Live and Let Die is the second novel in Ian Fleming's James Bondseries of stories. Set in London, the United States and Jamaica, it was first published in the UK by Jonathan Cape on 5 April 1954. Fleming wrote the novel at his Goldeneye estate in Jamaica before his first book, Casino Royale, was published; much of the background came from Fleming's travel in the US and knowledge of Jamaica.
The story centres on Bond's pursuit of "Mr Big", a criminal who has links to the American criminal network, the world of voodoo and SMERSH—an arm of the Soviet secret service—all of which are threats to the First World. Bond becomes involved in the US through Mr Big's smuggling of 17th-century gold coins from British territories in the Caribbean. The novel deals with the themes of the ongoing East–West struggle of the Cold War, including British and American relations, Britain's position in the world, race relations, and the struggle between good and evil.
As with Casino Royale, Live and Let Die was broadly well received by the critics. The initial print run of 7,500 copies quickly sold out and a second print run was ordered within the year. US sales, when the novel was released there a year later, were much slower. Following a comic strip adaptation in 1958–59 by John McLusky in the Daily Express, the novel was adapted in 1973 as the eighth film in the Eon Productions Bond series and the first to star Roger Moore as Bond. Major plot elements from the novel were also incorporated into the Bond films For Your Eyes Only in 1981 and Licence to Kill in 1989.
The British Secret Service agent James Bond is sent by his superior, M, to New York City to investigate "Mr Big", real name Buonaparte Ignace Gallia. Bond's target is an agent of the Sovietcounterintelligence organisation SMERSH, and an underworld voodoo leader who is suspected of selling 17th-century gold coins to finance Soviet spy operations in America. These gold coins have been turning up in the Harlem section of New York City and in Florida and are suspected of being part of a treasure that was buried in Jamaica by the pirate Henry Morgan.
In New York, Bond meets up with his counterpart in the CIA, Felix Leiter. The two visit some of Mr Big's nightclubs in Harlem, but are captured. Bond is interrogated by Mr Big, who uses his fortune-telling employee, Solitaire (so named because she excludes men from her life), to determine if Bond is telling the truth. Solitaire lies to Mr Big, supporting Bond's cover story. Mr Big decides to release Bond and Leiter, and has one of Bond's fingers broken. On leaving, Bond kills several of Mr Big's men; Leiter is released with minimal physical harm by a gang member, sympathetic because of a shared appreciation of jazz.
Solitaire later leaves Mr Big and contacts Bond; the couple travel by train to St. Petersburg, Florida, where they meet Leiter. While Bond and Leiter are scouting one of Mr Big's warehouses used for storing exotic fish, Solitaire is kidnapped by Mr Big's minions. Leiter later returns to the warehouse by himself, but is either captured and fed to a shark or tricked into standing on a trap door over the shark tank through which he falls; he survives, but loses an arm and a leg. Bond finds him in their safe house with a note pinned to his chest "He disagreed with something that ate him".[1] Bond then investigates the warehouse himself and discovers that Mr Big is smuggling gold coins by hiding them in the bottom of fish tanks holding poisonous tropical fish, which he is bringing into the US. He is attacked in the warehouse by "the Robber", Mr Big's gunman, and in the resultant gunfight Bond outwits the Robber and causes him to fall into the shark tank.
Bond continues his mission in Jamaica, where he meets a local fisherman, Quarrel, and John Strangways, the head of the local MI6 station. Quarrel gives Bond training in scuba diving in the local waters. Bond swims through shark- and barracuda-infested waters to Mr Big's island and manages to plant a limpet mine on the hull of his yacht before being captured once again by Mr Big. Bond is reunited with Solitaire; the following morning Mr Big ties the couple to a line behind his yacht and plans to drag them over the shallow coral reef and into deeper water so that the sharks and barracuda that he attracts in to the area with regular feedings will eat them.
Bond and Solitaire are saved when the limpet mine explodes seconds before they are dragged over the reef. Though temporarily stunned by the explosion and injured on the coral, they are protected from the explosion by the reef and Bond watches as Mr Big, who survived the explosion, is killed by the sharks and barracuda.
