man. There are two objectives in this research. The first is to find out James Bond’s portrayal in the film, and the second is to find the representation of masculinity shown through James Bond’s portrayal in the film. This research uses gender studies approach, particularly focusing on masculinity theories. The writer applies library research as the method of this research. This research employs theories of character and characterization, gender studies, masculinity, and manliness. The end result of this research shows that James Bond’s portrayal and its masculinity representation show James Bond as a masculine person. Firstly, the writer analyzes the portrayal of James Bond as seen in the film script. James Bond is portrayed as an Englishman in his 30s-40s with perfect physical appearance, a wealthy person, and a person with high intelligence, awareness, skills, and calm during the film events. Lastly the writer analyzes representation of masculinity shown through James Bond’s portrayal in the film. James Bond’s masculinity is similar to Chafetz’s theory of masculinity such as the physical, functional, sexual, emotional, intellectual, interpersonal, and other personal characteristics. In the end, James Bond’s masculinity during the 1970s era is unique because his masculinity portrayal is also similar to the gentlemen type of manliness, which a man should be well-dressed, well-mannered, and sprezzatura, and therefore, he also represents a “true” masculine and gentleman of his time.

Keywords: Gender Studies, James Bond, Masculinity

xii

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

xiii

ABSTRAK

ADYNUGRAHA, NICHOLAS JAVIER SATRIA. (2019). Masculinity of James Bond as Seen in From Russia with Love Film. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

Penelitian ini dilakukan untuk menganalisis maskulinitas yang terlihat pada penggambaran James Bond dalam film From Russia with Love. James Bond adalah seorang protagonis di dalam film ini yang memiliki misi untuk mengamankan seorang petugas pemecah sandi dari Rusia yang membelot dan sebuah alat pengurai kode Lektor. Alasan mengapa topik ini dipilih, karena penulis menemukan bahwa karakter James Bond membuktikan secara kuat dan menunjukkan maskulinitas pada seorang laki-laki. Penelitian ini mempunyai dua tujuan. Pertama untuk menemukan penggambaran James Bond pada film ini, dan kedua adalah untuk mencari tahu representasi maskulinitas yang terlihat pada penggambaran James Bond di dalam film. Penelitian ini menggunakan pendekatan kajian gender, khususnya berfokus pada teori maskulinitas. Penulis menerapkan metode penulisan perpustakaan di dalam penelitian ini. Penelitian ini menggunakan teori karakter dan karakterisasi, kajian gender, maskulinitas, dan kejantanan. Hasil akhir dari penelitian ini menunjukkan bahwa penggambaran James Bond dan representasi maskulinitasnya menunjukkan bahwa James Bond adalah seorang yang maskulin. Pertama-tama, penulis menganalisis penggamabaran James Bond di dalam naskah film. James Bond digambarkan sebagai orang Inggris pada umur 30-40-an dengan penampilan fisik yang sangat baik, hartawan, dan seseorang yang memiliki kecerdasan, kesadaran, keterampilan yang tinggi, dan tenang di dalam film. Terakhir, penulis menganalisis representasi maskulinitas yang terlihat pada penggambaran James Bond di dalam film. Maskulinitas James Bond terlihat sama dengan teori maskulinitas dari Chafetz seperti dalam hal karakteristik secara fisik, fungsional, seksual, emosional, kercerdasan, antar pribadi, dan pribadi lainnya. Pada bagian akhir, maskulinitas James Bond pada masa 1970-an itu unik karena penggambaran maskulinitasnya juga sama dengan kejantanan tipe bangsawan, dimana seorang laki-laki harus berpakaian baik, berperilaku baik, dan sprezzatura. Oleh karena itu, James Bond juga merepresentasikan maskulinitas dan ciri-ciri bangsawan “sejati” pada masanya.

Kata kunci: Gender Studies, James Bond, Masculinity

xiii

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER I

INTRODUCTION

A. Background of the Study

Film is the youngest art invented within the modern era. But still many people denies the possibility that film might be a part of an art, because they are looking art using the point of view from an analogy of a painting. Rudolf Arnheim stated that film resembles painting, music, literature, and the dance in this respect— it is a medium that may, but need not, be used to produce artistic results (1957, p.

8). From the statement above, film can be regarded as a work of art and literature.

That can be meant that film can be critized similarly to a work of literature, such as novels. Because the interdisciplinary study of novels and films has tended to run along two sides of a paradox. Elliot stated:

On one side, novels and films are opposed as “words” and “images,” agreed to be irreducible, untranslatable, a priori entities by most postmodern as well as prior scholars. On the other side, critics propound film’s integral formal, generic, stylistic, narrative, cultural, and historical connections to the novel (Elliot as cited in Stam & Raengo, 2004, p. 1).

It can be said that both film and novels (or literary works) have a relation that both of them are largely about narrative. Because both of them using the same principles such as characters, settings, plot, drama, and its purpose to entertain or brought message to the reader or audience.

If we take a sample of some modern films, we definitely could see that men dominate the main character which gives us our first impression about the film. The phenomenon is much stronger in the film than any other arts such as paintings, musics, and novels. Because we could directly see how the main character able to

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

show its attitudes or physical appearances, such as men’s muscular body. These can be seen in some films through the main character, such as James Bond series, The

Terminator, Mission Impossible, Batman, Spiderman, Superman, Hercules, Conan the Barbarian, Die Hard, Rambo, and Rocky. This phenomenon is called masculinity.

Based on A Dictionary of Gender Studies, masculinity defined as traits and qualities conventionally associated with boys and men. These may be physiologically defined in terms of physical appearance and biological properties, but more commonly masculinity is considered as socially constructed and henced circumscribed by the norms applied to boys and men in a given culture. In some culture, masculinity may be an indicator of social status, wealth, race, or social class.

According to Amy B. Aronson (2004), the meanings of manhood vary from culture to culture and within any one culture over time. Thus, males become men in the

United States in the early twenty-first century in a way that is very different from men in Southeast Asia, or Kenya, or Sri Lanka (p. xxiii).

Masculinity in English culture or Victorian masculinity is that men have a spiritual propriety, but in wealth were also crucial. A part of that, education, manner and refined speech made the men as gentlemen. Historically, masculinity firstly appeared in the Industrial Revolution in Britain between 1830s and 1860s, where man clearly did not feel threaten to be called as soldier.

In a simple word, Todd W. Reeser (2010) says that we can easily ascribe a series of characteristics to masculinity: "muscular," "strong," "hard," "brave," and

"in control" are words that come to mind. We know that it is the opposite of

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

femininity. We can also make a list of adjectives that do not describe masculinity, such as "weak," "soft," and "emotional” (p. 1).

While according to Janet Saltzman Chafetz (1974), the characteristic of masculinity traits are divided into seven characteristics. First is physical, second is functional, third is sexual, fourth is emotional, fifth is intellectual, sixth is interpersonal, and seventh is other personal such as men’s ambition, confidence, egoistical, moral, trustworthy, competitor, and adventure (pp. 38-39). Those seven characteristics of masculinity traits describes so many aspects that could claim men are masculine.

From the film examples above, masculinity is visible and showed the stronger effect of the film’s story. In From Russia with Love film, we could see that the masculinity shown in the main character of James Bond. James Bond is described as a man who has muscle in his body. He is also a brave, romantic, attractive, and can be said as a true English gentleman from his gesture, attitude, and manner.

From Russia with Love is a 1963 British spy film and the second in the

James Bond film series produced by Eon Productions, as well as Sean Connery's second role as MI6 agent James Bond. It was directed by Terence Young, produced by Albert R. Broccoli and Harry Saltzman, and written by Richard Maibaum and

Johanna Harwood, based on Ian Fleming's similarly named 1957 novel. In the film,

Bond is sent to assist in the defection of Soviet consulate clerk Tatiana Romanova in Turkey, where SPECTRE plans to avenge Bond's killing of Dr. No.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

In this film, the writer sees that James Bond is a character that strongly proves and shows the masculinity of a man. The character is an intelligent character, soft talking with complete Englishman manner, even when he faces his enemy. For the writer itself, Bond’s character in From Russia with Love is a unique character to analyze from the aspect of men’s masculinity.

B. Problem Formulation

The problems are formulated as follows.

1. How is James Bond portrayed in the From Russia with Love film?

2. What are the representations of masculinity shown through James Bond’s

portrayal in the From Russia with Love film?

C. Objectives of the Study

There are two objectives that can be found in this study. The writer has to find out how James Bond is portrayed during the From Russia with Love film and the writer finds out the representation of masculinity in From Russia with Love film through James Bond’s portrayal.

D. Definition of Terms

There are two important term that used in this study needs to be defined to avoid the misconception and misleading. The terms that need to be clarified are character and masculinity. The first term is Character. Abrams stated,

Characters are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral,

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

intellectual, and emotional qualitis by inferences from what the persons say and their distinctive ways of saying it – the dialogue – and from what they do – the action (Abrams, 1999, pp. 32-33).

Abrams also stated that a character may remain essentially "stable," or unchanged in outlook and disposition, from beginning to end of a work or may undergo a radical change, either through a gradual process of development or as the result of a crisis (p. 33). Whether a character remains stable or changes, it is expected that the character has a consistency.

The second term is masculinity. According to A Dictionary of Gender

Studies (2017, para. 1) masculinity is defined as traits and qualities conventionally associated with boys and men. These may be physiologically defined in terms of physical appearance and biological properties, but more commonly masculinity is considered as socially constructed and henced circumscribed by the norms applied to boys and men in a given culture.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER II

REVIEW OF LITERATURE

This chapter contains three parts namely review of related studies, review of related theories, and theoretical framework. Review of related studies is about previously studies that related and have been done by other writers with researcher’s study. Review of related theories is about the theories that the writer uses to analyze the movie. The theories are used to guide the writer in answering the problem formulations. The last part is theoretical framework that are used to give information to the readers what is going to discuss the analysis.

A. Review of Related Studies

Since there are no related studies with the same object which is From Russia with Love film, some studies with the same subject and topic are chosen as this research related studies.

The first study is using James Bond film series with different title done by

Yanti Nurdiyanti from Universitas Islam Negeri Syarif Hidayatullah Jakarta entitled Masculinity in Casino Royale 007 (2008). Yanti Nurdiyanti discusses the representation of masculinity in a movie, in this case using Casino Royale a 2006 film. In her thesis, the goal of the research is to describe the representation of masculinity in Casino Royale through the main character James Bond (2008, p. 5).

She discovers that James Bond’s masculinity is seen as same as a traditional masculinity concept as in Janet Saltzman Chafetz’s theory. She states that James

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond who is represented as a new secret agent of 007 in the film is represented more than it is.

