Feature 02

below Figure 1: Colonel (Lotte Len- ya) caresses (Daniela Bianchi) in From Russia with Love (, 1963)

When Can Homophobia ?: An Examination of Sexual Deviance in the Franchise By Lauren Spungen keywords: James Bond, , homosexuality, LGBTQ+, From Russia with Love,

THERE ARE CERTAIN fall in love with him, rescues her from a sexually deviant villains have been present ExPECTATIONS – necessities to dangerous villain, and saves the world – all throughout the films. From one of the first many fans – that come along with the within the course of a two-hour screening installments, From Russia with Love (1963), to release of a James Bond film. As a result time. But there is one aspect of this formula one of the most recent, Skyfall (2012), many of the fairly predictable nature of the that goes mostly unacknowledged by fans: of Bond’s enemies fall on the LGBTQ+ films, the franchise has become a popular many of the evil geniuses Bond faces spectrum. phenomenon, evidenced by total box office off with are minorities in terms of their As of 2015, in which the most recent earnings of over $7 billion (“Box Office sexuality. Christine Bold, a professor of Bond film, , was released, about History”). Beginning with a silhouetted, English literature, notes about the franchise, 60% of Americans were in support of hyper-sexualized credit sequence, Bond “beauty, heterosexuality, and patriotism go gay marriage, a 200% increase since only is equipped with unrealistically high-tech together; ugliness, sexual ‘deviance’ and 2004 (Koplowitz). The same holds true in gadgets and sent on a top-secret mission in criminality are linked equally irresistibly” Britain: since legislation has been passed an exotic, jaw-droppingly beautiful location. (174). Although Bold primarily focuses on in 2013 allowing same-sex marriage in the He makes an impossibly gorgeous woman the book series authored by , UK, approval of gay marriage has risen

12 Film Matters Spring 2017 Feature 02 When Can Homophobia Live and Let Die?

But when examining the conflict between Bond and Klebb – good and evil – the film reveals a simultaneous battle between heterosexuality and homosexuality. to 60% in 2015 (Bingham). Despite the non-heteronormative character be vilified of the second Bond film, From Russia with rapidly expanding societal acceptance of yet again? Love, directed by Terence Young, Eon sexual minorities, however, the Bond series Vilifying characters that present as non- Productions was able to set a precedent for seems to be stuck following an outdated heteronormative can be traced back to how the film franchise would play out. At formula. The franchise attempts to fill a the very beginning of James Bond: the this point, the “Bond formula” had not yet predictable trope by portraying characters 1953 novel by Ian Fleming. been cemented; the classic plot staples and in a comedic fashion, but, underneath the The story’s arch-villain is , an viewer’s expectations were flexible since lighthearted tone, the villains are depicted agent of the USSR who enjoys high-stakes there had only been one previous film, Dr. in a manner that perpetuates anti-LGBTQ gambling. In the beginning of the novel, No (1962).1 The impressionable nature of the sentiments by vilifying sexual minorities. It M16 (Bond’s agency) receives a dossier series at this point made it easy for tradition is important to note that I am not claiming describing Le Chiffre’s physical appearance to start within the franchise. Unfortunately, that the antisocial nature of the villains is a and background, detailing the villain’s the initial choice to make Bond overly result of their sexuality – that the series is habits as, “Mostly expensive, but discreet. masculine and have him fight against a portraying the characters as evil because they Large sexual appetites. Flagellant” (14). non-heterosexual villain began a trend are homosexual – but instead I argue that, This characterization of Le Chiffre as into throughout the films. within the context of the franchise, there BDSM appears later in the novel too; Bond In From Russia with Love, Bond (Sean exists a correlation between homosexuality and is captured by the villain and seated in a Connery) is painted as a champion of evil that perpetuates ideas of homophobia. bottomless chair, and his wrists and ankles heterosexuality; within a mere two hours This link between deviant sexuality and are tied in a manner reminiscent of bondage. of film, he has sexual relations with four morality is more distressing now than ever Le Chiffre enters the room with a carpet- different women. Although humorous, this before; the most recent Bond film, Spectre beater and a cane and begins to torture Bond extreme manifestation of a heterosexual (2015), did not introduce any new villains by thrashing him through the hole in the Bond is problematic because his arch- to the franchise, simply showcasing the chair. As Bond cringes in pain, Le Chiffre nemesis in the film, Colonel Rosa Klebb notorious villain Blofeld in a new manner. seems to derive enjoyment from the torture, (), is overtly depicted as lesbian. However, as the series continues to grow, merging his non-heteronormative expression The film’s plot revolves around Bond trying the introduction of new villains is inevitable. of sexuality with an evil to oppose Bond’s to retrieve an important device stolen by And as Eon Productions continues to make good. Klebb’s criminal organization, and Bond’s more films and the population grows in The same pattern of linking deviant arch-nemesis, SPECTRE. But when support of the LGBTQ+ movement, the sexuality and evil emerged as the book examining the conflict between Bond and liberal Bond fan is compelled to ask: will a series was adapted to film. With the release Klebb – good and evil – the film reveals a

