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The James Bond Archives: SPECTRE Edition

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james bond spectre book

The James Bond Archives: SPECTRE Edition Hardcover – 23 Nov. 2015

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About the Author

  • ISBN-10 3836551861
  • ISBN-13 978-3836551861
  • Edition SPECTRE Edition
  • Publisher TASCHEN GmbH
  • Publication date 23 Nov. 2015
  • Language English
  • Dimensions 25.8 x 4.7 x 36.1 cm
  • Print length 624 pages
  • See all details

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The James Bond Archives. “No Time To Die” Edition

Product details

  • Publisher ‏ : ‎ TASCHEN GmbH; SPECTRE Edition (23 Nov. 2015)
  • Language ‏ : ‎ English
  • Hardcover ‏ : ‎ 624 pages
  • ISBN-10 ‏ : ‎ 3836551861
  • ISBN-13 ‏ : ‎ 978-3836551861
  • Dimensions ‏ : ‎ 25.8 x 4.7 x 36.1 cm
  • 190 in Action & Adventure Films
  • 590 in Film Guides & Reviews
  • 748 in Film Direction & Production (Books)

About the authors

Paul duncan.

I share my passions for films, mystery fiction and comics by publishing, editing and writing books and magazines. I spent my teenage years publishing 'Ark: The Comics Magazine' (1980-1990) and writing graphic novels ('Second City', 'Overload', 'Beautiful People'), before co-founding 'Crime Time' magazine (1995-present), and editing 'The Third Degree: Crime Writers In Conversation', as well as writing some mystery short stories. It was during this time that I discovered the fantastic fiction of Gerald Kersh, who I have championed ever since through many articles and short story collections. (He's famous for the novel 'Night and the City', which was turned into a fantastic Film Noir by Jules Dassin in 1950.) One day, I'll even finish Kersh's biography. Promise.

I founded Pocket Essentials in 1999, edited around 50 titles in the series, and wrote eight of them, including 'Martin Scorsese', 'Alfred Hitchcock', 'Film Noir' and 'Noir Fiction'. This brought me to the attention of the illustrious Mr. Benedikt Taschen, who took me under his wing and told me to make film books. Since 2003, I have carried out his wishes by editing over 50 film books for TASCHEN, big and small, including the award-winning 'The Ingmar Bergman Archives,' 'The James Bond Archives,' 'The Charlie Chaplin Archives' and 'The Star Wars Archives.' I've even written a couple of them. Yesterday, somebody told me I had the best job in the world, and I think they are correct.

Ellen Cheshire

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Spectre (BW Small)

SPECTRE (an acronym of Special Executive for Counter-intelligence, Terrorism, Revenge, and Extortion ), stylised simply as Spectre in its 2015 film reboot, was a fictional global criminal and terrorist organisation featured in the James Bond novels by Ian Fleming and their EON Productions and non-EON film Never Say Never Again . Led by 007's nemesis  Ernst Stavro Blofeld , the organisation first formally appeared in the novel Thunderball (1961) and subsequently in the movie Dr. No (1962). After a four-decade absence from the film series made by EON Productions , the organisation was reintroduced in the twenty-fourth Bond film, Spectre  (2015) and reappeared in the twenty-fifth, No Time to Die (2021).

When introduced in 1961, the organisation effectively replaced SMERSH as Bond's primary antagonist. SPECTRE is not aligned to any nation or political ideology, enabling the later Bond books and Bond films to be regarded as apolitical. Originally conceived of as a small group of professional criminals in the novels, SPECTRE became a vast international organisation with its own elaborate facilities and operations in the film series.

  • 2 Headquarters
  • 3 Leadership & Hierarchy
  • 4.2 Classic film continuity
  • 4.3 Non-EON Productions film
  • 4.4 Modern film continuity
  • 4.5 Video games
  • 5.2 Films (classic continuity)
  • 5.3 Films (modern continuity)
  • 6 Equipment
  • 10 References

Ideology [ ]

SPECTRE rings comparision

Comparison of Fiona Volpe's octopus insignia ring from Thunderball (1965), with Marco Sciarra's one from Spectre (2015).

In Ian Fleming's novels, SPECTRE was primarily a commercial enterprise led by Ernst Stavro Blofeld . Their top-level members were 21 individuals, 18 of whom handled day-to-day affairs and were drawn in groups of three from six of the world's greatest criminal organisations—the Gestapo, SMERSH , Marshal Josip Broz Tito's secret police, the Mafia, the Unione Corse , and a massive heroin-smuggling operation based in Turkey, as well as a now-defunct intelligence network run by Blofeld. [1] The remaining three members are Blofeld himself as leader, a physicist and an electronics expert, added for their expertise on specialist matters. Their debut was in Thunderball . At the time of writing the novel (c.1959), Fleming believed that the Cold War might end during the two years it would take to produce a film adaptation, which would leave it looking dated; he, therefore, thought it better to create a politically neutral enemy for Bond. [2]

In the classic James Bond films produced by EON Productions , the organisation had a more active role, often as a third party in the ongoing Cold War. The goal of world domination was only ever stated in You Only Live Twice , and SPECTRE was working not for itself but for an unnamed Asian government whose two representatives Blofeld speaks to during the movie; perhaps Red China, who earlier backed Goldfinger . SPECTRE 's goals in the other films it has appeared in have always been less lofty. Its long-term strategy, however, is illustrated by the analogy of the three Siamese fighting fish Blofeld keeps in an aquarium in the film version of From Russia with Love . Blofeld notes that one fish is refraining from fighting two others until their fight is concluded. Then, that cunning fish attacks the weakened victor and kills it easily. Similarly,  SPECTRE 's main strategy was to instigate conflict between two powerful enemies, namely the superpowers, hoping that they would exhaust themselves and be vulnerable when it seizes power. SPECTRE thus worked with both sides of the Cold War.

In all novel and film depictions, organisational discipline within SPECTRE was notoriously draconian with the penalty for disobedience or failure being death. With the cinematic Blofeld stating on several occasions: "This organisation does not tolerate failure". Furthermore, to heighten the impact of the executions, Blofeld often chose to focus attention on an innocent member, making it appear his death is imminent, only to suddenly strike down the actual target when that person is off guard. Despite this, success sometimes does not spare members of the organization from death because of Blofield's whim as it showed when Blofield ordered the death of Count Lippe for simply hiring a greedy Palazzo even though Lippe and Pallazo succeed in their mission for the organization. Fleming's SPECTRE had elements inspired by mafia syndicates and organised crime rings that were actively hunted by law enforcement in the 1950s. The strict codes of loyalty and silence, and the hard retributions that followed violations were hallmarks of U.S. gangster rings, Mafia, the Unione Corse, the Chinese Tongs/Triads and the Japanese Yakuza/Black Dragon Society.

Headquarters [ ]

Thunderball - SPECTRE lair 5

Blofeld hosting a SPECTRE meeting

In both the novel and film adaptation of  Thunderball , the physical headquarters of the organisation were located in Paris , France , operating behind a front organisation aiding refugees ("Firco" in the novels; "International Brotherhood for the Assistance of Stateless Persons" in the films). Similarly, in the non-EON 1983 film Never Say Never Again , SPECTRE meets in a secret underground meeting room beneath an unidentified French bank. With their reintroduction and reimagining in the 2015 film  Spectre , the organisation's base of operations were primarily centred around a data-gathering centre in the Saharan desert, with a separate meeting location (presumably intended to be temporary) at the Palazzo Cardenza in Rome , Italy.

Leadership & Hierarchy [ ]

Blofeld (From Russia With Love)

Ernst Stavro Blofeld , as he appears in From Russia with Love

In most of its iterations,  SPECTRE was founded and headed by the supervillain Ernst Stavro Blofeld  (who usually appeared accompanied by a white Persian cat in the movies, but not in the books). In both the films and the novels, Emilio Largo was the second in command. It is stated in the novel that if something were to happen to Blofeld, Largo would assume command. [3]

The members of the headboard of SPECTRE went by numbers (e.g.: Number 1) as codenames. In the novels, the numbers of members were initially assigned at random and then rotated by two digits every month to prevent detection. For example, if one was Number 1 this month, he would be Number 3 next month. In the novel, Thunderball Blofeld has been assigned "Number 2", while Emilio Largo is assigned "Number 1". This particular example of numbering was perhaps deliberately borrowed from revolutionary organisations, wherein members exist in cells and are numerically defined to prevent identification and cross-betrayal of aims. By deliberately drawing attention away from the true leader of the organisation, he was protected by masquerading as a target of lower importance, and the structure of the organisation was also obscured from intelligence services. Conversely, in the classic film series, the individual's number indicates rank: Blofeld is always referred to as "Number 1" and Emilio Largo, in the film Thunderball , is "Number 2".

Appearances [ ]

In the original Bond novel series, SPECTRE 's first and last appearance as a worldwide power is in the novel Thunderball , published in 1961. In the novel, SPECTRE , headed by Blofeld, attempts to conduct nuclear blackmail against NATO. Temporarily weakened in the story's aftermath, SPECTRE is said to be active again in the next book, The Spy Who Loved Me , where Bond describes investigating their activities in Toronto before the story begins. In On Her Majesty's Secret Service , the second chapter of what is known as the "Blofeld Trilogy", Blofeld is hired by an unnamed country or party (though the Soviet Union is implied) to ruin British agriculture. Blofeld's final appearance, sans SPECTRE , is in the final novel of the trilogy, You Only Live Twice .

Later, the John Gardner Bond novel, For Special Services introduces a revived SPECTRE led by Blofeld's daughter, Nena Bismaquer. Although Bond ultimately prevents SPECTRE from reforming, it continued, under the leadership of Tamil Rahani, to play a part in Role of Honour and Nobody Lives For Ever . The next Bond novelist, Raymond Benson , reintroduces Irma Bunt , Blofeld's assistant, in his short story "Blast From the Past", which is a sequel to You Only Live Twice .

Classic film continuity [ ]

In the EON Productions James Bond series, which began in 1962 with Dr. No , SPECTRE plays a more prominent role. The organisation is first mentioned in Dr. No as the organisation for which Dr. Julius No works. This was changed from Fleming's novels, which had Dr. No working for the USSR. In the films, SPECTRE usually replaced SMERSH as the main villains, although there is a brief reference to SMERSH in the second EON Bond film, From Russia with Love . The film adaptation of From Russia with Love also features the first on-screen appearance of Blofeld, although he is only identified by name in the closing credits of the film. After being absent from Goldfinger , SPECTRE returns in Thunderball and subsequently is featured in the following films You Only Live Twice , On Her Majesty's Secret Service and Diamonds Are Forever .

Following Diamonds Are Forever , SPECTRE and Blofeld were retired from the EON film series due to a long-standing litigation case starting in 1961 between producer/writer Kevin McClory and Ian Fleming over the film rights to Thunderball and its contents. In 1963 Ian Fleming settled out of court with McClory, which awarded McClory with the film rights to Thunderball , although the literary rights would stay with Fleming and thus allow continuation author John Gardner to use SPECTRE in a number of his novels. Although SPECTRE and Blofeld are used in a number of films before and after Thunderball , the issue over the copyright of Thunderball did prevent SPECTRE and Blofeld from becoming the main villains in 1977's The Spy Who Loved Me . Consequently, the producers chose to dispose of Blofeld (not identified by name, but bald and accompanied by the character's trademark cat ), writing him out of the series during the opening sequence of For Your Eyes Only .