Bond is represented more fresh agent in his middle age, gentle, blonde, brief, less of sophisticated guns instrument but he is very skilled in fighting with an empty hand, brave, and strong (Nurdiyanti, 2008, p. 38).

She also adds about how the film represents James Bond’s character.

The movie represents Bond’s character as usual, such as intellectual, rationale, and practice in his mission. Bond does his mission in discipline and lack of bad effect that makes him killed (Nurdiyanti, 2008, p. 39).

In her study, Nurdiyanti also mentions that there are some masculinity representation that differs from Chafetz’s concept. She says that “Bond also represents the masculinity out of the Chafetz’s concept, there are distant of opposite sex, less sophiscated, and more fight” (Nurdiyanti, 2008, p. 39).

The difference between Nurdiyanti’s study and this study is that Nurdiyanti analyzes the James Bond’s representation of masculinity in Casino Royale, which is a modern James Bond film. Nurdiyanti also only analyzes the representation of masculinity using theory of characteristic of masculinity by Janet Saltzman Chafetz.

The second study is a journal article entitled “Bullfighting and Masculinity in Jorge Gutierrez’s ‘The Book of Life’” in Journal of Language and Literature by

Leendert Farrel Saimima and Sri Mulyani. In this journal, the writers analyze the masculinity of the protagonist Manolo Sanchez in The Book of Life where he has to choose between his family heritage to become the next Sanchez bullfighter or to become himself in his own image. Saimima and Mulyani say that bullfighting is a

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

sport where men dare their life in an arena and put side-by-side with a bull to entertain the crowd (2018, p. 82). They also stated about males role in bullfighting:

Males are suited for this deadly profession since they are well-built, brutal, and the proper model for continuing this practice from generation to generation (Saimima & Mulyani, 2018, p. 82).

Their objectives of the study are to explore the characters’ environmental structure, to distinguish the different characteristics of masculinity between them, and to relate masculinity with bullfighting in The Book of Life.

They found that Manolo’s masculine characteristic predominantly lies on

Male Sex Role Strain, homosexual masculinity, and imposed environment. Then,

Joaquin and Carlos shares the same masculine characteristics. Saimima and

Mulyani concluded the Manolo’s masculine characteristics:

The way Manolo escapes the imposed environment is through a selected environment that is also a part of constructed environment though is not enough to consider it as “masculine” enough. Joaquin’s masculine characteristics dominates the Male Sex Role Identity in all four themes. Though prefer to be in a selected environment, the environment itself is a part of a constructed environment that acknowledge Joaquin’s selected environment. His masculinity also stands out in the hegemonic masculinity most of time (Saimima & Mulyani, 2018, p. 96).

They also concluded about Carlos’ masculine characteristics that are a part of the old notion of manly man which are based upon obsessive competitiveness,

Pleck’s Male Sex Role Identity, hegemonic masculinity, and constructed environment (Saimima & Mulyani, 2018, p. 96).

The difference between Saimima and Mulyani’s study and this study is that they analyze about the Manolo’s masculinity and relate it with the bullfighting in

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The Book of Life film. While the writer of this study, focuses on James Bond’s masculinity that is shown from his characteristics in the From Russia with Love film.

The third study is a journal article entitled “Portrayals of Masculinity in

‘Guy Movies’: Exploring Viewer-Character Dissonance” in The Journal of Men’s

Studies by Robert J. Zeglin. In this journal, Zeglin analyzes the characters’ masculinity portrayal in three randomly selected “guy movies” such as The

Departed (2006), Braveheart (1995), and The French Connection (1971). He uses the CMNI (Conformity to Masculine Norms Inventory) factors to analyze. From his analysis, Zeglin stated “In all, six characters were included in the analysis. All

11 of the CMNI factors were displayed at least once; a total of 36 factors were displayed. On average, each character displayed six (54.5%) of the CMNI factors

(range = 5-8)” (Zeglin, 2016, p. 48). Based from his samples, Zeglin concluded about the masculinity seen in the “guy movies”.

After a deductive content analysis, it is clear that popular “guy movies” most frequently present the masculine norms that can be most easily conceptualized as positive and prosocial, avoiding ego-dystonic viewer– character dissonance. This invites the male viewers of these movies to identify with these characters and, in turn, to identify with the positive and prosocial qualities of their own masculinity. This suggests that these movies are popular “guy movies” not because they display gratuitous and stereotypical masculinity but rather because of an ego-syntonic identification (Zeglin, 2016, p. 54).

The difference between Zeglin’s study and this study is that Zeglin analyzes the masculinity portrayal in three different films using CMNI theory, while the writer of this study will only focuses on From Russia with Love film and will

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

analyze the film using Janet Saltzman Chafetz’s theory of masculinity and Brett and

Kate McKay’s theory of manliness.

The focus of this undergraduate thesis is masculinity of James Bond’s character in From Russia with Love film, which is a 1970s film. The writer chose this subject and object because of the character’s unique masculinity portrayal during the 1970s era, comparing to the modern James Bond films. James Bond in the 1970s era, in this case, the Sean Connery era, the character shows his romantic attitude toward the girls, calm, and “soft-action” when fighting against his enemy.

This undergraduate thesis also adapts the similar methodologies and theories that has been used by Nurdiyanti when discussed the James Bond’s masculinity in Casino Royale film, with a new additional theory that strengthen the understanding that 1970s James Bond masculinity is different from the modern one.

B. Review of Related Theories

This part consists of the theories used in the study. Those theories are theory of masculinity, theory of types of manliness, theory of character and characterization, and theory of gender studies. The theories are applied in order to help the writer to identify how James Bond’s character portrayed in the From

Russia with Love film and what are the representation of masculinity in From

Russia with Love film through James Bond’s character.

1. Theory of Masculinity

According to Janet Saltzman Chafetz’s research in Masculine, Feminine, or

Human? An Overview of the Sociology of the Gender Roles (1974, pp. 38-39) about

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

contemporary American gender role stereotypes, she explains that the characteristics of masculinity are divided into seven characteristics, there are: a. Physical

This characteristic is one of the most prominents where a men’s physics affects about his virility, athleticity, strength, brave, sloppiness, and men usually worriless about their appearance and aging. b. Functional

This characteristic is about the men’s ability to have a role as the breadwinner and as a provider either for his family or himself. c. Sexual

This characteristic concerns about men that are usually sexually aggressive, experienced, acceptable single status, and perception that male “caught” by spouse. d. Emotional

This characteristic shows that the men have the ability to suppress his personal feeling, being unemotional, stoic, and a perception of “boys don’t cry.” e. Intellectual

This characteristic is about men that mostly rely on their intellectual capabilities instead of emotion. Men’s intellectuality is about his logical, intellectual, rational, objective, scientific, practical, and mechanical thinking. Men

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

might also become a contributor to society, have public awareness, and being dogmatic. f. Interpersonal

This characteristic shows that men are prone to adopt leadership roles and take initiative to act. Some men are also able to dominate something, being discipline, independent, free, individualistic, and demanding. g. Other Personal

This characteristic concerns about men’s other characteristics such as being aggressive, success-oriented, ambitious, proud, egoistical, confident, moral, trustworthy, competitive, uninhibited and adventurous.

2. Theory of Types of Manliness

When someone thinks about manliness, they usually have various types, drawn from their lives and from pop culture books, television, drama, and movies that comes from their mind. Brett McKay and Kate McKay (2009, para. 1-40) stated that there are six different types of manliness that we often image when we think about manliness, there are: a. The Warriors

The warrior is a type of manliness that is mostly seen in a character who acts as a soldier in the modern time or a tribesman in the ancient times. This warrior- type character usually leads in the battle, looking for glory and victory. In Brett

McKay and Kate McKay’s article, they stated:

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

In ancient times, he was the tribesmen who protected the village from attack; in modern times, he is the soldier who defends freedom. He is the grunt willing to subvert some of his individualism for greater goals and the general who leads his troops into battle. He is the man willing to lay down his life for others and for the glory of conquest and victory (2009, para. 3).

The positive characters of this type are toughness, leadership, courage, and sacrifice. The pitfalls for this type are callousness, difficulty in adjusting to civilian life and relating to non-soldiers, and unwilling to question authority. b. The Lone Wolf

The lone wolf is a type of manliness that most people perceive as a cowboy in the Wild West era. In Brett McKay and Kate McKay’s article, they stated:

He is the cowboy riding his horse alone into the sunset, the biker roaring across the desert, the hobo wandering from place to place. He is also the artistic genius or the intellectual who isolates himself to create a great masterpiece or concentrate on his studies. Taciturn and mysterious, he doesn’t care for cultural rules and conventions; he is the rebel who blazes his own path (2009, para. 7).

The positive characters of this type are self-sufficient, free-thinking, independent, and able to be his own man. The pitfalls for this type are the man can not ask for help, difficulty in forming connections with others, depression, and suppression of emotions. c. The Adventurer

The adventurer is a type of manliness that is seen in the adventure movie, in which the character has desire to wander, travel, and explore a new place. In Brett

McKay and Kate McKay’s article, they stated:

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

He wants to see the places no one or few others have seen. He sees a mountain and wants to climb it simply because it is there. He wants to discover all the world has to offer. He desires to test his limits and get outside his comfort zone. The new, the dangerous, make him feel alive (2009, para. 11).

The positive characters of this type are free spirit, courage, vitality, risk- taking. The pitfalls for this type are flighty and inability to commit. d. The Gentleman

The gentleman is a type of manliness which the character is knowledgeable, respectful, polite, well-dressed, and usually come from the high-class society. In

Brett McKay and Kate McKay’s article, they stated:

The gentleman is suave, urbane, polite and respectful to all, both to inferiors and superiors. Dapper in dress, proficient in the conversational arts, confident and witty, he easily wins friends and woos the ladies. He is skilled in and knowledgeable about arts, culture, and current events (2009, para. 15).

The positive characters of this type are well-dressed, well-mannered, and sprezzatura. The pitfalls for this type are superficial, neglect of the inner life in favor of outward forms, lack of toughness. e. The Statesman

The statesman is a type of manliness which the character dedicates himself to the nation. We usually perceive the statesman-type man is a president, leader, or prime minister. In Brett McKay and Kate McKay’s article, they stated:

To the ancient Greeks, a man could not possess manliness without being engaged in civic affairs. The statesman puts the good of the nation above individual pursuits. In his true form, the statesman has 4 attributes, as delineated by Professor J. Rufus Fears: a bedrock of principles, a moral compass, a vision, and an ability to build consensus to achieve that vision. These qualities, along

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

with a proficiency in the art of oratory, allow him to hold together and guide a nation’s or people’s destiny (2009, para. 19).