below Figure 2: Colonel Rosa Klebb (Lotte Lenya) in From Russia with Love (Eon Productions, 1963)

13 Film Matters Spring 2017 ➜ Feature 02 Lauren Spungen

Pussy Galore is a lesbian until she falls in love with Bond and simultaneously becomes “good.” simultaneous battle between heterosexuality Bond fight, and Tatiana, using the gun that appear more forceful since Klebb’s victim and homosexuality. Klebb dropped, shoots at the colonel. Klebb is visually below her. After Silva stands over Klebb’s lesbianism becomes apparent collapses to the ground as Bond walks away Bond for a minute, just long enough to assert when she invites the film’s “,” from her, unscathed. In Tatiana’s actions to that he is in charge, he pulls a chair and Soviet intelligence agent Tatiana Romanova protect the man she loves, she kills Klebb, sits down in front of Bond. The two men (Daniela Bianchi), into her office to explain restoring the heteronormative balance of the begin to speak about () – 007’s her mission. Almost immediately, Klebb, film. boss – and the villain becomes touchy. He a butch-presenting woman sporting a When From Russia with Love was released undoes the top few buttons in Bond’s shirt, masculine haircut and a light brown suit, in theaters, homosexuality was officially revealing a scar from a previous bullet tells Tatiana to take off her jacket and turn categorized as a mental disorder in the wound. Silva begins to caress it with his around. Tatiana sits in a chair in Klebb’s Diagnostic Statistical Manual, a psychologist’s hand; an image comparable to the careful office and the camera is positioned at eye tool for classifying and diagnosing mental way that Klebb touched Tatiana’s shoulders level with her, making the viewer aligned disorders (Drescher). If homosexuality almost fifty years prior. As Silva’s hand grazes with Tatiana rather than Klebb. “You’re were still classified as a disorder today, the the wound, Bond, defending his boss against a fine looking girl,” Klebb comments, growing number of people who support the villain’s criticism, says, “She never tied her eyes scanning Tatiana’s figure. Klebb gay rights would be outraged. Bond fans me to a chair.” “Her loss,” Silva replies as he explains that Tatiana is supposed to seduce that fall under this category still should remains focused on the scar. As they further Bond and give him false information, but be – even though society has changed, discuss M, Silva moves his hands from Bond’s while discussing this assignment, the villain the James Bond franchise still employs the chest to his neck and eventually to his legs approaches her and rests a hand on Tatiana’s same formula as seen in From Russia with (Figures 3 and 4). With his hands still on bare leg. Tatiana flinches out of discomfort. Love when characterizing their villains, Bond’s thighs, Silva’s dialogue continues to Later in the scene, Klebb positions herself only adapting the archetype to the plot of take a sexual undertone as he says, “there’s directly behind Tatiana; she then initiates each individual film. Upon the release of a first time for everything,” implying that physical contact again by putting her hand the twenty-third installment in the series, he would like