Background
Between January and March 1952, the journalist Ian Fleming wrote Casino Royale, his first novel, at his Goldeneye estate in Jamaica.[2][3][a] Fleming conducted research for Live and Let Die, and completed the novel before Casino Royale was published in January 1953,[6] four months before his second book was published. Fleming and his wife Ann flew to New York before taking the Silver Meteor train to St. Petersburg in Florida and then flying on to Jamaica.[6] In doing so, they followed the same train route Fleming had taken with his friend Ivar Bryce in July 1943, when Fleming had first visited the island.[7]
Once Fleming and his wife arrived at Goldeneye, he started work on the second Bond novel.[8] In May 1963 he wrote an article for Books and Bookmen magazine describing his approach to writing, in which he said: "I write for about three hours in the morning... and I do another hour's work between six and seven in the evening. I never correct anything and I never go back to see what I have written... By following my formula, you write 2,000 words a day."[9] As he had done with Casino Royale, Fleming showed the manuscript to his friend, the writer William Plomer, who reacted favourably to the story, telling Fleming that "the new book held this reader like a limpet mine & the denouement was shattering".[10] On a trip to the US in May 1953, Fleming used his five-day travelling time on RMS Queen Elizabeth to correct the proofs of the novel.[10]
Fleming intended the book to have a more serious tone than his debut novel, and he initially considered making the story a meditation on the nature of evil. The novel's original title, The Undertaker's Wind, reflects this;[11] the undertaker's wind, which was to act as a metaphor for the story, describes one of Jamaica's winds that "blows all the bad air out of the island".[12]
The literary critic Daniel Ferreras Savoye considers the titles of Fleming's novels to have importance individually and collectively; Live and Let Die, he writes, "turns an expression of collective wisdom, in this case fraternal and positive, into its exact opposite, suggesting a materialistic epistemological outlook, individualistic and lucid". This is in keeping with the storyline in that Bond brings order without which "the world would quickly turn into the dystopian, barbarian reality feared by [Thomas] Hobbes and celebrated by [Marquis] de Sade."[13]
Although Fleming provided no dates within his novels, two writers have identified different timelines based on events and situations within the novel series as a whole. John Griswold and Henry Chancellor—both of whom have written books on behalf of Ian Fleming Publications—put the events of Live and Let Die in 1952; Griswold is more precise, and considers the story to have taken place in January and February that year.[14][15]
Much of the novel draws from Fleming's personal experiences: the opening of the book, with Bond's arrival at New York's Idlewild Airport was inspired by Fleming's own journeys in 1941 and 1953,[16] and the warehouse at which Leiter is attacked by a shark was based on a similar building Fleming and his wife had visited in St. Petersburg, Florida, on their recent journey.[17] He also used his experiences on his two journeys on the Silver Meteor as background for the route taken by Bond and Solitaire.[18]
Fleming used the names of some of his friends in the story, including Ivar Bryce for Bond's alias, and Tommy Leiter for Felix Leiter;[19] He borrowed Bryce's middle name, Felix, for Leiter's first name,[20] and part of John Fox-Strangways's surname for the name of the MI6 station chief in Jamaica.[21] Fleming also used the name of the local Jamaican rufous-throated solitaire bird as the name of the book's main female character.[22]
Fleming's experiences on his first scuba dive with Jacques Cousteau in 1953 provided much of the description of Bond's swim to Mr Big's boat.[23] The concept of limpet-mining is possibly based on the wartime activities of the elite 10th Light Flotilla, a unit of Italian navy frogmen.[24] Fleming also used, and extensively quoted, information about voodoo from his friend Patrick Leigh Fermor's 1950 book The Traveller's Tree,[23] which had also been partly written at Goldeneye.[25]
Fleming had a long-held interest in pirates, from the novels he read as a child through to films such as Captain Blood (1935) with Errol Flynn, which he enjoyed watching. From his Goldeneye home on Jamaica's northern shore, Fleming had visited Port Royal on the south of the island, which was once the home port of Sir Henry Morgan, all of which stimulated Fleming's interest.[26] For the background to Mr Big's treasure island, Fleming appropriated the details of Cabritta Island in Port Maria Bay, which was the true location of Morgan's hoard.[25]
Characters
Fleming builds the main character in Live and Let Die to make Bond come across as more human than in Casino Royale, becoming "a much warmer, more likeable man from the opening chapter", according to the novelist Raymond Benson, who between 1997 and 2002 wrote a series of Bond novels and short stories.[27] Savoye sees the introduction of a vulnerable side to Bond, identifying the agent's tears towards the end of the story as evidence of this.[28] Similarly, over the course of the book, the American character Leiter develops and also emerges as a more complete and human character and his and Bond's friendship is evident in the story.[29] Despite the relationship, Leiter is again subordinate to Bond. While in Casino Royale his role was to provide technical support and money to Bond, in Live and Let Die the character is secondary to Bond, and the only time he takes the initiative, he loses an arm and a leg, while Bond wins his own battle with the same opponent.[30] Although Fleming had initially intended to kill Leiter off in the story, his American literary agent protested, and the character was saved.[31]
Fleming did not use class enemies for his villains, instead relying on physical distortion or ethnic identity... Furthermore, in Britain foreign villains used foreign servants and employees... This racism reflected not only a pronounced theme of interwar adventure writing, such as the novels of [John] Buchan, but also widespread literary culture.
