For Conservative Movie Lovers: Ian Fleming, Sean Connery, and ‘Goldfinger’ Part 6
by Leo GrinA curious aspect of the Bond legend is that Ian Fleming’s socialite wife despised the character. She went so far as to host upper-crust parties at which she and her lettered friends — literary giants such as Cyril Connolly, Graham Greene, Somerset Maugham, Malcolm Muggeridge, and Evelyn Waugh — cattily disparaged her husband’s popular creation as embarrassingly lowbrow, the English equivalent of American pulp fiction (and thus the modern heir to the “Boy’s Weeklies” of Orwell’s famous essay). “Utterly despicable,” was Muggeridge’s quoted verdict in Time magazine soon after Fleming’s death. “[Bond is] obsequious to his superiors, pretentious in his tastes, callous and brutal in his ways, with strong undertones of sadism, and an unspeakable cad in his relations with women, towards whom sexual appetite represents the only approach.”

During the same period, various Leftist writers began penning spy stories of their own in reaction to Fleming’s potent brew of unapologetic clubhouse masculinity (smoking, drinking, gambling, golfing, seducing) and unqualified patriotism, favoring a more, shall we say, morally nuanced look at the Cold War. Author John “The United States of America has gone mad” le Carré, then finding fame with The Spy Who Came in from the Cold (1963 — good guys die, bad guys win, yay!), considered Fleming’s books “cultural pornography,” and mused that in the real world Bond’s “misty, patriotic ideas” would hardly prevent him from betraying his country at the first opportunity. “Because if the money was better,” le Carré snickered with certainty, “the booze freer, and women easier in Moscow, he’d be off like a shot.”
Into this maelstrom of anti-Fleming derision came a little volume called The James Bond Dossier (1965), penned by a more notorious member of the English literati, academic-cum-novelist Kingsley Amis. A savagely witty writer, a world-class drunkard, and a conflicted serial adulterer (all qualities shared, you may recall from our previous installment, with Bond’s creator), the overarching critical statement of his book was simple enough: “Inside that conservative dark-blue worsted suit and under the same skin as a bearer of the hard-earned double-o prefix there lurks an intruder from another age,” a “Byronic hero,” who “is lonely, melancholy, of fine natural physique, which has become in some way ravaged, of similarly fine but ravaged countenance, dark and brooding in expression, of a cold or cynical veneer, above all enigmatic, in possession of a sinister secret.” (more…)






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