to be the first man Bond has on Tatiana’s shoulder. Tatiana consistently Skyfall, directed by , the arch- sexual relations with. Unlike Tatiana was, demonstrates resistance to Klebb’s sexual villain was, yet again, portrayed as non- Bond is unable to defiantly glare out of advances by avoiding eye contact, instead heteronormative. the frame – the way in which Craig and gazing at the floor out of the frame. “You The arch-villain of Skyfall is Bardem are staged forms an inevitable eye are very fortunate to have been chosen for (), a former M16 operative contact between Bond and his tormentor. In such a simple, delightful duty,” Klebb says turned evil, desperate to get revenge after the response to Silva’s flirtatious comment, Bond as she caresses Tatiana’s neck and chin, organization abandoned him in a Chinese replies, “What makes you think this is my “a real labor of love.” With the mention prison. Although attempting to harm the first time?” Although presented in a manner of the word “love,” Klebb’s voice slows whole of M16, Silva takes a special interest that could perhaps suggest Bond is bisexual, down and rises slightly, indicating an aspect in 007; his attraction to Bond mirrors that this conclusion seems unlikely. Taking into of romance as she strokes Tatiana’s face of Klebb’s to Tatiana. Once captured by consideration the discrepancy between how (Figure 1). Throughout the scene, Lenya’s Silva on a deserted island, Bond is tied to a he has always treated women and men, the acting alienates Klebb from the viewer – chair (appearing to the viewer as though he franchise has never explicitly claimed or even her expression is consistently harsh, even were in bondage). With Silva standing rather implied that Bond is sexually attracted to, or when she attempts to be romantic, and her than sitting, Bond is forced to look up at his has had sexual relations with men. Rather, movements indicate an almost-inhuman enemy and the unequal power dynamic of his out-of-character retort seems to simply stiffness. Accompanied by Lenya’s restrained the scene is communicated to the viewer. mirror Bond’s usual playful, yet strategic blinking during the interaction, the viewer The same image is present in From Russia with banter with his enemy. is made to see Klebb as foreign and not Love; Klebb demands that Tatiana be seated, In “Age, Gender, and the Resilient Agent relatable, allowing further dehumanization. making her unwanted sexual advances in Skyfall (2012),” Klaus Dodds discusses the Unable to resist his hyper-masculine charms, Tatiana ends up becoming attracted to Bond over the course of the film. This seduction is more than just physical; as is typical with the “Bond girls,” Tatiana becomes emotionally attached to him. She ends up abandoning her duty to the Soviet state and to Klebb in order to help Bond when he is attacked at the end of the film. Klebb, dressed up as a maid, pretends to be cleaning Bond’s hotel room when she pulls out a gun (Figure 2). Tatiana distracts Klebb, playing on her sexuality, and the above Figure 3: Bond () is captured by Silva (Javier Bardem) in Skyfall (Eon Productions/Twen- villain quickly drops the gun. Klebb and tieth Century Fox Home Entertainment, 2012)