The positive characters of this type are idealistic, driven, civic-minded, and principled. The pitfalls for this type are ego-centric, pride leading to scandal and corruption. f. The Family Man

The family man is a type of manliness which the character dedicates himself to the family. The family man-type character usually works hard in the office for his family’s living. In Brett McKay and Kate McKay’s article, while giving an example they stated:

While he is not the subject of many books and movies like the adventurer or warrior, we still really admire the simple family man, the average Joe who works hard and does the right thing every day. He has “blue collar” values, loves his wife, rarely complains about his job, is a great dad, and is just a solid man all around. He’s the grandfather who exuded manliness and the father you were always a little in awe of (2009, para. 23).

The positive characters of this type are hardworking, loyal, good husband and father. The pitfalls for this type are aversion to risk and complacency.

3. Theory of Character and Characterization

According to Abrams, characters are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it – the dialogue – and from what they do – the action (1999, p. 32-33).

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Abrams also stated that a character may remain essentially "stable," or unchanged in outlook and disposition, from beginning to end of a work or may undergo a radical change, either through a gradual process of development or as the result of a crisis (1999, p. 33). Whether a character remains stable or changes, it is expected that the character has a consistency.

Still according to Abrams, he quoted from E.M. Forster’s book that introduced popular new terms for old distinction divided the characters into flat character and round character. Flat character is built around "a single idea or quality" and is not presented with many individualizing detail, and but can be described in a single phrase or sentence. While round character is much more complex in temperament and motivation and is represented with subtle particularity.

So the character might changes, just like a person in real life that capable of surprising us.

Oscar Gross Brockett stated that, character is the principal source for plot for incidents can be developed mainly through the speech and behavior of dramatic personage (1964, p. 29). Still according to Brockett, there are four levels of characterization: a. Physical

This is the first level of characterization, including the sex, age, size, and coloration. Brockett stated:

The physical is the simplest level of characterization, however, since it reveals external traits only (1964, p. 29).

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

b. Social

This is the second level of characterization, including the economic status, profession or trade, religion, family relationships, and all other factors in the environment (1964, p. 30). c. Psychological

This is the third level of characterization, including the habitual responses, attitudes, desires, motivations, likes and dislikes, emotional, and intellectual.

Brockett stated:

Since habits of feeling, thought, and behavior define character more fully than do physical and social traits, and since drama usually arises from desires in conflict, the psychological is the most essential level of characterization (1964, p. 30).

d. Moral

This is the fourth level of characterization. This trait is not always shown in every literary works, but it is mostly represented in serious plays, especially tragedies. Brockett stated:

A moral decision usually causes a character to examine his own motives and values, and in the process his true nature is revealed both to himself and to the nature (1964, p. 30).

4. Theory of Gender Studies

According to Whitman College, gender studies is a field focuses upon gender identity and gendered representation as central categories of analysis (2012,

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

para. 1). Gender studies uses the concept of gender to analyze a wide range of disciplines. Although many lines of argumentation in gender studies are inspired by feminism, a broad variety of theoretical approaches are used to study the categories of gender.

Jane Pilcher and Imelda Whelehan stated that there are number of features that have endured to the study of gender in the twenty-first century:

First, the study of gender remains resolutely multi- and inter-disciplinary and that is its key strength, and has had the most profound impact on contemporary theory and attitudes to the production of knowledge. Second, alongside the more focused, if varied, constellation of texts, knowledge and theorising on and about gender that constitutes gender studies, gender issues continue to penetrate mainstream disciplines more widely (though not always with ease) and are enthusiastically embraced by students. Third, feminism remains a central perspective for the study of gender relations, reminding us that this discipline emerged from the identification that women as a group were misrepresented – in both the public sphere and in the conception of their ‘real’ natures (Pilcher & Whelehan, 2004, pp. xii-xiii). Pilcher and Whelehan finds that study of gender will always change and find something new, as the gender relations continue to change. Because Pilcher and

Whelehan also added that academic institution themselves have changed markedly in the last 30 years and, in Britain, the shift from the university/polytechnic divide to the old/new university one (from 1992) has had an impact on the development of women’s studies (p. xiii).

C. Theoretical Framework

In this thesis titled Masculinity of James Bond as Seen in “From Russia with

Love” Film, the writer used some books and references that consist of many theories

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

are taken to help analyzing the film, because the theories support and strengthen the analysis.

The study focuses the on the James Bond’s portrayal and the representation of masculinity through James Bond’s portrayal in the From Russia with Love film.

The theories on characterization, masculinity, and types of manliness are used and implemented.

The first analysis is how James Bond’s portrayed in the film, so the theory of character and characterization is applied. The theories lead the writer to identify the portrayal of James Bond in the film, which later his portrayal is revealed as the film event develops.

After looking at the characters, the writer focuses on the representation of masculinity through James Bond’s portrayal. The writer applies the theory of masculinity by Janet Saltzman Chafetz and types of manliness by Brett and Kate

McKay.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER III

METHODOLOGY

A. Object of the Study

The object of the study is a film and film script entitled From Russia with

Love. This is a 1963 British spy film and the second in the James Bond film series produced by Eon Productions, as well as Sean Connery's second role as MI6 agent

James Bond. It was directed by Terence Young, produced by Albert R. Broccoli and Harry Saltzman, and written by Richard Maibaum and Johanna Harwood, based on Ian Fleming's similarly named 1957 novel.

During the production, following the financial success of Dr. No, United

Artists greenlit a second James Bond film. The studio doubled the budget offered to Eon Productions with $2 million, and also approved a bonus for Sean Connery, who would receive $100,000 along with his $54,000 salary.

Most of the crew from the first film returned, with major exceptions being production designer Ken Adam, who went to work on Dr. Strangelove and was replaced by Dr. No's art director Syd Cain; title designer Maurice Binder was replaced by Robert Brownjohn, and stunt coordinator Bob Simmons was unavailable and was replaced by Peter Perkins though Simmons performed stunts in the film. John Barry replaced Monty Norman as composer of the soundtrack.

From Russia with Love was a critical and commercial success. From Russia with Love premiered on 10 October 1963 at the Odeon Leicester Square in London.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Ian Fleming, Sean Connery and Walter Gotell attended the premiere. The following year, it was released in 16 countries worldwide, with the United States premiere on 8 April 1964, at New York's Astor Theatre. Upon its first release, From

Russia with Love doubled Dr. No's gross by earning $12.5 million ($99 million in

2017 dollars) at the worldwide box office. After reissue it grossed $78 million, of which $24 million was from North America. It was the most popular movie at the

British box office in 1963.

The film's cinematographer Ted Moore won the BAFTA award and the

British Society of Cinematographers award for Best Cinematography. At the 1965

Laurel Awards, Lotte Lenya stood third for Best Female Supporting Performance, and the film secured second place in the Action-Drama category. The film was also nominated for a Golden Globe Award for Best Original Song for "From Russia with

Love".

From Russia with Love is also adapted as a video game in 2005. It was developed by Electronic Arts and released on 1 November 2005 in North America.

It follows the storyline of the book and film, albeit adding in new scenes, making it more action-oriented. The most significant changes to the story is the replacement of the organisation SPECTRE to OCTOPUS because the name SPECTRE constitued a long-running legal disputer over the film rights to Thunderball between

United Arts/Metro-Goldwyn-Mayer and writer Kevin McClory.

In From Russia with Love, seeking to exact revenge on James Bond (007) for killing its agent Dr. No and destroying the organisation's assets in the Caribbean,

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

the international criminal organisation SPECTRE sent an assassin - Donald "Red"

Grant to kill James Bond.

In London, M informs Bond that Romanova has contacted their "Station 'T'" in Turkey, claiming to have fallen in love with Bond from his file photo. She offers to defect to the West, and will bring a top secret Lektor with her to sweeten the deal but only on the condition that Bond handle her case, personally.

After travelling to Istanbul, Bond heads into the city to meet with station head Ali Kerim Bey, tailed by Bulgarian secret agents working for the Russians.

They are in turn tailed by Grant, who kills one of them after Bond is taken back to his hotel, stealing their car and dumping it outside the Soviet Consulate in order to provoke hostilities between British and Soviet Intelligence. In response, the Soviets bomb Kerim's office with a limpet mine, Kerim, however, is away from his desk for a tryst with his mistress. He and Bond then investigate the attack by spying on a Soviet consulate meeting through a periscope installed in the underground aqueducts beneath Istanbul. Thus, they learn that the Soviet agent Krilenku is responsible for the bombing. Kerim Bey declares it unwise to stay in the city under such circumstances and takes Bond to a rural gypsy settlement. However, Krilencu learns of this and promptly attacks a Gypsy feast, where Bond and Kerim are honored guests, with a band of hired Bulgarian fighters. Much to Bond's confusion, he is saved from an enemy fighter during the attack by a distant sniper shot from

Grant. The following night, Bond and Kerim Bey track Krilencu down to his hideout, where Kerim Bey kills him with Bond's rifle.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

At the end, he and Romanova reach a hotel in Venice, where they believe themselves to be safe. Klebb, however, disguised as a maid, makes one final attempt on Bond and the Lektor. Klebb tries to kick him with a poisoned switchblade shoe, but Romanova shoots her with her own dropped gun. With the mission accomplished, Bond and Romanova leave Venice on a romantic boat ride.

B. Approach of the Study

The approach that writer uses to analyze this study is the gender studies approach using theory of masculinity and theory of manliness. This gender studies approach can help us to understand the gender roles. Because according to Pilcher and Whelehan, the study of gender’s key strength is the multi- and inter-disciplinary, and study of gender has had the most profound impact on contemporary theory and attitudes to the production of knowledge (2004, p. xii).

The gender studies approach is suitable for this research to find out James

Bond’s masculinity in From Russia with Love movie. Because the approach helps the writer to identify which James Bond’s characteristics and its portrayal that represent masculinity either it is physical, functional, sexual, emotional, intellectual, interpersonal, or other personal.

C. Method of the Study

The method of this study is library research, since the data for this study originate from printed materials and online materials. There are two sources that are used: the primary sources and secondary sources. The primary sources consist

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

of a film script of From Russia with Love by Richard Maibum and the From Russia with Love film by Albert R. Broccoli and Harry Saltzman. The secondary sources consist of the theories and related studies from various books and online articles.

There are several steps that is used to write this undergraduate thesis. The first step was to watch the From Russia with Love film by Albert R. Broccoli and Harry

Saltzman. While watching, the writer also took some screenshots that is important to show the masculinity characteristics of James Bond. Next, the writer watches the film one more time while reading to the film script by Richard Maibaum.

After watching the film, the writer reads the references from books such as

Masculine, Feminine, or Human? An Overview of the Sociology of the Gender

Roles, A Glossary of Literary Terms, The Theatre: An Introduction, 50 Key

Concepts in Gender Studies, and an online article entitled Types of Manliness.

These references are important to get an in-depth analysis of the subject.