Non-EON Productions film [ ]

In 1963 the producers of EON Productions , Albert R. Broccoli , and Harry Saltzman had made an agreement with McClory to adapt the novel into the fourth James Bond film. The agreement also stipulated that McClory would not be allowed to make further adaptations of Thunderball for at least ten years after its release. In autumn 1983, after almost a decade of development and complications,  Warner Bros. finally released Kevin McClory 's James Bond film Never Say Never Again . The film retells the story of Thunderball and reintroduces both SPECTRE and its leader Blofeld ( Max von Sydow ).

Video games [ ]

As with EON's official film series, the 007 video game series was also affected adversely by ongoing litigation prior to 2013. To avoid possible legal action, several video games hinted at SPECTRE without explicitly referencing them or their leader. They are first referenced in GoldenEye: Rogue Agent (2004), where it is implied to be the "powerful criminal organisation" behind many of the game's events. It is depicted as being much more powerful than any preceding iteration, possessing a massive undersea black market known as "The Octopus" (resembling Karl Stromberg 's lair from The Spy Who Loved Me ), the main base of operations built into an extinct volcano, and also the personal structures of its members Auric Goldfinger and  Dr. Julius No .

In 2005, following actor Pierce Brosnan 's departure from the role of 007, Electronic Arts released a video-game adaptation of a previous Bond adventure titled From Russia with Love . Given SPECTRE 's prominence in the eponymous 1962 film, and the continuing dispute between United Artists/MGM and the now-deceased McClory, the organisation was renamed " Octopus " for the video game and appeared to lack a central leader in the same vein as Blofeld. The game features a recurring symbol that bears a close resemblance to SPECTRE 's classic film insignia: a simple octopus outline with semicircular eyes and blade-like tentacles.

With EON's acquisition of the rights to Blofeld and SPECTRE in 2013, a mobile video game titled James Bond: World of Espionage was released to tie in with the 2015 James Bond film Spectre . The game was the first to explicitly refer to the organisation SPECTRE (notably capitalized).

Organisation members [ ]

Henchmen working for SPECTRE or directly for Ernst Stavro Blofeld in (order of appearance):

  • Count Lippe
  • Giuseppe Petacchi
  • Pierre Borraud
  • Marius Domingue
  • Dr. Kandinsky
  • Horst Uhlmann

Films (classic continuity) [ ]

  • Dr. Julius No
  • Jacques Bouvar
  • Ladislav Kutze
  • Angelo Palazzi
  • Helga Brandt
  • Dodge Driver
  • Blofeld's cat

Films (modern continuity) [ ]

  • Blofeld's Right-Hand Man
  • Dominic Greene
  • Raoul Silva
  • Max Denbigh
  • Marco Sciarra
  • Sir Sebastian D'ath
  • Joy Saward [6]
  • Stella Rorvick [6]
  • Dill Webern [6]
  • Karl Toberman [6]
  • Maz Howland [6]
  • Bruce Mavey [6]
  • Lawrence Grimwade [6]
  • Lovett Power [6]
  • Elwyn Foryn [6]
  • Khepren Manser [6]
  • Bors Sherier [6]
  • Erskine Follett [6]
  • Owen Lanchester [6]
  • Albert Dastor [6]
  • Stef Kobris [6]
  • Woody Tradbert [6]
  • Suze Ringway [6]
  • Tarquin Mabrly [6]
  • Marshal Tabman [6]
  • Serge Sheldon [6]
  • Maleka Mae [6]
  • Mark Hinch [6]
  • Colm Berger [6]
  • Steadman Prowber [6]
  • Merce Beilam [6]
  • Sam Venville [6]
  • Leroy Coulber [6]
  • Tracey Merrimon [6]
  • Griff Carstairs [6]
  • Stanley Oroe [6]
  • Roderick Hoyland [6]
  • Ivon Merridew [6]
  • Blake Greenford [6]
  • Sandra Simone [6]
  • Mara Te Hord [6]

Equipment [ ]

  • When Ian Fleming first conceived of SPECTRE in a 1959 memo, it stood for "Special Executive for Terrorism, Revolution and Espionage." [7]
  • SPECTRE is often miswritten as S.P.E.C.T.R.E., even in some of the Bond movie publicity material. The 'P' though, does not stand for a word, and therefore, periods after each letter are inappropriate. [7]
  • The James Bond spinoff animated series, James Bond Jr. , featured a clone of SPECTRE called "SCUM".
  • In the mid-80s, a highly successful James Bond tabletop RPG was released. With the films as inspirations, the stories were adapted for players. Minor changes to plots and villains were made. For example, Kidd & Wint were freelance assassins working for SPECTRE . They in fact leased out services to other terrorist organisations and various crime syndicates. The most noted change was SPECTRE . It was later renamed TAROT and the face cards represented various departments. This was due to the copyright issues referenced above. Victory Games (the game's publisher) worked with Eon productions (the film producers) for the rights to Bond, and were told they were not allowed to negotiate with McClory for the rights to SPECTRE , hence the hasty renaming.
  • The organisation is consisted of almost 52 members and agents.
  • SPECTRE has some local law enforcement in its pocket. This is first seen in Thunderball , when a French police officer immediately recognizes Emilio Largo and allows him to park in a no-parking zone.
  • In the climax of Thunderball , a small octopus is seen latching on to a deceased SPECTRE agent. Ironically, SPECTRE's logo is an octopus.

Thunderball - SPECTRE ring 2

See also [ ]

  • The controversy over Thunderball
  • List of James Bond villains
  • Octopus (organisation)

References [ ]

  • ↑ Thunderball , Ian Fleming, Page 63, 1961, London: Johnathon Cape
  • ↑ Ian Fleming , Andrew Lycett, Weidenfeld & Nicholson, 1995.
  • ↑ Thunderball , Ian Fleming, 1961
  • ↑ Johnson, Ted (November 15, 2013). MGM, ‘James Bond’ Producer End Decades-Long War Over 007 . Variety . Retrieved on November 27, 2013.
  • ↑ Neal Purvis, Robert Wade (November 2015). "Spectre Files #3" segment (in En). Empire Magazine. “"PURVIS & WADE: Dominic Greene was running SPECTRE's South American operation. He was trying to control one of the world's most valuable resources. Bond discovered the operation and left him for dead in the desert. With no water.”  
  • ↑ 6.00 6.01 6.02 6.03 6.04 6.05 6.06 6.07 6.08 6.09 6.10 6.11 6.12 6.13 6.14 6.15 6.16 6.17 6.18 6.19 6.20 6.21 6.22 6.23 6.24 6.25 6.26 6.27 6.28 6.29 6.30 6.31 6.32 6.33 6.34 (2021). No Time to Die . Metro-Goldwyn-Mayer .
  • ↑ 7.0 7.1 Multiple authors. ( 1996 ). James Bond 007: The Ultimate Dossier (CD-ROM). Eidos Interactive . ISBN 0-7928-3274-4 .
  • 1 Lyutsifer Safin
  • 2 Madeleine Swann
  • 3 Mathilde Swann

The Messy, Improbable History of SPECTRE

Ian Fleming’s nefarious agency is back after 40 years of legal wrangling. But can a 21st-century James Bond and a 1960s-era antagonist be reconciled?

james bond spectre book

Ian Fleming was afraid the Cold War would end too soon.

While serving as a British Naval Intelligence officer during the Second World War, he’d begun to think about writing a spy novel. By the end of the 1950s, his James Bond series was a huge success. Fleming met with several collaborators, chiefly the filmmaker Kevin McClory and the playwright Jack Whittingham, to brainstorm an original screenplay based on the exploits of his hard-living creation. But movies take a long time, and the conspirators worried that relations between the West and the East could improve so much in the interim that a scenario pitting Bond against Soviet spies like the ones he battled in Fleming’s early books would be old hat before the film’s prints were dry.

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Their future-proof solution was SPECTRE, an organization that used Space Age, acronym-generating technology to ally itself not with any political or economic system, but to assorted malign abstractions. Decoded, the name stood for SP ecial E xecutive for C ounterintelligence, T errorism, R evenge, and E xtortion. While the legal battle over which creator had dreamt up what would outlive them all, one thing was clear: No one could think of a suitably menacing word that began with the letter “P.”

That the 24th “official” James Bond film is called Spectre feels like a promise kept. The last scene of 2012’s Skyfall, the most lucrative and critically admired entry in the always profitable, suddenly venerable franchise, teased a restoration. Six years earlier, Casino Royale had given the (re)boot to decades of accumulated shark tanks and volcano lairs and disposable women with names like Pussy Galore and Holly Goodhead and Plenty O’Toole. In their place was the closest that action-adventure cinema ever gets to a character study. Daniel Craig’s leaner, greener, deadlier 007 was a “blunt instrument,” in the withering description of his boss, Judi Dench’s M. But the 38-year-old actor’s command of the role turned out to eclipse even Sean Connery’s.

In Spectre, Craig seems more Connery-like—fearless, entitled, and inscrutable—than ever. Meanwhile, the series’s brief detour into something approximating realism is concluded. SPECTRE is no longer an acronym, or if it is, no one troubles themselves to spell it out. The organization has its tentacles in phony pharmaceuticals and human trafficking, it’s revealed, but it doesn’t declare allegiance to abstraction, because under the regime of the director Sam Mendes and the writer John Logan (both returning from Skyfall ), the Bond film franchise is now more than ever an abstraction unto itself. If Casino Royale was recognizably an adaptation of an Ian Fleming novel, Spectre is more like an attempt to film the Bond franchise’s Wikipedia page.

Skyfall, Craig’s third outing in the role, is set much later in Bond’s career than his first pair of appearances. Early on in the movie, MI6 believes that Bond’s been killed by friendly fire, and he’s in no rush to let the agency know he’s survived. When he finally reports for duty (by breaking into M’s flat, a fun callback to Casino Royale ), he’s out-of-sorts, out-of-shape, and addicted not just to booze, but pills. Still, M covers for him, and by the end of Skyfall’ s deflating, rather too Home Alone -inspired final act, nearly all the familiar characters and tropes that Casino Royale had stripped away have regenerated. Once again, Bond is receiving equipment and derision from Q, flirting with Miss Moneypenny, and—for the first time since 1989’s grim Licence to Kill— taking orders from a man. That this new M is played by Ralph Fiennes is small compensation for Dench’s departure after a seven-picture tour of duty, but still a promising development.

Even so, the keepers of the Bond flame—Barbara Broccoli, the daughter of the original series producer Albert “Cubby” Broccoli, and her half-brother, Michael G. Wilson—didn’t have all the materials to fully return Bond to his Beatles Invasion-era primacy until two years ago, after Skyfall had become the highest-grossing film of all time in Britain. Late in 2013, a series of lawsuits that had ricocheted around courts in the U.K. and the U.S. for half a century was finally settled. This at last allowed 007’s greatest (and most oft-parodied) nemesis, the cat-stroking Ernst Stavro Blofeld, and his organization, SPECTRE, to return.

The new movie’s long-con promotional campaign has played coy about the fact that the character played by the Academy Award two-timer Christoph Waltz, one Franz Oberhauser, is in fact—spoiler alert—Blofeld, even if putting a shot of Waltz in a nehru jacket in the trailer was a clear provocation.