14 Film Matters Spring 2017 Feature 02 When Can Homophobia Live and Let Die?

above Figure 4: Silva (Javier Bardem) places his hands on Bond’s (Daniel Craig) legs in Skyfall (Eon Productions/Twen- tieth Century Fox Home Entertainment, 2012) When betrays her sexual identity and Goldfinger’s evil scheme simultaneously, the film and novel reinforce an implicit link between heterosexuality and goodness, and homosexuality and evil. implications of this scene in terms of how and portrays homosexuality as a larger evil In the novel written by Ian Fleming, Pussy sexuality is portrayed. Dodds contends, “The that is being forced upon the “good” in society. Galore’s character is explicitly homosexual. scene in question reinforces a well-established Silva seducing Bond is an anomaly; 007 Fleming makes it very clear that she is tradition within the James Bond series of is almost always the one to initiate a sexual attracted to only women by referring to her vilifying homosexuality and the homosexual relationship, a reminder to the viewer of as a Lesbian (always with a capital “L”). body” (124). He interprets Silva’s actions his occasional animal-like, almost-primitive Often said in conjunction with her name, as a threat to Bond and his ideals, saying, masculinity. Bond has initiated relationships Pussy Galore’s sexual orientation becomes “[Silva] challenges his resilience by probing with uninterested colleagues – Miranda the identifying feature of her character. his heterosexuality. Can Bond endure a Frost (Rosamund Pike) from However, even though so much emphasis is heteronormative challenge—one in which he (2002), married women, and even recent placed on Galore’s homosexuality, Bond is is caressed by Silva where his restrained body widowers – namely Lucia Sciarra (Monica unable to accept her disinterest in a romantic cannot protect him” (124). Bellucci) from Spectre. Many of these relationship, viewing her sexuality as a small Dodds notes an important feature of the women are initially reluctant to become hurdle in his inevitable conquest. Fleming scene that intensifies the threat to Bond: the involved with Bond, but in one instance, shows that Bond blatantly disregards her fact that his hands are tied up. Not only does Bond attempts to pursue a woman who is attraction to only women, claiming, “[Bond] this make Bond unable to fight back, but it adamantly uninterested in him – in addition felt the sexual challenge beautiful Lesbians also makes Silva seem like a more forceful to every other man. have for men” (197). character – a depiction that unfortunately Pussy Galore is not the average “Bond Although her attraction to women might amplify homophobic feelings toward Girl” – rather than fall head-over-heels is played down, Pussy Galore (Honor Silva. The fact that Bond’s hands are tied in love with Bond upon meeting him, she Blackman) has a similar depiction in the back marks one of the largest differences shows contempt for and disinterest in his film Goldfinger, directed by . As between the seduction scenes in From Russia charm. In both the novel and the film Elisabeth Ladenson discusses in her article with Love and Skyfall; Tatiana’s reluctant Goldfinger (1964), she is introduced as one “Pussy Galore,” compliance with Klebb’s caresses, despite of ’s subordinates. As his not being physically restrained, has a slight private pilot, she serves an essential role in It is still fairly obvious… that Pussy discomforting effect on the viewer. But when his villainous plan to orchestrate an aerial Galore is a lesbian, who is then converted Bond is “challenged” by Silva, he sits up attack on Fort Knox and contaminate its by Bond. We are tipped off by Honor rigidly in his chair, unable to move his arms, supply, which will in turn increase the price Blackman’s brusque butch manner, yet still overtly conveying through body of his gold due to a lower circulation in the her team of all-girl aviatrixes and also, language that he is not compliant with Silva’s market. Although there are discrepancies certainly, by her initial resistance to Bond’s advances – a struggle that is uncomfortable between the novel and the film adaptation, charms. (229) to watch. The decision to have Bond’s arms they both employ the same problematic tied up while receiving unwelcomed physical story line: Pussy Galore is a lesbian until she This resistance to Bond most obviously contact from Silva makes the villain seem like falls in love with Bond and simultaneously captures the way Miss Galore’s lesbianism is more of a monster than in past Bond films becomes “good.” mocked. After being captured by Goldfinger, Bond wakes up on a private jet with Pussy