The last step was to apply the of characterization theory by Oscar Gross

Brockett to find the James Bond’s portrayal that is shown in the From Russia with

Love film. Then the theory of masculinity by Janet Chafetz Saltzman is applied to find out James Bond’s representation of masculinity. After that, theory of manliness is applied to find out which type of manliness James Bond belongs to. At the end, the writer draws the conclusion and makes general statements based on the analysis.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER IV

ANALYSIS

This chapter consists of two parts based on questions in problem formulations stated in the first chapter. The first part of this chapter discusses the

James Bond’s character as seen in From Russia with Love film, and the second part of this chapter discusses what James Bond character that represents masculinity.

A. James Bond’s Portrayal in From Russia with Love Film

In this part, the writer analyzes the first problem formulation, which is the

James Bond’s portrayal in the From Russia with Love film. According to Brockett there are four levels of characterization, there are, physical or biological, social status, psychological or emotional, and moral or ethical (1974, p. 39-40). In this research, the writer only uses three out of four levels of characterization to see

James Bond’s portrayal in the film because moral traits are not always shown in the film or literature work.

James Bond is an Englishman who worked as an agent in the government

British Secret Service, the MI6, under code number 007.

1. Physical Appearance

During the scene on 00:17:50 to 00:18:45 at first the audiences see a man and a young woman glide inside a punt on the river at the day. Then the camera tilts down to reveal another punt, resting on the shoreline beneath a tree. Inside the punt there are James Bond and Sylvia, embracing and kissing. After kissing, Bond tugs

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

on a cord that extends between his toes into the water, pulling up a bottle of champagne.

A punt glides by with a MAN and YOUNG WOMAN inside. He is piloting.

MAN : Great sport, this! YOUNG WOMAN : What did you say? MAN : Great sport, this punting!

The punt continues off. TILT DOWN TO REVEAL another punt, resting on the shoreline beneath a tree. Inside there are Bond and SYLVIA, embracing and kissing. An ice bucket and glasses are beside it.

BOND : I couldn’t agree with him more. SYLVIA : I might even give up gold for it. BOND : Really?

He tugs on a cord that extends between his toes into the water, pulling up a bottle of champagne. He touches it.

BOND : Not quite. (Maibaum, 1963, p. 20)

When he lowers the bottle again, Sylvia notices a scar on his back. He turns back to embrace Sylvia and kisses, and suddenly a beeper goes off, which is a call from Bond’s office. He reaches into his coat pocket and switches off the device, then climbs out of the punt with his jacket.

He lowers the bottle again. Sylvia notices something on his back – a scar. She runs her finger across it.

SYLVIA : Ooh! Souvenir from another jealous woman?

He turns back and slips an arm around her.

BOND : Yes, but I haven’t turned my back on one since.

He fully embraces her and they kiss. Suddenly a BEEPER goes off. Bond looks back, disheartened.

BOND : Excuse me.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

SYLVIA : What?

He reaches into his coat pocket and switches off the device. (Maibaum, 1963, p. 20)

James Bond’s scar noticed by Sylvia Trench (FRWL, 1963: 0:18:16)

James Bond’s whole body physical appearance (FRWL, 1963: 0:18:35)

During this scene, the writer finds his physical appearance completely seen when the camera angle changes to the wide angle, shot toward James Bond. In the movie, James Bond is portrayed as an Englishman in his 30s-40s with medium built body with hair on his chest and legs, a clean shaved face, a sweep to the side black hair, and a height of 6” 12’ (or 188 cm). He is also shown shown in his perfect health, even though there is a scar in his back. James Bond’s scar also signifies his

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

physical endurance. Because by having a scar, it shows that James Bond had endure many dangerous mission. Probably from one of his mission off screen, James Bond was scratched by the enemy. The scratch leaves a permanent scar on his back.

2. Social Status

Besides his good-looking and manly physical appearance, James Bond belongs to a high social class with high wealth because of his job as a British secret agent. Bond’s social status can be seen in the film through how he dresses, acts, socializes, and his lifestyle. During the scene from 0:18:11 to 0:18:15, Bond is shown having a champagne with Sylvia. He pulls the champagne out from the water, but it seems the champagne is not cold enough to drink. Inside the punt, there are some drinking glasses as well.

He tugs on a cord that extends between his toes into the water, pulling up a bottle of champagne. He touches it.

BOND : Not quite. (Maibaum, 1963, p. 20)

A bottle of champagne that Bond pulls from the water and some drinking glasses (FRWL, 1963: 0:18:11)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Shortly after Bond turns off his beeper, he climbs out of the punt with his jacket to make a phone call in his classic green convertible. After a quick research, the writer finds out that the car is a 1935 Bentley 3.5 Litre.

WIDER ANGLE

Bond climbs out of the punt with his jacket, then turns back.

BOND : Give me my shirt, will you? SYLVIA : (tossing it to him) What’s going on? BOND : I have to make a phone call.

PAN ON BOND as he walks to his car – a classic green convertible. (Maibaum, 1963, p. 20)

Bond’s classic green convertible car (FRWL, 1963: 0:18:43)

When James Bond comes back to the MI6 Headquarters (covered as

Universal Exports) on the scene from 0:19:35 to 0:19:40, Bond opens the door of

Miss Moneypenny’s office and he already dressed in a formal suit while holding his hat. He tosses his hat to the rack and lands on the hook. This is the first appearance of James Bond in the film wearing a formal suit. But this is not the only scene where James Bond wears the formal suit, since he wears it most of the time during the film’s event.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

INT. A DOOR – MEDIUM CLOSE SHOT

The door opens to reveal Bond dresses in a suit and tie and holding his hat. As he enters, PULL BACK TO REVEAL

INT. MISS MONEYPENNY’S OFFICE

Unseesn by Bond, ‘M’ stands with Miss Moneypenny at a filing cabinet behind the door. ‘M’ holds a file marked ‘SECRET.’ They look up.

Bond tosses his hat at a hat-rack and it lands perfectly on a hook. He turns to Miss Moneypenny and begins to close the door. (Maibaum, 1963, p. 22)

James Bond’s first appearance in a formal suit in the film (FRWL, 1963: 0:19:40)

The formal suit that Bond wears is also a tailor-made and exclusively made for James Bond. Because a formal suit requires an exact measurement of the body and needs time to make the whole set, especially when it is a hand-made suit. The precision and time explains why a formal suit is usually expensive.

In the next scene from 0:24:43 to 0:25:22, James Bond arrives at Istanbul

International Airport in Turkey, he meets a chauffeur from Ali Kerim Bey. To make sure that he is picked up by Kerim Bey’s chauffeur, James Bond uses a recognition code to the chauffeur. After he confirms the recognition code, Bond was brought to a black Rolls-Royce car waiting at the curb.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

EXT. TERMINAL BUILDING – LONG SHOT – SAME TIME

Bond follows the chauffeur to a black Rolls Royce waiting at the curb. Meanwhile we see GRANT’S FACE reflected in the driver’s door mirror of a car in f.g., watching them. He raises a gloved hand to his mouth. PAN TO GRANT. He chews on one of the gloved fingers.

BOND’S ROLLS ROYCE

PAN ON IT as it drives away, then HOLD on the front of the terminal. Hassan emerges watching it go. A black Citroen car pulls up. Hassan climbs into the passenger seat. (Maibaum, 1963, p. 22)

A black Rolls Royce that is used to pick James Bond up (FRWL, 1963: 0:25:20)

Later after James Bond met Kerim Bey for the first time, James Bond arrives at the Kristal Palas Hotel (0:29:04-0:29:27). The porter brings Bond’s belongings to his room. After entering the room, the porter clears the throat, giving a sign that he is asking for a tip. Bond gives the porter a generous amount of tip into his pocket and the porter leaves.

INT. SITTING ROOM – DAY

The porter opens the door for Bond. Bond enters, crosses the room and drops his briefcase on the bed. He hears the porter clear his throat and turns back.

PORTER : Will there be anything else, sir?

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond slips some cash into his pocket.

BOND : No, only this. Thank you.

Bond turns to the bathroom door. The porter peeks at the money.

PORTER : Thank you, sir.

The porter exits. (Maibaum, 1963, p. 39)

James Bond gives the porter a generous tip (FRWL, 1963: 0:29:41-0:29:48)

From those scenes, the writer finds James Bond’s social status as a wealthy person. Because there are indicators that shows Bond’s social status. First is about

James Bond’s possession of a classic green convertible car – a 1935 Bentley 3.5

Litre. This car is very expensive at that time and only wealthy person who able to get this antique car. An antique car also becomes a symbol of wealth.

Another indicator is his tailor-made formal suit which can be seen in multiple times in the film. Because a formal suit requires an exact measurement of the body, needs time to make the whole set, and if it comes from a good tailor it is made from a good material. Next, the Rolls Royce car and the chauffeur become an indirect indicator of Bond’s social class. Kerim Bey’s chauffeur and Rolls Royce is also a symbol of wealth, even though James Bond does not own the car. Because

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

not every people are able to own or permitted to enter a very expensive car, in this case a Rolls Royce with a chauffeur in it.

The last indicator is how he gives the porter the tip. The scene shows James

Bond slips the cash to the porter’s pocket. Probably Bond wants to surprise the porter with a big amount of tip, until the porter sees it himself and leaves.

3. Psychological Traits

James Bond is also a character that has a good psychological characteristics.

In this case, the psychological characteristics that are analyzed are particularly his emotions and intelligence in relation to his skills.

During the scene 0:24:43 to 0:25:22, when James Bond arrives in Turkey he is picked up by a chauffeur that is sent by Kerim Bey. To make sure that it is

Kerim’s chauffeur James Bond uses a recognition code. At 0:24:45 to 0:25:00 they say:

CHAUFFEUR : Kerim Bey sent a car for you, sir. BOND : Oh, fine. (reaches into his coat and takes out a cigarette case) Can I borrow a match? CHAUFFEUR : I use a lighter. BOND : (opening the case to reveal cigarettes) It’s better still. CHAUFFEUR : Until they go wrong. BOND : (shutting the case) Exactly.

Bond gestures to the chauffeur to move on.

CHAUFFEUR : I’ll get the car, sir. (Maibaum, 1963, p. 32)

After Bond confirms the recognition code, Bond was brought to a black

Rolls Royce car waiting at the curb.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

James Bond confirms the recognition code to the chauffeur (FRWL, 1963: 0:24:55)

Later inside the Rolls Royce, James Bond sees a Citroen behind the Rolls

Royce. At first Bond sees that as a normal thing, since they just left the airport.

Later after passing some buildings the Citroen keeps following and Bond asks the chauffeur about it. The chauffeur clarifies that Citroen follows them are Bulgarians who worked for Russians, which it is their duty to guard their trip.