Waltz is more than equal to the task of contributing yet another colorful and inexplicably polite rogue to 007’s gallery, of course. Craig’s Bond already had two films behind him by 2009, when Waltz’s performance as the Nazi Colonel Hans Landa in Quentin Tarantino’s Inglourious Basterds snagged him a Best Supporting Actor Oscar and substantially elevated his profile. So why the filmmakers chose to have him play a goofy character now best remembered as the inspiration for Mike Myers’s Dr. Evil in Austin Powers: International Man of Mystery is a mystery beyond even the code-cracking resources of MI6.

Blofeld and SPECTRE entered the world with the publication of Thunderball, Fleming’s eighth Bond novel, in 1961. Confusingly, Fleming based the book on the unproduced screenplay he’d hashed out with McClory and Whittingham—without crediting his collaborators. McClory sued and eventually got an out-of-court settlement that included the film rights to Thunderball .

It was no small prize. Because the rights to Casino Royale, Fleming’s first Bond adventure, were unavailable thanks to a little-remembered, 48-minute TV version from 1954, Cubby Broccoli and his partner Harry Saltzman had eyed Thunderball as their first Bond feature. But the legal fracas—plus the fact that Thunderball’s grand scale, including extensive underwater scenes, would make it too pricey for their first at-bat—pointed them toward the more modest Dr. No instead.

By the time they circled back around to Thunderball three years later, Bond was the biggest thing in movies, and money was no object. They gave McClory sole “produced by” credit on Thunderball, and licensed his rights—which had been generously interpreted to apply not just to the characters and concepts in whose creation McClory had participated, but to James Bond and all the other Fleming-created characters in the novel, too—for a full decade, just to be safe. Surely the Bond fad would run its course by 1975.

james bond spectre book

SPECTRE was a part of the Bond films from the beginning, 1962’s Dr. No , wherein Joseph Wiseman’s titular antagonist revealed himself to be a member of the organization intent on disrupting a U.S. space launch with a giant nuclear reactor. After helpfully breaking down his organization’s secret recipe—Counterintelligence, Terrorism, Revenge, Extortion—he proclaims these ingredients to be “the four great cornerstones of power.” As if the acronym weren’t swell enough, in 1965’s Thunderball, SPECTRE associates wear conspicuous matching rings bearing the organization’s sigil: an octopus. (In any fiction where the spy didn’t make a big deal of introducing himself, in public places, by his real name, twice, this might perhaps seem indiscreet.)

Despite its love of logo-branded bling and high-ceilinged conference rooms with incinerator pits, SPECTRE operates in the shadows, playing the Cold War superpowers against one another. “World domination, the same old dream,” sighs Sean Connery when the claw-handed Dr. No volunteers his motives, as every one of 007’s opponents would be weirdly obliged to do.

In its sequel, From Russia With Love, Blofeld makes his film debut, though his face remains out-of-frame. He likens the U.S. and the Soviet Union to the Siamese fighting fish he keeps in a jar on his desk, who brawl until they’re both too spent to repel a patient third party. But SPECTRE doesn’t appear in the novels Dr. No or From Russia With Love at all. The cabal was a much bigger presence in the first decade of Bond films (1962-71) than in the books from which they had been very freely adapted.

While Eon Productions, the company Broccoli and Saltzman had co-founded when they got into the James Bond business, had intended from the start to build a spy-flick franchise, their thinking was shockingly short-sighted by contemporary standards. Franchises barely existed in the 1960s. 1934’s The Thin Man had spawned five sequels, and Universal’s monster movies shared a loose fictional universe that even permitted the occasional crossover, like 1948’s Abbott and Costello Meet Frankenstein. But the consistency of casting and fidelity to the source material that fans demand of, say, The Hunger Games pictures or the modern adaptations of born-in-the-60s Marvel superheroes were a nonissue right until the 21st century.

Eon filmed Fleming’s novels out of order and never thought twice about it, even when this made the continuity of the movies impossible to reconcile. And while Bernard Lee’s M, Desmond Llewelyn’s Q, and Lois Maxwell’s Moneypenny were all regular players, other recurring roles, like Bond’s C.I.A. buddy Felix Leiter, were recast willy-nilly.

But sidekicks are one thing. Nemeses are another.

Blofeld appeared in four consecutive films between 1965 and 1971, played by a different actor each time. The last of these, Diamonds Are Forever —the film for which Connery was expensively coaxed back after breaking his contract four years earlier—belatedly explains Blofeld’s ever-changing appearance by saying the character regularly received plastic surgery and also had underlings surgically altered to resemble him, to confuse would-be assassins, a detail also present in Fleming’s books.

The movie offers no such reason for why Connery’s Bond had turned into the Australian model George Lazenby for one movie, then reverted to his thicker, grayer, more Scottish shape. (It didn’t help that Connery couldn’t be bothered to hide his boredom in the role this time, though given Diamonds ’s awful script, you couldn’t blame him.)

Audiences’ willingness to suspend disbelief allows for casting changes, of course. But it still makes no sense that Blofeld doesn’t recognize Bond (Lazenby) in 1969’s On Her Majesty’s Secret Service, when 007 infiltrates his Swiss “allergy clinic” (bioweapons plant) in the guise of a genealogist investigating Blofeld’s claim of noble parentage. They were face-to-face just one movie ago, but Blofeld (Telly Savalas) behaves as though he and Bond are meeting for the first time. Is it because Bond’s disguise included an uncharacteristic ensemble of frilly shirt, kilt and glasses? It couldn’t be because the actors playing both Bond and Blofeld in On Her Majesty’s Secret Service were making their first-and-only appearances.

james bond spectre book

Just to show how little Broccoli and Saltzman sweated the small stuff—like casting —Diamonds’s Blofeld is played by Charles Gray, who had previously appeared in You Only Live Twice as one of Bond’s allies. (Donald Pleasance served as that film’s Blofeld.) They didn’t bother to change Gray’s look before reusing him; with his beady gray eyes and fist-sized cleft chin, he looks more like a mannequin than a man anyway. And his hilariously polite and unthreatening Blofeld was the least of the film’s problems.

Once the Thunderball option expired in the mid ’70s, McClory again busied himself trying to get his own Bond movie going. This would eventually result in 1983’s Never Say Never Again, a remake of Thunderball that stands outside the already-loose canon of Eon 007 films despite the presence of 53-year-old Connery in his seventh and final outing as Bond. (His public swearing-off of the role inspired the title, a suggestion of his wife.) Though it grossed a little less than Octopussy, the Moore-starring 007 flick released all of four months earlier, it’s a more enjoyable movie. It featured Max von Sydow as Blofeld, marking the character’s only appearance in a Bond movie between 1971 and today.

Except one.

In what could only be interpreted as a very public middle finger to McClory, Broccoli resurrected the unnamed-but-clearly-recognizable Blofeld for the pre-title sequence of 1981’s For Your Eyes Only. The film opens with Moore’s Bond visiting the grave of his wife Tracy, who was married to him for just minutes before being gunned down by Blofeld and his henchwoman Irma Bunt in the shocking final scene of On Her Majesty’s Secret Service. Bond is summoned to a helicopter, which a bald, nehru jacket-wearing, wheelchair-confined fiend hijacks via remote control, intending to crash it with 007 inside. After enduring some impressively staged near-misses with various buildings and/or the ground, Bond seizes control of the helicopter, then skewers Blofeld’s wheelchair on one of its landing skids and climbs into the air.

While For Your Eyes Only is remembered (if it’s remembered) as one of the less ostentatious Bonds, this bit is as silly as anything in Austin Powers . Blofeld’s final words in the series take the form of a bizarrely specific plea for mercy:

BLOFELD: We can do a deal! I’ll buy you a delicatessen! In stainless steel! BOND (reaching through the cockpit window to pat what is clearly a dummy’s bald head): All right, keep your hair on.

According to the co-screenwriter and executive producer Michael G. Wilson, it was Cubby Broccoli himself who came up with the line. The director John Glen, who would helm all five Bond pictures made in the 1980s, thought it was just too good not to use. Unswayed by this invitation to enter the food-service industry, Bond drops Blofeld’s wheelchair and its occupant down a chimney of the Beckton Gas Works.

McClory made a few more attempts to get back into the spy game before he died in 2006. In 1997, Sony Pictures announced they were going into business with him not only on yet another Thunderball remake—to be called Warhead 2000— but an entire Bond series, to compete with the Eon films then enjoying a resurgence with Pierce Brosnan as 007. MGM, the studio releasing the Eon movies, took Sony to court and won, but Sony laughed last: It led a consortium that acquired MGM in 2004. The current crop of Craig-starring films have all borne Sony’s logo.

The least well-received of them, Quantum of Solace, introduced its own shadowy cabal in lieu of SPECTRE, whose rights were still the subject of legal wrangling. Its plan was modest by the standards of Bond films, maybe even plausible: Its members were going to assist a Bolivian coup d’etat to further their long-term aim of controlling the world’s water supply. Its name, the Quantum Group, sounded more like an investment firm co-founded by Bono than an outfit that would electrocute operatives caught skimming in front of their colleagues.

Largely reviled upon its release seven years ago, Quantum has aged well, especially if you watch it with a fresh memory of Casino Royale . (They’re really two halves of a 410-minute movie, the only time two Bond pictures have been so closely tied.) In its most memorable scene, the villainous conspirators confer in plain sight, using earpieces, at an outdoor performance of Tosca . Bond does what he can to disrupt the meeting and identify its participants, but his efforts are largely futile—Quantum has cut a deal with the C.I.A. That development keeps the movie rooted in the dirty world of 21st-century espionage, while the rest flies in the face of the rationale often given for Bond’s 1960s ubiquity: Women wanted him, men wanted to be him. Quantum ’s Bond was not a man whose life would inspire envy.

But he was recognizably a man , one in whose fate audiences could feel invested. By bringing back his abstraction-defined nemeses, the Bond people have once again reduced him to an idea, a silhouette in a tuxedo. And Spectre , for all its attempts to keep up with the Marvel movies and the Missions: Impossible and all of the other big-budget franchises Bond wrought, remains—forgive the pun—a period piece.

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James Bond: Spectre: The Complete Comic Strip Collection

By ian fleming, part of james bond, category: graphic novels & manga | spy novels.

Jan 19, 2016 | ISBN 9781785651557 | 10 x 11 --> | ISBN 9781785651557 --> Buy

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About James Bond: Spectre: The Complete Comic Strip Collection

Prepare for No Time to Die , in cinemas Nov 2020, with this exhilarating collection of classic Bond stories that chronicle Bond’s fight against Bond’s arch-nemesis, Ernst Blofeld, and the sinister SPECTRE organisation. The daring James Bond is back, this time in a lavishly put together collection celebrating the iconic SPECTRE storylines. Featuring 1. Thunderball 2. On Her Majesty’s Secret Service 3. You Only Live Twice 4. The Spy Who Loved Me.    These fully restored and thrilling stories are based on the original Ian Fleming James Bond novels.