15 Film Matters Spring 2017 ➜ Feature 02 Lauren Spungen

above Figure 5: Pussy Galore (Honor Black- Despite being a lesbian, Pussy Galore ends man) meets Bond () in Goldfinger (Eon Productions/MGM/UA Studios, 1964) up falling victim to Bond’s charms after they have sex. Her admiration for him causes her to betray Goldfinger, intentionally ruining her part of the plan to help Bond. This betrayal mirrors the way that Tatiana abandons and kills Klebb in From Russia with Love, yet again showing how much control Bond has over women throughout the films. When Pussy Galore betrays her sexual identity and Goldfinger’s evil scheme simultaneously, the film and novel reinforce an implicit link between heterosexuality and goodness, and homosexuality and evil. Ladenson further discusses this problematic depiction of Miss Galore’s lesbianism: “[Pussy Galore] switches Galore leaning over him (Figure 5). Upon public ridicule of the franchise). Although sides and betrays [Goldfinger], and James hearing that she is Goldfinger’s personal Miss Galore’s usage of the phrase “immune” Bond and heterosexuality are able to carry pilot, Bond begins his usual flirtatious is ambiguous, when interpreted with the the day” (234). comments, smirking as he asks, “And just context of the novels, it becomes clear that Although each individual character or how personal is that?” Miss Galore’s eyes she is not attracted to any men – not just Bond film may not be very well-known in narrow to slits, indicating that she is offended Bond. She reinforces her sexuality later in society, the Bond franchise still is as a whole. by his question. It seems that Bond refuses the film, when she and Bond are in a barn Its influence is undeniably everywhere; I to acknowledge her professionalism. “I’m a together. Bond flirts with Galore once more, had heard of James Bond and the number damn good pilot. Period,” she says. Still not and she defiantly responds, “Skip it. I’m 007 years before seeing him in action at listening to her, Bond adds, “This is going not interested. Let’s go.” Still unwilling to the movie theater. Modern parodies such to be a memorable flight,” to which she accept this, Bond forcefully grabs her arm, as Austin Powers allow Bond’s influence to responds in a harsh tone, “You can turn off pulling her back toward him, saying, “What expand beyond the action genre and reach the charm. I’m immune.” will it take to get you to see things my way?” a new, younger demographic. International To a viewer who has never read the She continues to resist, prompting Bond to screenings and translation into numerous Bond novels, Miss Galore simply seems throw her into the hay and lay on top of her, other languages, such as Japanese, French, uninterested in having sexual relations reversing the power dynamic of the scene German, Spanish, Chinese, and more, allow with Bond. But with the knowledge that where they first meet on the plane (Figure 6). Bond to be a global sensation. It’s inevitable: her character is homosexual in the book, As Galore attempts to fight his advances, he James Bond reaches everyone in some way. it seems like this scene is an attempt to kisses her, and her reluctance gradually fades This widespread influence and power gives replicate her original character in a very into lust as she wraps her arms around him the Bond franchise a rare opportunity to muted way (perhaps in order to prevent passionately. spread stories and ideas to people around the

above Figure 6: Pussy Galore (Honor Black- man) and Bond (Sean Connery) in Goldfinger (Eon Productions/MGM/UA Studios, 1964)