INT. ROLLS ROYCE – DRIVING – DAY

The chauffeur is in f.g., Bond behind him in the back sear. Bond waves his hat across his face against the heat. Through the rear window we see the Citroen following.

CHAUFFEUR : Kerim Bey suggested that you see him before going to the hotel, sir. Would that be convenient? BOND : Fine.

Bond glances back, sees the Citroen following, then looks forward again and continues fanning his face with his hat.

EXT. ISTANBUL STREET – SAME TIME

PAN ON THE ROLLS as it drives on. Then HOLD on ancient ruins in b.g. as the Citroen passes following it.

DISSOLVE TO:

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

EXT. NARROW STREET – DAY The Rolls continues past some buildings and continues down an open road. The Citroen keeps following.

INT. ROLLS – SAME TIME

the Citroen still visible through the rear window.

BOND : I suppose it’s customary to have people trailing you in these parts. CHAUFFEUR : Oh, yes, sir. Today it’s Citroen H-three-one-eighty- four on duty. (MORE) CHAUFFEUR (cont’d) : They are Bulgarians working for the Russians. They follow us, we follow them. It’s a sort of understanding we have. BOND : That’s very friendly. (Maibaum, 1963, p. 33-34)

James Bond asks about the follow Citroen to the chauffeur (FRWL, 1963: 0:25:58)

After arriving at the hotel and enters his room, James Bond is looking for something suspicious. Because as a secret agent, Bond has to make sure the enemies do not spy on him. He inspects every corner and objects in his room. Until on

0:30:18 Bond finds a microphone behind a painting. James Bond continues searching and then he checks the phone. He checks the phone using a special instrument and the instrument’s meter rises and crackles.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond opens the bathroom door and looks inside, then turns to a painting on the wall and looks behind it, then walks to another painting and looks behind it. Then he crosses the room, glances at a clock, then looks behind another painting. On the wall behind it are a microphone and a cord.

BOND

Backs away, continuing to look around. He sees a chandelier overhead, walks under it and turns it around, then steps forward and looks at:

INSERT – A PHONE

resting on the nightstand.

BOND

turns up his briefcase, moves the catches sideways and opens it. He takes out a test instrument and picks up the phone.

INSERT – PHONE

Bond places the instrument beneath it. The meter rises and crackles. (Maibaum, 1963, p. 39)

James Bond finds that the enemies are spying on him (FRWL, 1963: 0:30:18- 0:30:55)

After Bond knows that the enemies are spying on him, he uses the intercepted phone to call the receptionist and asks to move to another room in the hotel. When Bond makes a call to the receptionist, there is an intercut scene where on the front desk there are a woman who sits behind the receptionist and the concierge, operating a console and wearing headphones. The woman, receptionist,

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

and concierge are counter-intelligence, because of their suspicious activity of spying on Bond’s activity.

BOND

drops the phone onto the bed and picks up the receiver.

BOND : Mister Bond here. RECEPTIONIST’S VOICE : Yes? BOND : I’m afraid the room won’t do. RECEPTIONIST’S VOICE : I’m sorry. BOND : The bed’s too small.

INTERCUT – FRONT DESK

RECEPTIONIST : (into phone) One moment, sir.

She turns to the concierge, who stands in a back room holding a receiver. A WOMAN sits behind him at a console wearing headphones.

RECEPTIONIST : (to the concierge) Did you hear that? CONCIERGE : Tell him that’s all there is, unless he would like the Bridal Suite.

The concierge raises the receiver to his ear. (Maibaum, 1963, p. 40)

Intercut scene showing the counter-intelligence (FRWL, 1963: 0:31:11)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

From the intercut scene and Bond’s findings of counter-intelligence equipments in his room confirms his suspicion that he is spied. On the other scene,

James Bond shows his gun assembly skill when he and Kerim Bey plan to kill

Krilencu. After the incident in the Gypsy camp, during the night, Bond and Kerim stand behind an apartment house where Krilencu hides. Suddenly, they see two police officers are walking toward them. But they are actually Kerim’s “sons” dressed in a police officer uniform to lure Krilencu out from his hide-out. Bond then takes out his AR-7 folding rifle from his jacket and assembles it.

Bond and Kerim stop at a dark alcove beside a shop and look back.

KERIM : Twice has Krilencu tried to kill me.

CLOSER ANGLE – BOND AND KERIM

They step further back into the alcove.

KERIM : The third time he will succeed… unless I get him first. That I’ll do tonight. BOND : Not with that arm, you won’t.

Bond takes the folded rifle from his jacket.

BOND : You’d better leave it to me. KERIM : I’m already too much in your debt.

BOND’S HANDS assemble the rifle. (Maibaum, 1963, p. 63-64)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond assembles the AR-7 folding rifle (FRWL, 1963: 0:49:15-0:49:35)

Later during James Bond’s attempt to secure the Lektor in the Russian

Consulate in Istanbul, turkey, he arrives at the consulate and pretends asking for a visa. Since Bond’s plan is time accurate, he asks the clerk about the clock’s accuracy in the consulate. At the same time, Kerim Bey is waiting in the underground cisern of the consulate and ready to explode the consulate wall. Bond asks the clerk one more time about the clock and then the explosion smashes the consulate. Bond smiles and walks toward to the communication room to secure the

Lektor and Tania.

IN THE RECEPTION ROOM

Bond walks back to the clerk, who is still talking to the second man.

BOND : Excuse me. You did say your clock was correct? CLERK : Russian clocks are always –

A sudden explosion smashes through the floor behind Bond. The clock falls from the wall. Debris cascades down from the ceiling.

Bond rises with a big grin. He says something to himself and turns to an archway behind him.

Embassy man run frantically around as Bond exits through the archway.

The clerk starts grabbing drawers from his desk. Other EMPLOYEES run behind him with drawers and files. (Maibaum, 1963, p. 82)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Explosion on the Russian Consulate and Bond grins (FRWL, 1963: 1:04:29- 1:04:35)

From those scenes, the writer finds James Bond psychological traits are unique. James Bond is highly intelligent, when he is picked up by Kerim’s chauffeur, Bond has to make sure that it is a real chauffeur. Besides that, when a

Citroen is tailing the Rolls Royce, Bond was suspicious until Bond is informed by the chauffeur that inside the Citroen is ally. Then, when Bond enters the hotel room at Kristal Palas Hotel, Bond inspects every corner and possible spot of suspicious instruments. He finds a microphone behind a painting and an intercepted phone.

His suspicion is confirmed when there is an intercut scene, showing the receptionist, concierge, and a woman use the counter-intelligence instruments to spy Bond.

Bond’s weapon assembly skill also shows his intelligence. It might be obvious, because as a top agent Bond must be able to assemble or to use any kind of weapons. During the scene where Bond and Kerim Bey plan to kill Krilencu,

Bond is the one who assembles the AR-7 folding rifle. Even though assembling a weapon looks simple, only an experienced person who is able to assemble the weapon, which is one of the requirement to be a top secret agent.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

James Bond’s emotion is mostly calm personality in the film. When Bond is in the Russian Consulate, where he secures the Lektor and Tatiana Romanova, when explosion happens Bond’s reaction is only a big grin. Meanwhile the clerk and employees of the consulate are panic and running away from the building.

B. James Bond’s Portrayal and its Representation of Masculinity

In this part, the writer analyzes the second problem formulation, which is the representation of masculinity shown through James Bond’s characteristics and portrayal in the From Russia with Love film. According to Chafetz there are seven characteristics of masculinity: physical, functional, sexual, emotional, intellectual, interpersonal, and other personal (1974, pp. 38-39). In this research, the writer uses the seven characteristics of masculinity to see James Bond’s representation of masculinity in the film. In addition, the writer also uses the theory of manliness by

Brett McKay and Kate McKay to identify which type of manliness James Bond belongs to.

1. Physical Characteristics

According to Chafetz there are six aspects that belong to physical characteristics of being masculine: virile, athletic, strong, sloppy, worry less about appearance and aging, and brave (1974, p. 38). In From Russia with Love, James

Bond’s physical characteristics can be seen directly through the film.

This section has a similar analysis from the first question of problem formulation. This analysis emphasizes more about James Bond’s physical characteristics based on Chafetz’s theory.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

First, James Bond’s athleticity can be seen in the scene where James Bond is shown for the first time in the film. During that scene, Bond and Sylvia kiss and embrace inside the punt. When the beeper goes off, Bond switches it off then climbs out of the punt. His entire body can be seen in this scene.

BOND : Excuse me. SYLVIA : What?

He reaches into his coat pocket and switches off the device.

WIDER ANGLE

Bond climbs out of the punt with his jacket, then turns back.

BOND : Give me my shirt, will you? (Maibaum, 1963, p. 20)

James Bond’s whole body physical appearance (FRWL, 1963: 0:18:35)

During that scene, the writer sees James Bond’s proportional and athletic body. James Bond is shown as an Englishman in his 30-40s with a clean shaved face, black hair, tall, and a medium built body. His medium built body can be related that James Bond also loves to maintain his body shape.

James Bond is also shown as a strong and tough man in the film. During the train scene, after knowing Tania is drugged Bond becomes suspicious to Nash.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond aims his pistol toward Nash, then Nash explains about his escape plan using a map. It is just a decoy to hit James Bond using his pistol. Later it is revealed that it is actually Grant – the SPECTRE’s assassin.

Grant takes a map from his pocket, sits on the couch and opens the map on Nash’s briefcase. Bond puts his pistol in his pocket and looks down. Grant points to the map with both index fingers.

GRANT : Now, we’re here, you see?

Bond crouches beside him.

GRANT : When we reach there, there’s a steep gradient. The train slows down there.

ANGLE ON THE MAP

Grant’s left hand continues pointing to the map as his right hand comes down to his leg.

GRANT (O.S.) : We’ll block the line. Make for that main road.

TWO-SHOT

GRANT : Pick up a car… there.

GRANT’S RIGHT HAND goes to his ankle. He takes pistol from a holster under his pant leg.

GRANT (O.S.) : A truck, in fact.

BOND (O.S.) : That must be about…

TWO-SHOT

BOND : … twenty miles from here.

Grant suddenly slams the butt of his pistol against the base of Bond’s skull. Bond groans and drops to the floor. (Maibaum, 1963, p. 112-113)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Grant slams Bond’s head using his pistol (FRWL, 1963: 1:27:19-1:27:42)

Surprisingly, James Bond regains his consciousness within a few minutes.