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The Complete James Bond: Dr No - The Classic Comic Strip Collection 1958-60

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The Complete James Bond: Octopussy - The Classic Comic Strip Collection 1966-69

About Ian Fleming

Ian Fleming (1908–1964) is the world-famous novelist and creator of James Bond. He began his writing career as a Reuters journalist in the early 1930s. In 1939, he was selected to become a lieutenant in the Special Branch of the… More about Ian Fleming

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“Ridiculously fun and delightfully nasty” - The Film Stage “This Bond smokes, gambles, drinks and fights… the artwork is amazing” - Geek Dad “Fans of old-style comic books and strips, and Bond in general, may want to take some time to flip through this as it features some of the most well-known Bond plots.” - Entertainment Buddha “A classic” - Barnes & Noble “A must have” - City of Films “It’s like Mad Men but with spies, nukes, and dames!” - Atomic Moo “The sense of period, the glamour and Fleming’s own story-craft are all imaginatively, graphically portrayed. The essence of Bond is in these comics and they remain true to Fleming’s original envisioning.” - Pop Mythology  “The newspaper strips are marvelous adaptations of Fleming’s James Bond stories and for those that haven’t started collecting yet, these new editions, which SPECTRE: The Complete Comic Strip Collection is a part of, are a good way to go.” - Cinema Sentries

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James bond will return.

Critical Perspectives on the 007 Film Franchise

Edited by Claire Hines, Terence McSweeney, and Stuart Joy

Wallflower Press

James Bond Will Return

Pub Date: January 2024

ISBN: 9780231207416

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With a stellar lineup of authors offering sharp, original analysis of every James Bond film to date, this book delivers a fascinating retrospective of the 007 franchise at a critical moment in the extended life of the series. Christoph Lindner, editor of The James Bond Phenomenon , Revisioning 007 , and Resisting James Bond
Featuring established Bond scholars and new voices, this collection offers new and exciting perspectives on the film franchise. While each of the Bond films are a product of the time they were made, these essays tell us that the series has relevance to the world we live in today. Well written and fun to read, James Bond Will Return will excite even the most seasoned Bond scholar and fan. Robert G. Weiner, coeditor of James Bond in World and Popular Culture
James Bond Will Return takes a chronological, anthological approach to the study of the cinematic Bond, enabling a totalizing view of the so-called ‘Bond experience.’ This is the most expansive and well-organized coverage of the Bond cinematic universe to date, representing film and cultural history par excellence. Ian Kinane, author of Ian Fleming and the Politics of Ambivalence and general editor of the International Journal of James Bond Studies

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SPECTRE: The Complete Comic Strip Collection

Written by Ian Fleming, John McLusky, Yaroslav Horak

Publisher - Titan Books

The daring James Bond is back, this time in a lavishly put together collection celebrating the iconic SPECTRE storylines. Featuring Thunderball , On Her Majesty’s Secret Service , You Only Live Twice and The Spy Who Loved Me . These fully restored and thrilling stories are based on the original Ian Fleming James Bond novels.

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How to Wear Black Tie (A Tuxedo) Like James Bond


James Bond inspires more men to wear black tie—a.k.a. a tuxedo—than any other person, real or fictional. Whether you call it a dinner suit, dinner jacket, evening suit, tuxedo or tux (but please don’t!), 007 sets the ultimate example for how to follow the black tie dress code. Bond usually follows traditional protocol for the black tie dress code, but there is a certain way to follow the protocol if you want to wear black tie like Bond. What follows is a summary of Bond’s usual black tie styles. It doesn’t cover all black tie outfits Bond has worn, but it’s a general guide to how Bond wears black tie. There are a few exceptions to what is written here, but those exceptions are not part of the essential James Bond black tie look.

Dr. No Dinner Suit

Bond’s favourite colour for his dinner suit is midnight blue, but he often wears black dinner suits as well. Until recently, midnight blue was rarely found off the rack and signified that one bought his dinner suit from a bespoke English tailor or a high-end Italian maker. The dinner suit (or tuxedo) is a suit, meaning that both the jacket and the trousers match, whether the suit is black or midnight blue. Bond ordinary follows tradition and wears his dinner suits in a pebble-like barathea-weave wool, but sometimes he wears them in a wool and mohair blend that has a slight sheen. The image at the top of this article is of a mohair-blend midnight blue dinner suit that Sean Connery wears in Thunderball .

The silk trimmings—the lapel facings, trouser stripes and button coverings—on Bond’s midnight blue dinner suits are sometimes matching midnight blue and sometimes contrasting in black. On his black dinner suits they, of course, match in black. They are usually in satin silk, but sometimes in grosgrain silk.

Daniel Craig wears a peaked lapel dinner jacket in Casino Royale

The Dinner Jacket

There are dinner jackets and dinner jackets ; this is the latter. And I need you looking like a man who belongs at that table.

Vesper Lynd’s advice to James Bond in Casino Royale is sound for any man wearing black tie in any occasion. Bond’s dinner jackets are almost always single-breasted, and they follow tradition with only one button on the front. The jackets may have peaked lapels, notched lapels or a shawl collar. Since notched lapels are less dressy than peaked lapels or the shawl collar, Bond mostly wears notched lapels for private dinners, like for his dinner with M in  Goldfinger or his dinner with Kamal Khan in Octopussy . Because black tie these days is more often worn for grander occasions, Bond prefers peaked lapels and shawl collars.

Roger Moore wears a midnight blue double-breasted dinner suit in The Spy Who Loved Me

Bond wears double-breasted dinner jackets a number of times in the 1970s and 1980s. They usually have six buttons with two to fasten in the most traditional style for double-breasted suit jackets, but in A View to a Kill his double-breasted dinner jacket has four buttons with one to button. The simpler double-breasted style is thought by some to be more appropriate for a dinner jacket, but either style is acceptable.

Bond’s dinner jackets usually have double vents, but they sometime have no vent, which is the most traditional style for a dinner jacket. Double vents, especially when 8 to 10 inches long, are appropriate on a dinner jacket and keep the back draping neatly and elegantly. In Skyfall , Bond makes a mistake by having a sporty single vent on his dinner jacket, which is an error typically found only with American makers.

The hip pockets on Bond’s dinner jackets are straight and jetted without flaps for the cleanest look, and the jettings are usually done in the same cloth as the jacket’s body, not the silk trimming. The jacket cuffs have three or four buttons. On occasion they have gauntlet—or turnback—cuffs in the silk trimming, like in Dr. No , From Russia with Love and Quantum of Solace . The dinner jacket’s buttons are either covered in the same silk as the lapels or made of horn.

The Trousers

Bond’s dinner suit trousers follow black tie tradition and have a silk stripe down the side. The stripe matches the silk facings on the jacket’s lapels. The front style of Bond’s trousers has varied considerably, from double forward pleats and double reverse pleats to darted fronts and plain fronts, and any of these styles is appropriate. The trouser bottoms are always finished without turn-ups. The trousers are either held up with white silk braces or with side-adjusters on the trousers. Dinner suit trousers are never worn with a belt.

The Waist Covering

The cummerbund in Skyfall

Though low-cut waistcoats and cummerbunds are traditional, Bond more often than not breaks traditional black tie protocol and goes without any waist covering, which has been completely acceptable now for decades. Pierce Brosnan wears low-cut waistcoats in his first two Bond films, and on occasion, like in the most recent two Bond films, Bond wears cummerbunds.

In For Your Eyes Only and  Octopussy Bond wears trousers with a wide silk waistband that buttons at the side to give the illusion that he is wearing a cummerbund, even though he is not. Though the waistcoat is not a very Bondian part of black tie, the cummerbund is the best way to go if you want to dress like Bond and also wear traditional black tie. Though going without any waist covering isn’t ideal if you’re a traditionalist, it’s not the biggest sin provided the trousers have a rise long enough so that the white shirt does not show beneath the jacket’s button. Forgoing the waist covering is the classic Bond method.


The Dress Shirt

The most important part of the shirt is the collar, and James Bond always wears a turn-down collar—usually a spread collar—with black tie and never a wing collar. Bond wears one of three different styles of shirt with black tie: the pleated shirt, the marcella shirt and the textured shirt.

The pleated shirt has a bib on the front of half-inch pleats, and it has either mother-of-pearl buttons down the front placket or occasionally a fly placket that covers the buttons. The pleated shirt doesn’t take studs since it’s a soft and relaxed alternative to the older and dressier marcella shirt. Studs are not necessary with this kind of shirt and not part of the classic James Bond black tie look. Bond does not wear studs until Licence to Kill, the 16th film of the series! The pleated shirt may have double (French) cuffs or cocktail cuffs .

Pierce Brosnan wears a marcella dress shirt with studs in Tomorrow Never Dies

The marcella shirt has a marcella—or piqué—bib on the front, and the front has no raised placket and is fastened with studs due to the stiffer front. Bond’s studs are white mother of pearl, not black onyx. The marcella shirt also has not only a marcella bib but also the collar and cuffs—always double cuffs—in marcella cotton. Marcella is too stiff for the body and sleeves. The marcella shirt is the dressiest of all black tie shirts.

The textured shirt is made with the same weave all over with no bib in front. The texture may be a white-on-white waffle weave like in Casino Royale , a white-on-white self stripe like in Thunderball , a silk crepe de chine like in The Spy Who Loved Me , or an airy cotton voile for hot weather like in Octopussy . The shirt may either have a fly placket that covers the buttons or regular mother-of-pearl buttons down the front. Even less than the pleated shirt, the textured shirt is not dressy enough to take studs. It may have double (French) cuffs or cocktail cuffs.

Sometimes Bond combines the textured shirt with the pleated style, like in the pleated self-stripe shirts in Goldfinger and For Your Eyes Only . Bond’s dress shirts are almost always white, but Roger Moore occasionally wears off-white silk dress shirts, like in The Man with the Golden Gun , The Spy Who Loved Me , Octopussy and A View to a Kill , because silk isn’t usually bleached pure white. The elegance of black tie comes from the contrast between the black and white elements, but a cream shirt slightly softens that contrast for a more flattering look on Moore’s warm complexion. A non-white shirt for black tie should be worn with caution.

Daniel Craig wears a diamond bow tie in Quantum of Solace

The Bow Tie

Bond’s bow tie is always black and matches the texture of lapel facings, whether the facings are satin or grosgrain. Bond has occasionally made the mistake of not wearing a matching bow tie, and this is not recommended. Sometimes the bow tie is a thistle shape and other times it’s a batwing shape. It usually has straight ends, but sometimes Bond wears a diamond-point bow tie. All of these shapes are valid for the Bond look. The only thing that is a must is a self-tie bow tie. If you can tie your shoes correctly (not a granny knot) you can tie a bow tie. They use the same knot! Bond never wears a pre-tied bow tie or long four-in-hand tie with his dinner suits.

Plain Toe Shoes

Black plain toe shoes are the most traditional choice. James Bond’s shoes are usually patent leather, but recently they haven’t been. Bond mostly wears plain toe oxfords—per the British definition with closed lacings, also known as balmorals in American—but George Lazenby and Roger Moore wears slip-ons.

Though oxfords are preferred, if the slip-ons have a plain toe they are almost like a variation on the traditional opera pump. In Casino Royale , Bond wears black calf plain-toe derby shoes with his dinner suit, which are not as traditional as oxfords but not a poor choice either.

White Dinner Jacket

Warm Weather Black Tie

Though James Bond hasn’t worn an ivory dinner jacket since Roger Moore played the role in A View to a Kill , it is still a classic style for warm-year-round locales. It’s what you’ll want to wear for black tie occasions in places like The Bahamas, Latin America, Southeast Asia and India.