16 Film Matters Spring 2017 Feature 02 When Can Homophobia Live and Let Die? globe. And it has. The series has been used Drescher, Jack. “Out of DSM: Depathologizing to promote the idea of a progressive woman Homosexuality.” Behavioral Sciences 5.4 (2015): 565- (as is the case with Judi Dench’s “M”) and 75. Web. 1 Aug. 2016. has also helped foster positive international \ relations by depicting alliances between Fleming, Ian. Casino Royale. New York: Macmillan, Britain and nations such as the United States, 1953. Print. Russia, and Japan. But this is not enough; \ to this day, James Bond reaches millions ——. Goldfinger. New York: Macmillan, ➜ of people with story lines perpetuating 1959. Print. Author Biography homophobia. The first step to changing this \ message is updating the Bond formula. As From Russia with Love. Dir. Terence Young. Perf. Lauren Spungen is a junior at Washington University in St. Louis. She Craig’s era as 007 ends, the prospect of a Sean Connery, Robert Shaw, Lotte Lenya. Eon is studying psychology, legal studies, new Bond presents an opportunity to make Productions, 1963. Film. and Spanish (but enjoys taking classes significant changes in the franchise. Fans \ in Wash U.’s Film and Media Studies already have ideas on how to modernize Garland, Tony W. “‘The Coldest Weapon of All’: department). After graduating, Lauren Bond. Julie Bindel, in her article “Forget The Bond Girl villain In James Bond Films.” hopes to attend law school and pursue criminal law. Idris Elba—it’s time for a lesbian Bond,” Journal of Popular Film & Television 37.4 (2009): 179- suggests that Eon change the casting of 007 188. Print. completely, making Bond a lesbian. “Swap \ Mentor Biography the tuxedo for dungarees, the sports car for GoldenEye. Dir. Martin Campbell. Perf. Pierce a low-emission Mini and the martini for Brosnan, Sean Bean, Izabella Scorupco. Eon a pint of Stella, and you have the perfect Productions, 1995. Film. Bond for the 21st century,” Bindel proposes. \ Whether the franchise decides to employ Goldfinger. Dir. Guy Hamilton. Perf. Sean Connery, this suggestion or another, it is undisputable Gert Fröbe, Honor Blackman. Eon Productions, ➜ that there needs to be some change to the 1964. Film. Colin Burnett is Assistant Professor of Bond formula. And once the series is rid of \ Film and Media Studies at Washington homophobic and heteronormative messages, Koplowitz, Howard. “Gay Marriage Poll 2015: University in St. Louis. His book, The perhaps the widespread phenomenon and US Support for Same-Sex Marriage at All-Time Invention of Robert Bresson: The power of James Bond could be used to foster High, Survey Finds.” International Business Times, 10 Auteur and his Market, will be published in spring 2017. His second book, on global LGBTQ+ acceptance. Mar. 2015. Web. 29 Apr. 2015. James Bond, is titled Serial Bonds: The / end/ \ Multimedia Life of 007. Ladenson, Elisabeth. “Pussy Galore.” The James Bond Phenomenon: A Critical Reader. Manchester: Works Cited Manchester UP, 2003. 220-237. Print. \ Bindel, Julie. “Forget Idris Elba – It’s Time for Skyfall. Dir. Sam Mendes. Perf. Daniel Craig, a Lesbian Bond | Julie Bindel.” . Javier Bardem, Judy Dench. Eon Productions, Guardian News and Media, 25 Jul. 2016. Web. 1 2012. Film. Aug. 2016. \ \ Bingham, John. “Surge in Support for Gay Department Overview Marriage.” The Telegraph. Telegraph Media Group, Note The Program in Film and Media Studies 24 May 2015. Web. 1 Aug. 2016. at Washington University in St. Louis \ 1. It is also the case that Dr. No (Joseph Wiseman) examines film, television, radio, and other Bold, Christine. “‘Under the Very Skirts of is implicitly coded as non-heteronormative. The electronic media as aesthetic and cultural Britannia’: Re-reading Women in the James Bond villain makes continuous attempts to impress Bond forms. Research for this article began in Novels.” The James Bond Phenomenon: A Critical with the lavishness of his evil lair, and Wiseman’s a freshman seminar, Mr. Kiss Kiss Bang Bang: James Bond in Film, Literature and Reader. Ed. Christoph Lindner. Manchester, UK: acting indicates that Dr. No takes a special interest International Popular Culture. Manchester University Press, 2003. 169-83. Print. in Bond, pausing momentarily before speaking to \ him and allowing the corners of his lips to slightly “Box Office History for James Bond Movies.” rise upon interacting. James Bond Franchise Box Office History. The Numbers, n.d. Web. 10 Jul. 2016. \ Dodds, Klaus. “Shaking and Stirring James Bond: Age, Gender, and Resilience in Skyfall (2012).” Journal of Popular Film and Television 42.3 (2014): 116-30. Web. 29 Apr. 2015. \

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