Later Bond baited Grant to accept his offer by doubling Grant’s salary using 50 gold sovereigns. Bond gives the first 25 gold sovereigns from his first briefcase, then when Bond wants to open the second case Grant stops him. Grant opens the briefcase himself and suddenly the tear gas explodes. The fight between Bond and

Grant begins. Bond manages to land multiple attacks toward Grant and able to kill

Grant using Grant’s own concealed garrote.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

James Bond’s fight scene against Grant (FRWL, 1963: 1:33:56-1:35:47)

Next, Bond’s bravery can be seen in the film during the scene where he is being chased by a helicopter. He defies his death by dodging the chasing helicopter.

Bond does not look afraid of the helicopter’s attack, instead he shoots the co-pilot that holds a cooked grenade. The grenade falls under the cockpit and explodes the helicopter.

James Bond dodges the oncoming helicopter (FRWL, 1963: 1:40:38-1:41:14)

James Bond denies two aspects from Chafetz’s theory: being sloppy and worry less about appearance and aging. James Bond in From Russia with Love film is shown as a clean and neat man. This might be an effect from his social status and as well as an English Gentleman. James Bond always cares about his appearance

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

where he has to maintain his persona as a gentleman, one of them is by donning a formal suit and a haircut.

James Bond’s close up view in the ferry scene (FRWL, 1963: 1:01:33)

According to Brett McKay and Kate McKay, there are some positive characters of being gentleman: well-dressed, well-mannered, and sprezzatura (2009, para. 16). James Bond’s formal suit can affirm that Bond belongs to the gentleman type of manliness. Because Bond is well-dressed every time during the film’s event using a tailor-made formal suit and being sprezzatura.

From the analysis above, James Bond does show his masculine physical characteristics. Bond’s strength against Grant’s attack, his bravery of dodging the helicopter, athletic body results James Bond’s virility. Even though, Bond’s portrayal did not show two aspects: sloppiness and worry less about appearance and aging. Because those points are denied, it precisely shows that he is actually a gentleman type by being well-dressed and sprezzatura. Bond is also seen as a gentleman aside of his masculine physical characteristics.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

2. Functional Characteristics

According to Chafetz there are two aspects that belong to functional characteristics of being masculine: breadwinner and provider (1974, p. 38). Since

James Bond in From Russia with Love film does not have a family, which should consist of wife and children, the writer considers that James Bond does not have a function of a breadwinner. Because breadwinner function is a function where a man should become a provider for family’s daily needs. Instead, Bond still has the provider function for himself.

Bond shows that he has a high taste of something that he chose. The first one is that Bond is willing to move to the bridal suite in the Kristal Palas Hotel.

Aside from the reason of previous room has been set with spying devices by the enemies, Bond still wants to move to the only available room at that time – the bridal suite. Bridal suite are usually expensive because the room is usually larger and designed to be used by a married couple. During the Bond’s conversation to the receptionist using a intercepted phone, it shows that Bond is willing to move to the bridal suite which means he wills to pay the bills, aside from his own safety.

The concierge raises the receiver to his ear

RECEPTIONIST : (into phone) I’m sorry, sir. That’s all we have available, except the Bridal Suite.

BOND : (into phone) Well, let’s have a look at it. I may like it. (Maibaum, 1963, p. 40)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Another point that shows James Bond’s high taste is his choice of meal during the restaurant car scene. At that time, Bond is having dinner with Tania and

Grant in the restaurant car. Bond orders a grilled sole and a bottle of blanc de blancs champagne. Tania and Grant order the same meal, but Grant orders Red Chianti for his drink.

Bond looks at the menu.

BOND : I’ll have the grilled sole.

He looks at Tania for approval. She shrugs.

BOND : And for madam. (to Grant, off) What about you, Nash?

ANGLE ON GRANT

GRANT : Yes, That sounds very nice. Make that three of those, will you?

WIDER ANGLE – THE TABLE

BOND : I’ll have a bottle of the Blanc de Blanc. GRANT : Make mine Chianti. WAITER : White Chianti, monsieur? GRANT : Uh, no. The red kind. (Maibaum, 1963, p. 108)

From what Bond chose, first grilled sole is an expensive meal. Because sole is a fish that is only found in European waters and one of the most expensive fish on the market. According to FAO’s European Price Report in January 2018, a kilogram of fresh whole wild sole price can reach up to US$26.64. Next is Bond’s champagne choice, the blanc de blancs. Blanc de blancs is a kind of champagne that entirely made from chardonnay grapes. Some review says that this champagne has more fruity flavor and yet expensive. Blanc de blancs champagne costs starting

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

from $39.99 up to US$1,020. In the film James Bond orders the Taittinger Blanc de Blancs Champagne, which it costs around US$1,000.

Another indicator that shows Bond’s high taste is the car that he owns.

When Bond makes a call to the HQ, it shows that he owns a green convertible car

– a 1935 Bentley 3.5 Litre. Even though the car is only shown during that scene, the writer assumes that the car is in Bond’s personal possession.

Bond’s classic green convertible car (FRWL, 1963: 0:18:43)

From the analysis above, the writer finds that James Bond fulfills his functional characteristics. Because Bond does not have any family, all of his high salaries from his job as a top agent in the government agency (MI6) are used to fulfill his daily needs and purchase his luxurious things.

3. Sexual Characteristics

According to Chafetz there are four aspects that belong to sexual characteristics of being masculine: sexually aggressive, experienced, acceptable single status, and perception of male “caught” by spouse (1974, p. 38). In From

Russia with Love, James Bond clearly shows his sexual characteristics whenever he

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

meets beautiful woman. During the film event, Bond meets and having relationship with two women: Sylvia Trench and Tatiana Romanova.

First, Bond shows that he is sexually experienced to the woman. James

Bond already knows how to kiss and having “relationship” to a woman. Presumably

Bond knows it long even before the first film (Dr. No) event occurs. His sexual experience is first shown when he kisses and embraces Sylvia Trench.

The punt continues off. TILT DOWN TO REVEAL another punt, resting on the shoreline beneath a tree. Inside are Bond and SYLVIA, embracing and kissing. An ice bucket and glasses are beside it.

BOND : I couldn't agree with him more. SYLVIA : I might even give up golf for it. BOND : Really? (Maibaum, 1963, p. 20)

Bond kisses and embraces Sylvia in the punt (FRWL, 1963: 0:18:01)

On the other scene where Bond meets Tania for the first time, Bond properly introduces himself to Tania. Then Bond leans forward and kisses Tania.

While kissing, Bond asks Tania about the Lektor and Russian Consulate’s site plan.

Tania wants to tell him about it tomorrow. Later they kiss and “play” in the bed.

BOND : You're one of the most beautiful girls I've ever

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

seen.

CLOSE-UP – TANIA

TANIA : Thank you, but I think my mouth is too big.

CLOSE-UP – BOND

BOND : No, it's the right size...

EXTREME C.U. – TANIA

Her lips part invitingly.

BOND

BOND : ... for me, that is.

He leans forward and they kiss.

BOND : Yes. (he kisses her again) Is it here? TANIA : What? BOND : (brushes his lips against hers) The decoding machine – the Lektor. TANIA : (kissing him) Must we talk about it now? BOND : Or is it at the Russian Consulate?

They kiss again, lingering.

TANIA : Umm... yes. BOND : Yes. (he leans back) I would need a plan of the place. If you could get one, we can meet at the Saint Sofia Mosque, like we were tourists. TANIA : (leaning forward) Why don't you ask me that... later? ….

She leans back onto the pillow seductively.

TANIA : I will tell you in the morning.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond embraces her and they kiss. (Maibaum, 1963, p. 69-71)

Bond meets Tania for the first time and then kisses (FRWL, 1963: 0:53:35- 0:55:30)

Then during the final scene of From Russia with Love, James Bond shows his love toward Tania when they are on the gondola boat. Bond looks at the blackmail reel of film, which contains the scene where they kiss and “play” in the hotel room, and admits that it was great. Grant and Kleb recorded the reel of film behind a one-way mirror on Tania’s room. Then Bond kisses Tania, and tosses the reel to the water and waves goodbye to it.

He takes the reel of film given to him by Grant from his pocket.

FAVORING BOND

He unspools the start of the roll and holds it up to the light.

BOND : (looking at it) He was right, you know.

FAVORING TANIA

TANIA : What is it? BOND : I'll show you.

He slings an arm around her and they kiss. TILT UP to the canal. Bond's hand rises into frame holding the reel, swings it around and tosses it. CLOSE SHOT - THE CANAL

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The reel lands in the water. (Maibaum, 1963, p. 148-149)

Bond meets Tania for the first time and then kisses (FRWL, 1963: 1:53:14- 1:53:25)

From the scenes above, Bond also shows that he is sexually aggressive.

Especially when he kisses and “plays” with Tania in the hotel room. Even though we could not see the scene where they “play”, the writer can only presume what is happening.

From the analysis above, the writer finds that James Bond’s sexual characteristics are shown when he falls in love with either Sylvia Trench and

Tatiana Romanova. At first Bond only sees Tania’s photograph and later Bond is interested to meet her in flesh, which later they meet in the hotel. Bond is astonished with her beauty and completely falls in love with her at the end of the film. His sexual aggressiveness and experience make James Bond affirms Chafetz’s sexual characteristic of being masculine.

4. Emotional Characteristics

According to Chafetz there are three aspects that belong to emotional characteristics of being masculine: unemotional, stoic, and perception of boys do

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

not cry (1974, p. 38). In From Russia with Love, James Bond is mostly seen emotionless during his missions. In some scenes, Bond clearly shows his emotions.

During the train scene, where Bond discovers that Kerim Bey has died, he expresses his sadness only by his gesture and face expression.

IN BENZ' COMPARTMENT

The door slides open the rest of the way revealing Bond and the conductor.

CONDUCTOR : They killed each other!

DOLLY BACK as Bond walks in, to reveal Kerim and Benz lying dead. Kerim lies face-down on the floor with a knife in his back. Benz lies on the couch with a bullet-hole in his chest. Near Kerim's face is his yellow cigarette holder.

Bond kneels and lays his hand on Kerim's shoulder, surveying the scene, then rises.

BOND : (to the conductor) This must be kept quiet until we reach Trieste. CONDUCTOR : It will be difficult. BOND : (reaching into his jacket, with disdain) I'm sure. (Bond takes out some cash and counts it) Kerim Bey was a very influential man. He had many influential friends. I'm sure they also will reward you.

He gives some money to the conductor and puts the rest away.

CONDUCTOR : I'll try.

Bond frowns with disdain again, then looks down at Kerim.

ANGLE ON KERIM

Bond's hand reaches down and squeezes his shoulder. Then Bond picks up the cigarette holder.