Bond’s warm-weather dinner jackets are never usually pure white, but they are ivory. Bond’s ivory dinner jacket may be made of wool like in Goldfinger , in silk like in The Man with the Golden Gun , or in linen like in Octopussy . Bond’s ivory dinner jackets follow the same styles as the black and midnight blue dinner jackets, except they have self lapels rather than silk-faced lapels. The buttons are also different; they are always white mother-of-pearl except for the beige horn buttons in A View to a Kill . Bond’s ivory dinner jackets are worn with black dinner suit trousers as described above, as well as the same shirts and bow ties.

If you’re interested in learning more about how to follow the black tie dress code, read Peter Marshall’s Black Tie Guide , which is the ultimate source for formalwear. You can also leave any questions about wearing black tie like James Bond in the comments below. For more specific examples of James Bond’s and related characters’ black tie outfits, see this blog’s  black tie tag .

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(00)7 reasons why the goldfinger glen check suit is so iconic, two unstructured jackets: different fits, same concept in licence to kill and spectre, bond wardrobe review 19: the world is not enough (1999), 44 comments.

Great work Matt (as usual)!

I like Connery’s way of wearing black tie – totally at ease, never stiff. And I appreciate the subtle way how he “breaks the rules” – i.e. wearing cocktail cuffs with black tie, dispensing with the cummerbund etc. Only the two side vents bother me a little but that’s minor. Although I am not the biggest fan of Bond’s Brioni suits, the black tie outfit in TND turned out very well – IMHO it is among the very best ones of the series.

Correct me if I’m wrong, but has James Bond never worn a shawl-collared white dinner jacket? Aside from the one notch-lapel one in A View to a Kill, I’ve always liked the extra bit of formality that peak lapels add to Bond’s warm weather black tie ensembles.

You are correct. Apart from the notched lapels in A View to a Kill, Bond’s four other white dinner jackets have peaked lapels.

Also James Bond never worn a shirt with wingtip collar.

Good thing, too! This blog is mostly about people’s opinions… And mine is that they should either stay in Downton Abbey or at tacky high school prom photos!

I don’t like the wing collar either, but I am trying to find a good example of one to write about. Guastav Graves has a nice wing-collar shirt, but he unfortunately wears his bow tie behind the collar wings.

That’s even worse! I’m also a big fan of classic British horror and dear ol’ Cush often used to wear his bow ties behind his collar. It just looked plain odd. See below Ps note how well dressed Vincent Price looks here…


Nice summary as usual Matt. I have never attended a black tie event and so have never had a chance to wear a dinner suit. But watching James Bond has certainly made me want to have one. Midnight blue, shawl collar with double vents. I’ll probably only be able to justify getting one when (if) I get married someday.

Re: “sethblack – I have never had a chance to wear a dinner suit. I’ll probably only be able to justify getting one when (if) I get married someday.”

What’s your opinion, Matt? It’s only in recent years that I have noticed this odd trend for wearing what is evening wear for a formal daytime event like a wedding and it goes without saying that this is entirely inappropriate even if it has started to become mainstream. Where did this come from? I don’t want to offend Seth, but I assume it sprung from the idea in people’s mind that black tie is the epitome of formal chic and in an increasingly (sadly) informal world this is seen as what one should aspire to wear on any formal occasion.

The black tie weddings I have attended have been in the evening, so I’m okay with that. For weddings during the day, I think black tie is inappropriate.

Any wedding I have ever attended had the service held (in either church or registry office) during daylight hours whereas the celebrations afterwards (meal, drinks, speeches, dancing etc.) were afternoon, evening and beyond. This may be different in the US to Europe though. The wedding affairs I have seen with black tie were European. Protocol would indicate that the evening wear would ONLY be properly acceptable for the celebrations if the participants had changed from the appropriate formal wear for day time. The use of evening wear for a formal daytime situation is, mind you, no worse than some of the tacky rental monstrosities I have observed being worn by individuals ostensibly following protocol!

Out of curiosity, what is generally considered evening for these purposes? After 5:00 (17:00)?

6 pm is the start time of a black tie or white tie event. 6 pm in the summer time is very light out, like when Bond wears his two dinner jackets in A View to a Kill . In the winter when it’s dark at 5 pm, I don’t think it’s inappropriate to wear a dinner jacket.

Black tie weddings appear to be much more common in the US and parts of Europe, than in the UK. This is, in part, I think, because evening weddings are (or until recently were) illegal in England and Wales (it has to be light so you know you are marrying the correct person). That means the association with morning coats is stronger in the UK.

I also suspect that – for many people – black tie has simply come to mean ‘formal’, rather than specifically evening wear.

Well, it was just a offhand comment from me (as I have no actual plans to get married in the near future). But you’re probably right that the dinner suit or tuxedo has simply become the “formal” attire for a man. I have seen a picture of a relative of mine in the US getting married in a dinner suit. Although I can’t be sure if it was in the day or the evening.

I’m drawing a blank Matt – when has Bond worn WHITE dinner jackets? I’m aware of both Connery (Goldfinger) and Moore (a couple of times) wearing tropical dinner jackets in traditional ecru but don’t recall any in pure white.

I also notice how you carefully omitted Lazenby’s awful ruffle shirt, which I hope will be the one and only appearance in the canon.

How about some details on how trousers are held up? I notice that belts have appropriately never been worn by Bond with dinner clothes. Connery as usual seems to favour side adjusters, Brosnan and Craig have both been seen with braces.

“White dinner jacket” includes ivory, as I mentioned in the article.

Lazenby’s midnight blue dinner suit is one of the nicest of the series, it’s just too bad he wore a ruffled shirt with it.

Dalton and Craig have worn braces, but not Brosnan. You’re right that belts are certainly not an option.

Is the white poplin shirt, with fly front and double cuffs appropriate for a dinner suit? I have one, but I’ve worn it couple of times with the regular suit as I don’t own a dinner jacket.

A little texture from a white-on-white weave is better, but as long as your shirt has no pocket it can work with a dinner suit.

Yes, it has a clean, no pocket front. Thanks!

Matt, is this the same white tuxedo which Connery wears in Woman of Straw?

Yes, this and many of Sean Connery’s clothes in Goldfinger were first used in Woman of Straw .

Matt, would the summer white tuxedo be lined inside?

If it is English-tailored, it is lined since the English tailors rarely have the skills to do a partial lining. A half or quarter lining, however, makes more sense. Roger Moore’s linen dinner jackets need a full lining so they stay looking neat.

Another great post. As Matt said in a prior post, Bond (and the production team) has, at times seemingly almost alone, kept black tie alive. Much of Bond’s black tie has been near perfect, some trendy, a few forgettable (and one or two just weird), but it is an essential part of a Bond movie. Here’s to hoping the screenwriters continue to come up with scenarios in which Bond’s black tie can be (reasonably) believably worn.

As for the interesting wedding tangent discussion, I have been to one black tie wedding where the guests were to wear black tie, and that was an evening wedding in NYC. Most weddings I have been to has the groom and his wedding party in black tie of some variety to complement the bride (ina wedding dress) and her party, who are invariably in cocktail dresses. While I usually think certain rules should be followed for black tie (minus the cummerbund) one’s wedding seems like a time when one can wear whatever one wants.

I disagree entirely. Wearing a dinner suit during the daytime is utterly vulgar. It demonstrates complete ignorance of convention.

Totally agree!

So midnight blue dinner suit with a black bow tie or should the bowtie match the color of the dinner suit?

Typically a midnight blue dinner suit is worn with a black bow tie and lapel facings.

Black tie = BLACK tie!

I cannot abide the term “tuxedo”. It’s just so awful and crass. I don’t know why it took off in the vernacular but it should stop.

It’s not nearly as bad as calling it a “tux”!

Very well put, Matt (& others). All I’ll add is the response of a tailor who was rigging me out in black tie for my sister’s wedding. I was fretting over the cost of patent leather shoes, and he asked if I would be dancing at the reception. I replied in the negative and he said I should simply wear black business shoes. I asked why and he said that patent leather pumps are lighter and have thin soles and thus the wearer looks like a better dancer than he actually is.

They also made the error of a single vent with the Windsor tux in spectre. I think that the ivory jacket had a good look, but the biggest errors were the 2-button front and the single vent. Why didn’t the costume designer make these 2 changes on the jacket? Was it that Tom Ford didn’t want to alter the Windsor model, which is their “signature” model?

The costume designer didn’t know any better. She’s in charge of the wardrobe, not Tom Ford, and can ask Tom Ford to make whatever she wants for the film. The O’Connor suit, after all, is her design rather than Ford’s.

Why does Bond never wear ivory dinner jackets with the matching trousers, so they are a suit? I would think that if you are wearing an ivory dinner jacket, you’re probably in a hot place. So the black trousers would absorb more heat. I know that it looks slightly worse to wear an ivory dinner suit rather than the ivory dinner jacket with black trousers, but I would think the ivory dinner suit would be better because of breathablility. Also, what kind of shirt do you like the best? I prefer the marcella front, because it’s essentially a flat front with studs. I don’t get the whole point of pleats anyway. What purpose does the pleats serve? I actually don’t get why many people in black tie like to wear pleated wing collar shirts. The wing collars look absolutely horrible in my opinion, and you will never catch me wearing a wing collar. And the ruffles look like shit, like he just vomited on the shirt. Why did Lazenby wear a ruffled shirt? It completely ruined his look! However, I have heard that wing collars are more formal than laydown collars. Is this true?

Do you know why dark colours wear warmer?

With a dinner suit, is it ok to wear a vest like the one you wear with a 3 piece suit? I once went to a black tie event and wore a 3-piece suit vest with my dinner suit although I kept everything else normal. Boys at my school’s prom also wear 3-piece suit vests, because I think that those low-cut vests that Brosnan wore usually only come from higher-end retailers. Also, why does Bond usually not wear a vest or a cummerbund with his black tie outfits.

No, one should not wear an informal waistcoat with a dinner suit.

So what would Bond wear to his sons wedding? My boy is getting hitched (and my tux does not have to match with the tan coats the men will wear).

Notched lapel I would guess, but black or midnight blue?

Is this a black tie wedding? What exactly are the rest of the men wearing?

I know things seem to be a little different in the US, but James Bond would surely never wear a tuxedo/dinner jacket to a wedding. In the UK evening weddings are not permitted and so evening wear is generally regarded as inappropriate.

If the wedding invitations specify black tie then, of course, you should wear a dinner jacket. Otherwise conventional British etiquette, which Bond would unthinkingly follow, would suggest a simple lounge suit for an informal wedding, morning coat for a formal wedding or black lounge/stroller – as BOnd wore to his own wedding in On Her Majesty’s Secret Service – for something in between.

Hi Matt… can you make a post about Black Tie’s trousers length?

Trouser length principles are the same no matter what the trousers are for.

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What's So Offensive About James Bond?

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The wokescolds won't stop until they've ruined everything. In recent years, we've seen the bowdlerization of novels by Roald Dahl, woke remakes of Agatha Christie classics, and disclaimers on classic Disney cartoons. 

Now, the British Film Institute is getting in on the game. The BFI, the institution dedicated to preserving the heritage of British cinema, is screening the James Bond films from the '60s along with some other similar movies, and it has decided to slap trigger warnings on the films on its website.

Before you start rolling your eyes, there's a slight twist in this tale. Not only is the BFI warning that mid-20th-century spy thrillers might be offensive to modern snowflakes, but it's also claiming that audiences found these movies offensive when they first hit theaters.