TWO-SHOT - BOND AND THE CONDUCTOR

Bond rises and, with a last look back, turns into the corridor followed by the conductor, who closes the door behind them. (Maibaum, 1963, p. 97)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond’s expression of Kerim’s death (FRWL, 1963: 1:15:07-1:15:41)

During this scene, the writer finds that James Bond is actually sad knowing that Kerim Bey died, since Kerim Bey treats Bond just like a friend. Bond managed to suppress his emotion by not crying, but we can see Bond changes his facial expression. Then, after Bond goes back to his compartment he changes is emotion again to anger. Because Bond thinks that Tania is everything behind this tragedy and knows everything regarding Kerim’s death. He shouts at Tania asking for the truth and slaps her.

INT. TANIA'S COMPARTMENT – DAY

She sits on the couch folding a sweater. A triple-knock sounds at the door. She gets up and unlocks it. From outside, Bond slams the door open and glares at her.

TANIA : What is it?

She looks at him, not comprehending.

BOND : Kerim's dead! TANIA : Dead? BOND : Um-umm.

Tania backs up and sits on the couch, shocked. Bond approaches.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

BOND : Now, I want the truth!

He reaches down, grabs her wrists and yanks her to her feet. DOLLY IN closer.

TANIA : James, you're hurting me! BOND : I'll do worse than that if you don't tell me! You're doing this under orders, I know. What are they? TANIA : I don't know what you mean. BOND : Liar!

He slaps her face and she flies back, landing on the couch.

TANIA : (holding her cheek) Even if you kill me I can say nothing. I did not know anything like Kerim's death would happen. But when we get to England, I tell you.

Bond goes to her. (Maibaum, 1963, p. 98-99)

Bond is angry toward Tania, accuses her knows everything about Kerim’s death (FRWL, 1963: 1:16:44-1:16:50) Aside from his anger Bond also shows his disappointment toward Tania because of Kerim’s death, but after knowing the real truth Bond did not feel sorry to Tania as well. Later after Bond finds out that Nash is actually the SPECTRE assassin – Grant, Bond is still able to maintain his calmness at first. Even Bond gives compliment that Grant saves him during the attack at the Gypsy camp.

He takes Bond's gun from his pocket, sets it on the couch, then takes out the silencer.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

GRANT : We're pros, Mister Bond.

He attaches the silencer to Bond's gun.

GRANT : We sweated your recognition code out of one of your men in Tokyo — before he died. I've been keeping tabs on you. I've been your guardian angel. I saved your life at the Gypsy camp. BOND : Oh, yes. I am much obliged. (Maibaum, 1963, p. 114-115)

From this scene, Bond must be able to maintain his calmness because at that time a gun is pointed against Bond. Bond must not act carelessly or he will be shot. According to Brett McKay and Kate McKay, there are some positive characters of being gentleman: well-dressed, well-mannered, and sprezzatura (2009, para. 16). James Bond’s well-manner can be seen when he gives a positive compliment to Grant when he saves Bond’s life.

From the analysis above, James Bond affirms Chafetz’s emotional characteristics of being masculine. Even though Bond is usually emotionless during his missions, as a human being Bond is unable to control his own emotion in some scenes. Bond does not cry when he looks at Kerim’s dead body, even though we can see Bond’s facial expression where he looks sad and disappointed. It confirms one point where he has the perception of “men do not cry.” In contrast, James Bond shows his exploding anger against Tania when he knows Kerim is dead. The last one is where he shows his gentleman manner where he gives a gratitude to Grant after saving his life in the

Gypsy camp attack.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

5. Intellectual Characteristics

According to Chafetz there are eleven aspects that belong to intellectual characteristics of being masculine: logical, intellectual, rational, objective, scientific, practical, mechanical, public awareness, activity, contributor to the society, and dogmatic (1974, p. 38). In From Russia with Love, James Bond’s intellectual characteristics can be seen throughout his missions in the film.

James Bond’s intellectual abilities can be seen when ‘M’ briefs Bond about his mission to secure a decoding machine – Lektor and the defecting Russian cipher clerk Tatiana Romanova to the West. Bond is able to describe the Lektor in general, even he mentions that he does not know much about cryptography.

'M' : (filling his pipe) Well, obviously it's a trap, and the bait is a cipher machine. A brand new Lektor. BOND : A Lektor, no less. The C.I.A.'s been after one of those for years.

ANGLE ON 'M' over Bond's shoulder. 'M' lights his pipe and sits.

'M' : Yes. So have we. When she contacted Kerim Bey, head of Station T, Turkey, and told him she wanted to defect, she said she'd turn it over to us, on one condition: that you went out to Istanbul and brought her and the machine back to England.

(he takes a photo from the file)

Here's a snapshot Kerim managed to get of her.

BOND takes the photo, glances at it absently, then looks up.

BOND : Well, I don't know too much about cryptography, sir, but, uh... a Lektor could decode their top secret signals. The whole thing's so fantastic, it just could be... (he finally looks at the photo and catches himself) ...true. (Maibaum, 1963, p. 23-24)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Besides that, James Bond knows well about his gadgets that Boothroyd (or

‘Q’ in later films) gave to him. It is a standard-issue gadget for all 00 agents. The gadgets are consisting of a briefcase with an AR-7 folding rifle and its ammunition, concealed flat throwing knife, 50 gold sovereigns, and a self-exploding tear gas cartridge. After receiving explanation from Boothroyd and tests the gadgets Bond says he got it.

BOOTHROYD : Now you try it.

MEDIUM CLOSE-UP - 'M'

Pipe in his mouth, 'M' looks up at Bond, removes the pipe and blows out smoke.

MEDIUM TWO-SHOT - BOND AND BOOTHROYD

Bond moves behind the upright case and lays his fingers the catches.

BOND : Hmm. Turn the catches... (twisting them) ...like that... BOOTHROYD : That's right. BOND : And open ordinarily.

Bond snaps the briefcase open then grins in satisfaction.

BOOTHROYD : You've got it? BOND : Yes, I think so. (Maibaum, 1963, p. 28-29)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond smiles after testing out his gadgets (FRWL, 1963: 0:23:08)

In the film, Bond is also a scientific kind of person. He has to find out the smallest things that might endanger himself. When Bond enters his hotel room in the Kristal Palas Hotel, Bond inspects every angle of his hotel room and found counter-intelligence devices set in his room. He also checks the telephone using a test instrument and finds that it is intercepted.

BOND

Backs away, continuing to look around. He sees a chandelier overhead, walks under it and turns it around, then steps forward and looks at:

INSERT – A PHONE

resting on the nightstand.

BOND

turns up his briefcase, moves the catches sideways and opens it. He takes out a test instrument and picks up the phone.

INSERT – PHONE

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond places the instrument beneath it. The meter rises and crackles. (Maibaum, 1963, p. 39)

James Bond finds that the enemies are spying on him (FRWL, 1963: 0:30:18- 0:30:55)

Next, Bond has a good public awareness during his mission. Bond has to make sure that everything stays confidential. When Bond arrives at the Istanbul

International Airport, Kerim Bey’s chauffeur picks up James Bond. To make sure it is a correct chauffeur Bond uses the recognition code.

Bond gestures to the chauffeur to move on.

CHAUFFEUR : I’ll get the car, sir. (Maibaum, 1963, p. 32)

Bond still uses the same recognition code when he is talking to Mahmed, one of Kerim Bey’s son. Next Bond has an objective thinking, because he has to retrieve as many and detailed information as possible that he needs regarding the

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Lektor. During the ferry scene, Bond and Tania are aboard, Bond takes a picture of

Tania using his camera. Later, Bond asks Tania about the Lektor in detail. He records the whole conversation using his camera which is actually a tape recorder.

Bond glances around then lowers the front flap of the camera case, revealing a tape recorder. BOND : Talk into this. Answer my questions quietly but clearly. BOND : How long is the machine? TANIA : Like... like a typewriter. BOND : Weight? TANIA : About ten kilos. In a brown case. Brown like your eyes. BOND : Keep it technical. Self-calibrating or manual? TANIA : Both. With an in-built compensator. James, couldn't we...? BOND : Not now. Talk into the camera. How many keys? TANIA : Symbol or code keys? BOND : Both. DISSOLVE TO: A LARGER TAPE RECORDER

The reels are spinning. PULL BACK to reveal:

INT. 'M'S' OFFICE – DAY

The tape recorder is on 'M's' desk and he sits listening. Moneypenny sits beside him taking notes. Across the desk sit a NAVAL OFFICER, an ARMY OFFICER and FOUR OTHER SUPERNUMERARIES. 'M' lights and puffs his pipe.

Bond and Tania's voices come through the speakers:

TANIA'S VOICE : There are twenty-four symbols, sixteen code keys. It is inserted in a slot. And the message comes out on a paper roll from another slot on the other side. And the mechanism is... oh, James... James... will you make love to me all the time in England? BOND'S VOICE : Day and night. Go on about the mechanism. TANIA'S VOICE : Oh, yes, the mechanism. Once when it was being repaired I saw the inside. There were many perforated discs made, I think, of copper, with a small light... (Maibaum, 1963, p. 77-79)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

James Bond records the conversation (FRWL, 1963: 1:01:20)

Next Bond shows his mechanical skill when he assembles the Armalite

AR-7 folding rifle and uses it to kill Krilencu. He also uses the same weapon and assembles it to take down the enemy helicopter.

Bond assembles the AR-7 folding rifle (FRWL, 1963: 0:49:15-0:49:35)

Bond is also shows that he is a rational thinker in the film. When Bond discovers the death of Kerim Bey, he has to take control of his own actions. When

Bond arrives at the Belgrade station, Bond meets with one of the Kerim’s son

Mahmet. Mahmet asks why the train did not stop, then he tells the truth where

Kerim has died. Then Bond has to think rationally by changing the plan and lead the mission.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond gestures feebly, slips the lighter into his pocket and starts walking with Mahmet; TRUCK with them.

MAHMET : My brother telephoned me. Why did the train not stop? BOND : Well, I... I have some... some bad news.

Bond stops and gives Mahmet a direct look.

BOND : Your father's dead. MAHMET : Who did it? Tell me. BOND : Well, he took care of that himself. The other man died first. (all business) Now, listen.

Bond tosses his cigarette aside. DOLLY IN closer.

BOND : I'll need some help to get across the frontier strip between Yugoslavia and Trieste. I want you to send a message to 'M' in London. Tell him to send someone from Station Y to meet me in Zagreb. All right? MAHMET : I will. BOND : Good.

Bond nods to him, then PAN on Bond as he walks away. Then he stops and turns back.

BOND : Oh.

DOLLY BACK as Bond returns to Mahmet taking out Kerim's wallet and cigarette holder.

BOND : (handing them to Mahmet) You'll, uh — I think you'll want these. (Maibaum, 1963, p. 101-102)

There must be a reason why Bond changes the plan. The writer can assume because Bond does not want their escape route leaked to the enemy. Presumably,

Kerim’s death also a symbol that the information of their escape has been compromised by SPECTRE.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

From the analysis above, the writer finds that James Bond has an extraordinary intellectual characteristics. His fast thinking and skills might also answer why James Bond becomes the top agent. His intellectual characteristics also shows the masculine or manly way of thinking.