"The BFI has warned on its website: 'Please note that many of these films contain language, images or other content that reflect views prevalent in its time, but will cause offence today (as they did then),'" reports GB News . "'The titles are included here for historical, cultural, or aesthetic reasons and these views are in no way endorsed by the BFI or its partners.'"

You've got to be kidding me. Who would've been offended by these movies in the swinging '60s? Grubby Communist henchmen? Megalomaniac billionaires intent on taking over the world? SMERSH? SPECTRE? (Someone should tell the BFI that both of those organizations are fictional.) 

Others who might have taken offense to these films back in the day include sexy Japanese secret agents, rifle-toting henchmen on skis, mute Korean butlers with razor-brimmed hats, kidnapped cosmonauts and astronauts, gorgeous Russian double agents trying to defect, and power-hungry half-Chinese-half-German scientists who neither look Chinese nor German.

I've been a fan of the 007 movies for as long as I can remember, and the '60s films are some of my favorites. While there are a few lines or portrayals that make me wince or chuckle just a bit, I've never thought anything in any of those movies was terribly offensive. 

There is a small line in my all-time favorite Bond film, "You Only Live Twice," that always bugs me. When Blofeld's spaceship is about to take over the American spacecraft, one of the tracking station agents radios NASA and starts with, "Hello, Houston?" But he pronounces it as "Hoo-ston" — not "Hew-ston" like in Texas or even "How-ston" like Houston County, Ga., or Houston Street in New York City. It grates on my nerves tremendously, but I'd never call that offensive.

Recommended:   How Did I Miss 'Snowflake Mountain'?

Don't these people realize that audiences in the '60s didn't take offense to most anything? Much of the output from that era was far from politically correct, and while the James Bond film series pushed the envelope a little when it comes to sex and violence, it's more tame than most anything we see on the big or small screens today. 

British journalist Mike Parry lived through the '60s, and he appeared on GB News to discuss how ridiculous the BFI is for acting like the original audiences took offense at the Bond movies.

"Honestly, do you know the worst part of this report?" he asked. "Part of it says that the warning on the raft of 1960s films being offensive, they were also offensive then in the '60s."

"No! I lived in the '60s. I can tell you I was not offended to see James Bond assuming the identity of an oriental person because he was working in Japan," he countered. "I mean, it's ludicrous!" 

A randy killing machine who gets to play with the latest gadgets and the most beautiful women shouldn't be offensive in the era of ultra-violence, hypersexuality, and transgender everything. Movies with clear-cut good and bad guys ought to be refreshing at a time when everyone is a flawed, amoral anti-hero. Dialogue that doesn't rely on the F-word in every sentence should resonate with people who hear so much profanity.

It's true that the '60s were a different time, but we shouldn't have to slap a warning label on everything that's not woke and not infected with left-wing nonsense. It's long past time for the ruining of our cultural classics to come to an end.

Here at PJ Media, we love to call out the wokes as they try to ruin our culture. You can help us take on the left with unvarnished truth and a rollicking sense of humor by becoming a PJ Media VIP . 

Not only does your VIP membership net you some terrific benefits — exclusive content, podcasts, access to the comments section, and an ad-free experience — but it also helps us stay independent and avoid the self-appointed gatekeepers of the left-wing narrative.

VIP Gold gives you even more of the good stuff, with VIP benefits across the entire Townhall family of sites and live chats like Five O’Clock Somewhere. It’s all a great value on its own, but if you use the promo code SAVEAMERICA , you’ll get 50% off !

The discount allows you to become a VIP for about $2 a month, or you can go for the gold with VIP Gold — which gives you all the VIP goodies across the whole Townhall family of sites — for about $4 a month.

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Chris Queen

Chris Queen is an Editor and Columnist at PJ Media, where he has written for over 10 years. He has also written for The Resurgent, NewsReal Blog, and Celebrations Magazine.

Chris is a fan of anything involving his beloved Georgia Bulldogs and is a Disney aficionado. He is the author of the book Neon Crosses .

You can subscribe to his Substack page to read his musings on faith, Southern culture, and more. Find him on Twitter , Truth Social , and Gettr . For media inquiries, please contact  [email protected] .


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Fans Felt Bad For Graham Norton After 'Disastrous' Daniel Craig Interview

Posted: January 5, 2024 | Last updated: January 6, 2024

  • Daniel Craig's interviews and red carpet moments are often awkward and uncomfortable, leaving fans cringing.
  • A 2021 interview on The Graham Norton Show with Daniel Craig and his co-stars for No Time To Die was deemed "painful" and lacked fluidity.
  • Craig has openly expressed his dislike for playing James Bond and has struggled with fame, leading to his tense and uncooperative behavior during interviews.

During his run as James Bond , Daniel Craig became infamous for appearing unfriendly in interviews and making red carpet moments incredibly awkward.

In a 2021 interview on The Graham Norton Show , fans couldn't help but notice how awkward things seemed between Graham Norton, Daniel Craig and his No Time To Die co-stars during the uncomfortable interview.

The presenter interviewed Daniel Craig, Léa Seydoux, Rami Malek and Lashana Lynch on the show, but fans declared the exchange as being "painful."

One viewer took to social media to write: "Jeez. The Graham Norton show is painful this evening … feels like no one wants to be there."

A viewer wrote on Twitter about Daniel Craig's The Graham Norton Show episode, "There does seem to be a lack of fluidity. Not sure if that’s the editing though. They normally have 2 hrs of recording to whittle down to 45 mins." Despite the awkward engagement, fans praised Graham Norton for trying his best with a couch of guests who appeared to not want to be there.

Another viewer added, "Graham Norton show super weird and awkward, two of the cast pretending they’d never heard of James Bond prior to being cast."

In addition to promoting No Time To Die , Daniel Craig was also notoriously grumpy while promoting 2015's James Bond film, Spectre , even claiming he’d rather “slit his wrists” than play James Bond again. “I’m over it at the moment,” Craig told Time Out . “We’re done. All I want to do is move on.”

In the following, we will take a look at some of Daniel Craig's history with awkward and uncomfortable interview moments. We also look at what it is about playing James Bond that Daniel Craig hates.

Daniel Craig's Awkward Morning TV Interview In 2015 For Spectre

The No Time To Die cast's interview on The Graham Norton Show is not the only time the James Bond actor created an awkward TV moment. In 2015, Daniel Craig appeared on This Morning in the UK, but cameras were forced to cut away after he began to swear.

The interviewer, Sarah Powell, spoke about the outfits he wore as the famous spy, before asking Craig if he removed his clothing during Spectre . Craig admitted he had gone "shy," talking about that subject.

The interviewer then asked him to "pull his famous pout." When Craig was repeatedly asked to pull James Bond's signature smouldering look, he eventually said, "I think you need to move on."

Daniel Craig Called The Idea Of Leaving His Kids With An Inheritance 'Distasteful', And It Actually Makes Sense

Powell asked if the actor would ever play a villain in the long-running spy franchise. He responded, "I don't know how to answer that. I don't think that would... no, I don't think so."

The segment of the British morning magazine show ends abruptly. This was because the actor allegedly used foul language, although the producers later denied this. Audiences were torn about whether the Layer Cake actor should have lightened up or if the presenter was asking inappropriate questions.

As the show cut to hosts Phillip Schofield and Amanda Holden, Phillip told audiences, "We rushed that interview over and edited that quickly, I'm sure you would have taken out the pout stuff if we hadn't."

Things Got Uncomfortable During This Red Carpet Interview With Daniel Craig For No Time To Die

Although Craig appeared extra uncooperative during the Spectre press tour, he continued his curmudgeon behavior during the No Time To Die premiere.

An Australian reporter endured an excruciating interview with Daniel Craig at the 2021 London premiere of his final James Bond film, No Time to Die .

Craig shut down Nine News' European correspondent Brett McLeod when the reported asked him who wanted to take over the role of Bond . Craig quickly shot back with, "Not my problem."

How Close Is Daniel Craig With Ella Loudon? The Truth About Bond's Daughter From His First Marriage

Co-hosts Karl Stefanovic and Allison Langdon expressed their awkwardness when the interview aired on the Today show. "It's not hard, is it?" Langdon exclaimed on the morning news show. "Make a bit of effort and answer a question!"

McLeod also asks Daniel Craig if he was sad at walking his last red carpet as a James Bond actor. "I don't know how much I'll miss this," he said, referring to the extravagant red carpet event, which members of the Royal Family attended. "Maybe. We'll see. I'll think about it tomorrow." he added.

Why Daniel Craig Struggled Playing James Bond

Daniel Craig has admitted he struggled with playing James Bond, which could be why he struggled during interviews. In an interview with The Sun , the star said he felt “physically and mentally under siege”. The actor starred in five Bond movies from 2006 before ending his reign in the 2021 film No Time To Die .

“I used to lock myself in and close the curtains, I was in cloud cuckoo land. I was physically and mentally under siege.”

Daniel Craig Only Recalls One Time That He Wasn't Recognized In Public

Craig has also described fame as something "he used to hate" and admitted in 2022 that he had "to get used to being famous, which is still so foreign to me."

The Logan Lucky star explained that fame made him unable to do many things he once loved. "Because it will become public knowledge that you've gotten drunk in a bar or skinny-dipped on a beach or something."

"But now everyone's got a camera. Not that all I want to do is get drunk in a bar, but that's an example," he jovially added. The star, who is married to Rachel Weisz, keeps a notoriously low profile in his day-to-day life.

An interview with Sorted magazine also gave fans an insight into why Daniel Craig is so uncomfortable promoting his work . In a conversation about social media, which Daniel Craig does not use, he stated, "It's not that I dislike people. It's more that I just want to have a private life like everyone else who isn't in the public eye. I don't get why people want to speak to me or get me to go out with them or anything, anyway. I'm relatively boring, and I like my own space."

Fans Felt Bad For Graham Norton After 'Disastrous' Daniel Craig Interview

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"You got the part! Don't cut your hair!" — Judd Apatow to the male cast of Freaks and Geeks

As we all know, the Hair Codifiers for The '80s were the ladies . Well, the Hair Codifiers for The '70s were the gentlemen .

Is it the sideburns? Is it the general shape, in which we, in hindsight, can recognize what would later become the mullet? In any case, the audience recognizes the era as soon as a manly mane of this sort is shown.

Yeah, it's the sideburns. They were undoubtedly the defining feature of Seventies male hair, in addition to hair that was worn naturally thick—straight at first, and "hippie-ish" just like '60s Hair during the first half of the decade (since the early seventies was really The '60s Part II) but increasingly frizzy during the second half (a preview of '80s Hair ) as the decade wore on, perhaps thanks to the influence of glitter rock, or possibly the Black Power movement. The other "very 70s" hairstyle is the Afro, immensely popular in the 70s (though it started in the late Sixties ) for most African Americans, but even white guys with curly hair tried to have one . Afros in fiction often tend to be exaggerated for comic effect . Other "very 70s" hairstyles are mohawks and spiked hair .

The fashion for rugged hirsuteness didn't stay on the top of the head, either; this is also the decade of the Porn Stache and the Carpet of Virility . Also, women in the era were often known to not shave the pubic areas too .

Women's hair was also "hippie-ish" (long and straight) for the first half of the decade and puffy and combed-over during the second half (also a preview of '80s Hair ). Outside of this wiki, when referring to "70s hair", people usually mean that sexy feathered hairstyle associated with Farrah Fawcett , Kristy McNichol, and Stevie Nicks . Usually when referring to what's called '70s hair on this wiki, terms like " Disco hair" or the "mod haircut" are used.

Compare Hot Blooded Sideburns .

  • While staying in the classic Bela Lugosi-esque outfit, the early Monster Cereals boxes and commercials, first released in 1971, gave Count Chocula huge and noticeable sideburns. More modern variants would tone these down.
  • The Area 88 manga, which launched in 1979, has multiple examples of seventies hair.
  • Seventies' style Hot-Blooded Sideburns were very frequent in Super Robot Genre anime back in that decade (and omnipresent in Go Nagai manga). Examples include:
  • Dear Brother has Aya Misaki , with a perm as pompous as her ego.
  • Mazinger Z : Other than Kouji's Hot-Blooded Sideburns , you also have Dr. Hell's sideburns and Beard of Evil .
  • Great Mazinger : Tetsuya tsurugi sported a fine pair.
  • UFO Robo Grendizer : As Duke Fleed added. Bonus for having long, uncombed hair.
  • Getter Robo : Be careful to not get too close to Ryoma's sideburns. You might poke your eye out.
  • Kotetsu Jeeg : Hiroshi Shiba sported a fine pair of sideburns. Even in the 2006 sequel, his successor Kenji Kusanagi still sport sideburns.
  • Raideen : Akira Hibiki's hair was long and spiky, and his sideburns were large.
  • Combattler V : Hyoma is a good example, but Juzo had the sideburns and a long mullet! Chizuru's hair also was long and straight.
  • Voltes V : Kenichi Go's fine pair. Ippei does not have the burns but otherwise has long hair.
  • Daimos : Kazuya Ryuuzaki had long sideburns and a hair he only combed when he was going to meet a girl (according the Home Base Robot Buddy ). Erika had long sideburns AND long, straight black hair.
  • Mobile Suit Gundam : Kai Shiden is the most blatant for the Federation side with his moptop, as well as Sleggar Law's sideburns. On the Zeon side, Char has a mild late 70s hairdo, as well as Garma Zabi. Dozle Zabi has a fine pair of sideburns.
  • Mobile Fighter G Gundam : despite being produced in 1994 , Kyoji Kasshu's hair, with mullet and sideburns to boot, are at home with the protagonists of seventies Super Robot anime.
  • While Manga/Pretear came out in 2000, the heroine Himeno has a very feathered Fawcett-like bob haircut, giving her the disparaged nickname “tulip head.”
  • Science Ninja Team Gatchaman : Ken and Joe are good male examples. Jun, with her long, green hair falling over her shoulders is a good female example.
  • Neo Human Casshern : Tetsuya Azuma has long, thick hair and long sideburns under his helmet.
  • The Distant Epilogue to Kids on the Slope takes place in the 70s, marked by the now adult Kaoru having long hair.
  • Daitarn 3 : Main character Banjo has very long sideburns, and thick, unruly hair. His female companions have long, puffy hair.
  • In Supergirl Vol 1 , set in the decade, the men have huge sideburns and long wavy hair, and the women's hair is puffy. One of Supergirl 's friends sports an afro.
  • Beast Boy 's signature haircut throughout The New Teen Titans was a mop-top. He eventually traded that in for a mullet in the 1990s before switching to his modern spiky hair in the 2000s.
  • Valerie from Josie and the Pussycats had a short afro in the '70s.
  • Almost Famous . Lester and the members of Stillwater have this. William's an interesting case; he's too young to grow sideburns and his ear-covering mop was firmly tied to the period when the movie was made in 2000 but has come back in style since.
  • Most of the cast of Anchorman: The Legend of Ron Burgundy , sometimes adding the Porn Stache for good measure.
  • The 1976 adaptation of Carrie is somewhat infamous for William Katt's enormous head of curly blond hair as Tommy. John Travolta also sports a comparatively toned-down version as Billy. For the women, Sissy Spacek 's title character has the hippie-ish long and straight hairdo that's used to highlight her Shrinking Violet nature; her makeover for the prom sees her add some curls to it, but the blood spilled on her flattens it back out. Nancy Allen 's blonde curls are also a dead ringer for Farrah Fawcett 's.
  • Most of the teenagers and young adults in A Clockwork Orange have this, despite this work being set in the near-future . Justified, as the book version actually states that this is the current Delinquent Hair fashion.
  • Live and Let Die : Taking inspiration from blaxploitation, many Black characters are seen wearing afros, with several Black male characters also wearing thick sideburns and other facial hair.
  • The Man with the Golden Gun : Several background male characters are seen wearing mustaches or thick sideburns.
  • Moonraker : Some of Drax's henchwomen are seen wearing the androgynous bowl cut or wavy Farrah Fawcett-style hair.
  • In Knife for the Ladies , Jeff Cooper's shoulder length surfer boy perm is especially distracting in a movie supposedly set in the 1880s.
  • Shows up in The Last Picture Show , which is supposed to be set in 1950s Texas. While some men did have sideburns in 1951, they probably weren't that common.
  • Logan's Run filmed in 1976 could easily be the Trope Codifier for this with 70s hair galore. Logan 5 and Francis 7 played by Michael York and Richard Jordan have long puffy hair with with serious sideburns, Jessica 6 played by Jenny Agutter has a gorgeous feathered bob and Farrah Fawcett herself appears as Holly 13.
  • Psycho for Hire Anton Chigurh in No Country for Old Men wears a Seventies hairstyle, which only adds to his creepiness. Javier Bardem even joked he was “not going to get laid for two months” with that hairstyle.
  • Take an actor known for Seventies Hair, like Takuya Kimura, and cast him in a seventies throwback Live-Action Adaptation , in this case the Space Battleship Yamato movie. How could it not work?
  • Superman: The Movie of course being filmed in 1978 unavoidably has this with the main cast and all side characters. Supes’s hair while iconic is longer than most depictions, Lois has fringed bangs and best of all Lex Luthor’s ridiculous perm (which was Gene Hackman ’s real hair). Superman II , although it was released in the 1980 still has hair filmed from the previous era such as Ursa with her short hair with bangs and Zod and Non having widow’s peaks and hippie beards, which Zod initially lacked in the comics but soon gained permanently thanks to the movie version.
  • In Star Trek: The Motion Picture , Uhura wears a short afro in contrast to the bouffant she had on Star Trek: The Original Series a decade earlier.
  • Amusingly enough, the frequent Prequels and side stories set in and around the Old Trilogy era mean that even new works in the galaxy far far away keep putting characters in such hairstyles just to fit in . Anakin spends all of Revenge of the Sith with a long rocker-mullet, while Obi-Wan previously sported a shorter, more Kenny Loggins -style 80s mullet in Attack of the Clones , and then there's Agent Kallus' epic sideburns ...
  • The younger Professor X still has a full head of hair, and sports a longer, hippie-style mane.
  • Mystique rocks some hairstyles of the time in her human form and in one scene, masquerades as a black woman with an enormous afro.
  • Quicksilver's glam mop upset many fans in promotional materials, but it fits in with the era perfectly. Note the length and the silver sideburns.
  • Trask's hair helmet is very appropriate for the time period.
  • Wolverine still wears his muttonchops even in the future scenes.
  • Zulu . Well...the 18 70s anyway. The long sideburns on the men wouldn't look out of place a century later.
  • In The King of Marvin Gardens , the goon Rosko has a rather impressive afro with sideburns.
  • The Dating Game : A blatant example, where Lange grew his hair thick and had sideburns during the last few years of the original ABC daytime run. His hair grew even longer, to just below the collar line, for the 1973-1974 syndicated season, and permed it in true 1970s style for the 1978-1980 syndicated revival. Lange was in his late 30s and early-to-mid 40s through this period.
  • Name That Tune : NBC Vice President of Daytime Programming Lin Bolen commissioned a revival of this name-the-song game show staple of the 1950s and hired Dennis James as emcee. In "The Game Show Book" by the USA Today's Jefferson Graham, James — who was 57 when he took the job — was asked to grow his hair and sideburns to appear 15 years younger, which he did very reluctantly. He carried over this look to the first half of the 1974-1975 syndicated season of The Price Is Right , which he simultaneously hosted, but once Tune 's daytime version was cancelled in January 1975, he cut his hair and trimmed his sideburns to his more familiar style.
  • Wheel of Fortune : Chuck Woolery's hair was to between the collar and neckline for the first three-plus years of the original NBC run; Woolery was just 33 when Wheel debuted.
  • All in the Family : Mike ("Meathead") and a lot of his hippie friends.
  • By the time 1977 The Brady Bunch Hour came into being, Mike Lookinland, who played youngest son Bobby (he was 16 by this time) also had permed hair (much like his TV father and older brothers), and youngest girl Susan Olsen (now 15) wore her hair in a later-1970s style. Florence Henderson's hairstyle was very much in the later 1970s "short" style.
  • Throughout all this time, the only one whose hairstyle was consistent was Ann B. Davis .
  • Referenced on Buffy the Vampire Slayer when Buffy looks at Joyce's high school yearbook: Buffy : Mom, I've accepted that you've had sex. I am not ready to know that you had Farrah hair. Joyce : This is Gidget hair . Don't they teach you anything in history?
  • Charlie's Angels had the feathery female variant and is often credited with starting the hairstyle trend in women seen from the mid-'70s through the early '80s.
  • The Crowded Room : Many characters on the show, since it is set c. 1979. Danny has a shaggy mop, black characters sport dreadlocks, afros and other distinctive hairstyles common then etc.
  • The Third Doctor's hairstyle gets longer, fluffier and bigger as the year the season was made, and the fashions, progress from 1970 to 1974. In 1970 he has a short, tidy grey crop with very close-cropped sideburns. In 1971, it starts to get wavier and blonder. By 1974 he has a full, waved, feathered white bouffant with large sideburns.
  • Jo Grant has a very 1971 feathered shag cut in her first season.
  • The Fourth Doctor's dense, feathered, preposterously curly 1970s 'fro , which Tom Baker even had to have permed at one point, worn with big, orange sideburns. Like the Third Doctor above, the sideburns get progressively bigger over the course of the 70s. Lampshaded in the Time Trips novella The Death Pit , set in 1978, in which another male character expresses jealousy over the Doctor's fashionable curly hair.
  • Harry Sullivan also had prominent sideburns, particularly notable since he was supposed to be in the Royal Navy, which had just relaxed its regulations to permit sideburns to the bottom of the ear, but no further.
  • Emergency! was a veritable time capsule: Sideburns (DeSoto and Dr. Brackett), feathered mullet (Johnny Gage), Porn Stache (Chet, Marco), Carpet of Virility (Chet, Marco, Captain Stanley), and Afro (Dr. Morton). Plus variations on the various victims of the week.
  • All three main characters in The Goodies had hairstyles very much of their time while the series was on the air. Tim Brooke-Taylor wore his hair in increasingly longer styles until, by 1977, it was almost to his shoulders at the back and sides. Graeme Garden had big mutton chop sideburns starting in the first series in 1970; by 1977, they were so bushy that it looked like he had two hamsters clinging to his cheeks. And Bill Oddie started out with a moustache and a shaggy bowl cut, but progressed to a full beard and hair past his shoulders by 1972.
  • Happy Days : Blatantly (along with the fashions) by the late 1970s, despite this being a show who was (by this time) set in the late 1950s and very early 1960s. This evolved into '80s Hair during the early 1980s years, despite the show being set in the early-to-mid 1960s.
  • The Hardy Boys/Nancy Drew Mysteries had Frank and Joe Hardy with long flowing locks that make discovering the characters' short hair covers and illustrations in the book quite a shock for a '70s kid viewer.
  • Interview with the Vampire (2022) : In " Like Angels Put in Hell by God ", Louis de Pointe du Lac sports an afro in 1973.
  • Done in a realistic fashion for Mad Men where the show started in the year 1960 with a lot of '50s Hair and then ended up with the cast mostly having looser versions of their hairstyles from the Sixties; the only exceptions being conservative men like Don Draper and Henry Francis. The men went from structured hair and crew cuts to having long side burns and "the Dry Look" (conservative hairstyles with less product) and the women went from very structured bouffants and Beehive Hairdo styles along with ponytails and pageboys to looser, longer styles that used less hairspray...or in the case of Betty Draper Francis more.
  • Frequently — and anachronistically — in M*A*S*H . B.J. Hunnicutt was a notable offender, especially in later seasons.
  • For many who grew up in the '70s, Billy Batson's dark, luxurious mane on the Saturday morning series Shazam! (1974) was iconic, and being in his early-to-mid teens Billy, played by Michael Gray, is one of the younger examples on the page.
  • Stranger Things : Word of God has it that Joyce's hair in Season One was inspired by Meryl Streep's hair in Silkwood , which focused on the shag do'd whistleblower Karen Silkwood and her 1974 murder. As the series goes on, her hair gets longer and more well-kept.
  • In Supernatural , Sam's hair is like this. He didn't start out like that, but his hair (and sideburns) grew longer over the seasons, getting more noticeable from season 6 on. This was lampshaded by someone in season 8, who called his sideburns "creepy".
  • That '70s Show , naturally. Especially Kelso's feathered 'do and Hyde's frizzy afro.
  • This Is Us : Jack Pearson has shaggy chin-length hair and a thick beard in 1979 and 1980, when his kids are born. As the '80s goes on, he does eventually shed the beard for a mustache, but still keeps the '70s shaggy hair.
  • Toast of London : Steven Toast has long hair with fat sideburns and a Porn Stache , and Ray Purchase has slightly shorter curly hair and big sideburns. This is all part of the Retro Universe 1970s actor aesthetic it goes for.
  • A Year at the Top : Greg's long hair, and the feathered hair of the girl who appears in the promo.
  • Supertramp 's Roger Hodgson and Rick Davies still have hair like this.
  • Brian May still has his hairstyle and much of its color from The '70s , too.
  • The Bee Gees
  • Elvis Presley had thick sideburns during the 1970s, topped with a slick pompadour .
  • Peter Gabriel sported this look during his early solo career, though he also alternated it with close-cropped hair, even shaving his head completely, before it was fashionable.
  • Stevie Nicks exemplified the sexy feathered style for women in the late '70s, along with Farrah Fawcett.
  • The women of Centigrade 37 have hair styles liberally borrowed from the likes of Barbara Bain and Farrah Fawcett .
  • The Oakland Athletics were this. Although they could possibly be seen as a subversion since many of the players took their inspiration from the styles that ballplayers wore in the 19th century.
  • You'll have some difficulty finding a Formula One driver of the early 1970s who did not have his hair like this. One biography relayed how the two in the page image, Ronnie Peterson, and Francois Cevert got into an argument over who could grow the most uncontrollable hair and densest sideburns.
  • Much as Big Boss's hair in Metal Gear Solid 3: Snake Eater is a bit 80s , EVA has a sort of feathered late-70s shag rather than anything more suitable for 1964.
  • In Metal Gear Solid: Portable Ops , the young Roy Campbell is rocking a terrific layered 70s mop.
  • In Disco Elysium 's Retro Universe setting, everyone has 70s-appropriate hairstyles. Almost all the male characters have at least medium-length hair, with a few appropriate exceptions for Sociopathic Soldiers , shaved-headed racists, old men, little kids, and one character who is a Comic-Book Fantasy Casting of H.P. Baxxter . Kim, who keeps his hair in a classic WWII-style short-back-and-sides cut as part of his overall vintage fighter pilot aesthetic, seemingly subverts this trend, but 1940s/50s revival styles were a notable fashion subculture in the decade. Nevertheless, it reinforces him as the neat and well-groomed foil to your player character, who has a greasy shoulder-length mop and gigantic muttonchops .
  • Call of Duty: Black Ops Cold War has Arash Kavidar, one of the main antagonists, has typical 70s hair complete with a Porn Stache . Given that it was set in 1981, but the actual 80s hairstyles did not caught on yet. Russell Adler and Arash, both more heroic characters, also had typical 70s haircuts.
  • And, of course, the spoofee .
  • When Heaven Spits You Out : As the story starts in 1971...
  • The characters from Scooby-Doo started off this way due to initially being released around the 1970's. They carry it on throughout various incarnations, even the ones that put the characters in modern day, such as What's New, Scooby-Doo? and Scooby-Doo! Mystery Incorporated .
  • Mac's haircut from Foster's Home for Imaginary Friends , while still popular with boys to varying degrees, resembles this. It's probably based on Craig McCracken 's real-life hairstyle.
  • Being a Period Piece that takes place in The '70s , F is for Family has a lot of characters who sport these. This includes, but isn't limited to Sue, Bill, Kevin, Vic Reynolds, Cutie Pie, Brandy Dunbarton, Phillip Bonfiglio, Greg Throater, Reid Harrison, Carl & Red, Lex & Bolo, Father Pat, and Nuber's gang.
  • King of the Hill : During his high school days in the 1970s, Bill Dauterive had long hair , which, in "Tankin' It To The Streets", he likened to Roger Daltrey 's, which was shorn off when he enlisted in the Army.
  • Democratic presidential candidate George McGovern notoriously sprouted some impressive 'burns for the 1972 election, possibly to appeal to the "countercultural" crowd that was just starting to become a crucial Democratic voting bloc at the time (a ploy that apparently failed miserably, as McGovern lost one of the most lopsided presidential elections in U.S. history). For the rest of the decade, it seemed, most other politicians followed suit, although thankfully not to such an extreme degree (Nelson Rockefeller's sideburns, for example, so subtle that they were easy to miss).
  • Perhaps the most dramatic subversion of them all was Ronald Reagan . He never changed the 1930s hairstyle he first cultivated upon becoming a Hollywood actor, even when speaking at the 1976 Republican National Convention (when this trope was arguably at its peak). Upon meeting him, journalist Joe Klein even remarked that he looked like " a 1950s Midwestern businessman. "
  • Jimmy Carter , Reagan's predecessor, is a straight example in contrast, albeit subdued.
  • During the early part of the COVID-19 Pandemic , many men unwilling to attempt home haircuts while barber shops were temporarily shuttered often just wore their hair like this.