6. Interpersonal Characteristics

According to Chafetz there are seven aspects that belong to interpersonal characteristics of being masculine: leader, dominating, disciplinarian, independent, free, individualistic, and demanding (1974, p. 39). In From Russia with Love, there are some scenes that show James Bond’s masculine interpersonal characteristics.

James Bond shows his leadership roles can be seen when Bond finds out that Kerim has died. He has to take over the leader role, because Bond knows that the leader has died and Bond does not want to take too much risk of leaking or compromised information to the enemy. When he discovers Kerim has died, Bond knows how to treat Kerim’s “sons” or people just like Kerim did. Bond gives some money to the conductor to keep everything quiet until they reach Trieste border.

Bond kneels and lays his hand on Kerim's shoulder, surveying the scene, then rises.

He gives some money to the conductor and puts the rest away.

CONDUCTOR : I'll try. (Maibaum, 1963, p. 97)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond gives “a reward” to the conductor to keep silent until reaching Trieste (FRWL, 1963: 1:15:23)

Bond’s takeover of the leadership can be seen during the scene where he talks with one of the Kerim Bey’s son Mahmet.

BOND : Well, I... I have some... some bad news.

Bond stops and gives Mahmet a direct look.

BOND : Your father's dead. MAHMET : Who did it? Tell me. BOND : Well, he took care of that himself. The other man died first. (all business) Now, listen.

Bond tosses his cigarette aside. DOLLY IN closer.

From that scene, we can see that after Kerim dies Bond takes responsibility to change the tactics. Besides that, Bond’s leadership takeover can be considered as

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

his individualism. Because he single-handedly takes over the leadership from

Kerim Bey, without noticing ‘M’ or Mahmet first.

From the analysis above, the writer only finds that James Bond has a few masculine interpersonal characteristics. James Bond only shows his leadership and individualistic roles when he takes over Kerim Bey’s indirect leadership. While the other points such as disciplinarian, independent, free, and demanding can not be seen in this film. Because James Bond is not an independent and free kind of man.

He is working under orders by ‘M’ to secure the defecting Russian cipher clerk and the Lektor, and he can not abandon the orders that has been given to him.

7. Other Personal Characteristics

According to Chafetz there are twelve aspects that belong to other personal characteristics of being masculine: aggressive, success-oriented, ambitious, proud, egoistical, confident, moral, trustworthy, decisive, competitive, uninhibited, and adventurous (1974, p. 39). Besides the five masculinity characteristics, James Bond also shows his other personal characteristics during the From Russia with Love film events.

First, James Bond is an aggressive man when encounters the enemies. His aggressiveness can be seen during the fight scene between Grant and small fight against Klebb. Aside from his aggressiveness Bond has to fight smart, because he should not make a mistake when he fight. One mistake may result for his injury or probably his death.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Bond’s fight against Klebb (FRWL, 1963: 1:51:44)

Next, James Bond is a success-oriented man. During his mission securing the defecting Tatiana Romanova and the Lektor, he has to make sure that his mission is a success. In the end, he successfully brings the Lektor and the defecting

Tatiana Romanova to the West.

James Bond is also an ambitious man, where he has to secure the decoding machine – Lektor at all costs. During the ferry scene, when Bond asks Tania about the Lektor, he prefers to do his business first rather than loving Tania.

INTERCUT CLOSE-UPS - BOND AND TANIA

BOND : About the machine... TANIA : That's all you're interested in. Not me. BOND : Business first. (Maibaum, 1963, p. 77)

From the conversation above, we can see that James Bond says “business first” to Tania because of his ambition to get the Lektor first. Bond also added if he gets the Lektor, he spents more time for Tania.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

James Bond is a trustworthy man, where he gains trust from his commander

‘M’ to secure the Lektor and the girl. Aside from his own trust, Bond also trusts people around him, one of the most notable is Kerim Bey. His trust against Kerim

Bey can be seen during the conversation between them when they plan to kill

Krilencu.

BOND AND KERIM

KERIM : (frustrated) Arm or no arm, I have to pull that trigger. BOND : (handing him the rifle) Here, if you think you can. You've got one shot, remember. KERIM : It'll have to do.

Kerim puts the rifle on Bond's shoulder and looks through the sight. (Maibaum, 1963, p. 66)

From this short conversation, we can see that Bond trusts Kerim Bey to kill

Krilencu. Bond knows Kerim Bey’s arm hurt after being shot, so Bond is the one who is able to shoot properly. Because Kerim Bey has a personal revenge against

Krilencu, Kerim Bey has to make sure that he kills Krilencu. Bond trusts his rifle to Kerim Bey, because the rifle only has one shot. If the bullet misses the target,

Krilencu will probably run away and targets Kerim Bey once again. Kerim Bey manages to kill Krilencu with that rifle.

From the analysis above, the writer only finds that James Bond has a few masculine other personal characteristics. James Bond shows his aggressiveness to the enemy, aside from this aggressiveness he also has to fight smart. He has to be aggressive because enemy might be more aggressive if they encounter Bond. The other point that Bond is an ambitious man where he has an ambition to get the

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Lektor first rather than loving Tania. Bond is also a trustworthy man, where he gains trust from his organization and he gives trust to the people around him such as

Kerim Bey.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER V

CONCLUSION

In this chapter, the writer concludes the discussion of the problem formulation. The first problem formulation focuses on the James Bond’s portrayal in the From Russia with Love film. The writer uses the characterization theory by

Oscar Gross Brockett and finds James Bond’s portrayal in the film. First, James

Bond’s physical appearance is portrayed as an Englishman in his 30s-40s with medium built body with hair on his chest and legs, a clean shaved face, a sweep to the side black hair, a height of 6” 12’, perfect health state, and a scar on his back.

Second, Bond’s social status is portrayed as a wealthy person because of his salary from his job as a British secret agent. Third, Bond’s psychological traits are portrayed as a person with high intelligence, awareness, skills, and mostly calm during the film events.

The second problem formulation focuses on the representation of masculinity shown through James Bond’s characteristics and portrayal in the From

Russia with Love film. In this problem formulation, the writer uses Janet Saltzman

Chafetz’s theory of masculinity, also Brett McKay and Kate McKay’s theory of manliness. Using these two theories, the writer finds the seven masculinity representation from James Bond’s portrayal in the film. First, James Bond’s physical characteristics are strong, brave, athletic, but did not show his sloppiness and worry less about appearance and aging due to his characteristic as an English gentleman. Second, Bond’s functional characteristics show that he fulfills his own daily needs and from his high salary Bond has a high taste of everything he chooses.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Third, Bond’s sexual characteristics are sexually aggressive and experienced toward beautiful women, especially when he encounters Tania. Fourth,

Bond’s emotional characteristics are unemotional during most of his mission, even though Bond still shows his own emotion in some cases, and Bond does not cry when he is sad. Fifth, Bond’s intellectual characteristics is extraordinary because of his knowledge, scientific thinking, public awareness, and mechanical skill. Sixth,

Bond’s interpersonal characteristics are only shown such as his leadership roles and being individualistic that is shown directly in the film. Seventh, Bond’s other personal characteristics are his aggressiveness toward the enemy, ambition, and trust to other people.

Finally, the writer finds that James Bond’s portrayal and its masculinity representation lead James Bond as a masculine person. Because James Bond’s masculinity characteristics are similar to Chafetz’s theory of masculinity such as the physical, functional, sexual, emotional, intellectual, interpersonal, and other personal characteristics. Besides that, James Bond’s masculinity is during that era is unique because his masculinity portrayal is also similar to the gentlemen type of manliness, which a man should be well-dressed, well-mannered, and sprezzatura.

In addition, this thesis is also to contribute the understanding of gender studies at the English Letters Department of Sanata Dharma University that includes not only feminist theories and queer theories but also the masculinity theories. The writer also hopes that in the future the other researchers to analyze the film particularly the character of Tatiana Romanova using the feminist approach or the film itself using the postcolonial approach.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

REFERENCES

Abrams, M.H. (1999). A Glossary of Literary Terms, Seventh Edition. Boston: Heinle&Heinle Arnheim, Rudolf. (1957). Film as Art. Berkeley: University of California Press Brockett, Oscar Gross. (1964). The Theatre: An Introduction. New York: Holt, Rineheart and Winston Chafetz, Janet Saltzman. (1974). Masculine, Feminine, or Human? An Overview of the Sociology of the Gender Roles. Itasca: F.E. Peacock Publishers. Griffin, Gabriele. (2017). A Dictionary of Gender Studies. Retrieved from http://www.oxfordreference.com/abstract/10.1093/acref/9780191834837.0 01.0001/acref-9780191834837-e-247?rskey=JklzMt&result=1 (on 3 September 2018) Kimmel, Michael S. & Amy Aronson. (Eds.). (2004). Men and Masculinities: A Social, Cultural, and Historical Encyclopedia, Volume 1. Santa Barbara: ABC-CLIO Maibaum, Richard. (1963). From Russia with Love [Film Script]. Buckinghamshire: Eon Productions. McKay, Brett & Kate McKay. (2009, September 13). The Different Types of Manliness. Retrieved from https://www.artofmanliness.com/articles/the- different-types-of-manliness/ (on 3 September 2018). Nurdiyanti, Yanti. (2008). Masculinity in Casino Royale ‘007 (Undergraduate Thesis). Retrieved from http://repository.uinjkt.ac.id/dspace/bitstream/12456789.8997/1/YANTI NURDIYANTI-FAH.pdf Pilcher, Jane & Imelda Whelehan. (2004). 50 Key Concepts in Gender Studies. London: SAGE Publications Ltd. Raengo, Allessandra & Robert Stam. (Eds.). (2004). A Companion to Literature and Film. United Kingdom: Blackwell Publishing Ltd. Reeser, Todd W. (2010). Masculinities in Theory: An Introduction. Oxford: Blackwell Publishing Ltd. Saimima, Leendert Farrell & Sri Mulyani. (2018). Bullfighting and Masculinity in Jorge Gutierrez’s The Book of Life. Journal of Language and Literature, 18(1), 82-97. Whitman College. (2012, December 12). Gender Studies. Retrieved from https://archive.is/20121212181127/http://www.whitman.edu/content/gende rstudies

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Zeglin, R. J. (2016). Portrayals of Masculinity in “Guy Movies.” The Journal of Men’s Studies, 24(1), 42–59. https://doi.org/10.1177/1060826515624390 Saltzman, Harry & Albert R. Broccoli (Producer) & Young Terrence (Director). (1963). From Russia with Love [Motion Picture]. Buckinghamshire: Eon Productions.