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The seventies was both the "wild" and "let it be" looks.

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I played all the james bond games to see which was the least terrible.

Daniel Craig as James Bond in 2010's '007: Blood Stone'

A screenshot from 'Operation Stealth'

Operation Stealth (1990)

A screenshot from 'Tomorrow Never Dies'

Tomorrow Never Dies (1999)

The world is not enough (2000).

A screenshot from '007: Agent Under Fire'

007: Agent Under Fire (2001)

A screenshot from '007: Nightfire'

007: Nightfire (2002)

Everything or nothing (2003).

A screenshot from 'GoldenEye: Rogue Agent'

GoldenEye: Rogue Agent (2004)

From russia with love (2005).

A screenshot from 'Quantum of Solace'

Quantum of Solace (2008)

Goldeneye (2010) / goldeneye reloaded (2011).

Related, on Noisey: That Time BBC Breakfast Mistook Daniel Craig for Craig David

A screenshot from '007: Blood Stone'

007: Blood Stone (2010)

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007: Legends (2012)

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Jeremy White

Omega’s New Bond Watch Plays a Movie on Its Back

OMEGA Caseback ambiance

Although it may feel like it, Omega has not been inextricably linked with James Bond since October 5, 1962, when one of cinema’s most iconic characters made his on-screen debut. That first “Bond watch” was, whisper it, a Rolex—the Submariner Ref. 6538. Others have provided secret service, too, including Breitling ( Thunderball ) and Hamilton ( Live and Let Die ). It wasn’t until GoldenEye in 1995 that Omega stepped in and assumed the permanent duty of furnishing Britain’s fictional super spy with gadget-laden timepieces.

Now, to mark the 60th anniversary of the Bond franchise, two new Omegas have been released. Despite these new pieces not being linked to a specific film, the company has this time shunned obvious attempts to shoehorn “007” or a rifling effect on the dial into the designs, instead giving each a subtle touch of film magic on the case backs. Turn the pieces over and a mechanical animation of the iconic opening gun-barrel sequence plays on the crystal rear.

The new 42-mm Seamaster Diver 300m 60 Years of James Bond Stainless Steel (£7,100, approximately $8,500) is inspired by the first Omega that Pierce Brosnan wore in  GoldenEye , though now with a mesh bracelet. The Seamaster Diver 300m 60 Years of James Bond Canopus Gold is by far the more exclusive affair (£137,300, or $165,200), made in Omega's white gold alloy with a dial made from natural gray silicon and a bezel circled with green and yellow diamonds, all supposedly combine to evoke Ian Fleming’s Jamaican home.

The rear moving image of the 007 opening sequence is achieved on this mechanical watch with no screens or digital displays via the use of  moiré animation, where  interference patterns are produced when an opaque ruled pattern with transparent gaps is overlaid on another similar pattern. For the pattern to appear, the two designs must not be identical, but rather displaced, or in this case, rotated. 

Omega’s patent-pending design sees the spinning aluminum disc of the animation powered by the running of the lollipop central seconds hand. This allows the sequence of four images to repeat at a 15-second interval continually as the Co-Axial Master Chronometer Calibre 8806 drives the watch. 

Gregory Kissling, Omega's VP of product, says the difficulty was nailing the precision of the animation. “We started initially with seven figures in the sequence. But the problem with seven was as there's a tiny difference between the disks, you have a ghost effect. So we decided to divide the sequence into just four images.” This need for precision is also why these Seamasters have screwed-in case backs rather than “twist in” ones. This allows for the different layers of the illusion's mechanism to be in perfect alignment, something not possible with the previous Seamaster case back. “We had also to manage the distance between the disk and the sapphire crystal,” says Kissling. “It requires very, very tiny tolerances—plus/minus 0.05 millimeters.”

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digital image of man walking with gun

The Zeon James Bond 007 Talking Watch from 2000 was actually the first Bond watch to animate the opening sequence.

Kissling states that the two pieces, along with the movement itself, has been four years in development. But, surprisingly, Omega isn't the first to produce a watch that animates the Bond opening sequence. That honor goes to the Zeon James Bond 007 Talking Animated Watch from 2000. At the press of a button, this rare quartz digital watch would display a moving bitmap version of the scene, complete with a frankly terrible rendition of the “James Bond Theme” by Monty Norman . You can watch it here at about five minutes in.

Bond fans need not rush to Omega stockists, though. The Omega Seamaster Diver 300m 60 Years of James Bond Stainless Steel and Seamaster Diver 300m 60 Years of James Bond Canopus Gold will not be available to buy until early 2023.

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  1. The James Bond Archives by Duncan, Paul

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