Quarrel was Fleming's ideal concept of a black person, and the character was based on his genuine liking for Jamaicans, whom he saw as "full of goodwill and cheerfulness and humour".[33] The relationship between Bond and Quarrel was based on a mutual assumption of Bond's superiority.[34][35] Fleming described the relationship as "that of a Scots laird with his head stalker; authority was unspoken and there was no room for servility".[36]
Fleming's villain was physically abnormal—as many of Bond's later adversaries were.[37] Mr Big is described as being intellectually brilliant,[38] with a "great football of a head, twice the normal size and very nearly round" and skin which was "grey-black, taut and shining like the face of a week-old corpse in the river".[39] For Benson, "Mr Big is only an adequate villain", with little depth.[38] According to the literary analyst LeRoy L. Panek, in his examination of 20th century British spy novels, Live and Let Die was a departure from the "gentleman crook" that appeared in much earlier literature, as the intellectual and organisational skills of Mr Big were emphasised, rather than the behavioural.[40] Within Mr Big's organisation, Panek identifies Mr Big's henchmen as "merely incompetent gunsels" whom Bond can eliminate with relative ease.[41]
Style
Benson analysed Fleming's writing style and identified what he described as the "Fleming Sweep": a stylistic point that sweeps the reader from one chapter to another using 'hooks' at the end of chapters to heighten tension and pull the reader into the next:[42] Benson felt that the "Fleming Sweep never achieves a more engaging rhythm and flow" than in Live and Let Die.[43] The writer and academic Kingsley Amis—who also later wrote a Bond novel—disagrees, and thinks that the story has "less narrative sweep than most".[44] Fleming's biographer, Matthew Parker, considers the novel possibly Fleming's best, as it has a tight plot and is well paced throughout; he thinks the book "establishes the winning formula" for the stories that follow.[45]
Savoye, comparing the structure of Live and Let Die with Casino Royale, believes that the two books have open narratives which allow Fleming to continue with further books in the series. Savoye finds differences in the structure of the endings, with Live and Let Die's promise of future sexual encounters between Bond and Solitaire to be more credible than Casino Royale's ending, in which Bond vows to battle a super-criminal organisation.[46]
Within the novel Fleming uses elements that are "pure Gothic", according to the essayist Umberto Eco.[47] This includes the description of Mr Big's death by shark attack, in which Bond watches as "Half of The Big Man's left arm came out of the water. It had no hand, no wrist, no wrist watch."[48] Eco considers that this is "not just an example of macabre sarcasm; it is an emphasis on the essential by the inessential, typical of the école du regard."[47][b] Benson considers that Fleming's experiences as a journalist, and his eye for detail, add to the verisimilitude displayed in the novel.[50]
Themes
Live and Let Die, like other Bond novels, reflects the changing roles of Britain and America during the 1950s and the perceived threat from the Soviet Union to both nations. Unlike Casino Royale, where Cold War politics revolve around British-Soviet tensions, in Live and Let Die Bond arrives in Harlem to protect America from Soviet agents working through the Black Power movement.[51] In the novel, America was the Soviet objective and Bond comments "that New York 'must be the fattest atomic-bomb target on the whole face of the world'."[52]
Live and Let Die also gave Fleming a chance to outline his views on what he saw as the increasing American colonisation of Jamaica—a subject that concerned both him and his neighbour Noël Coward. While the American Mr Big was unusual in appropriating an entire island, the rising number of American tourists to the islands was seen by Fleming as a threat to Jamaica; he wrote in the novel that Bond was "glad to be on his way to the soft green flanks of Jamaica and to leave behind the great hard continent of Eldollarado."[53]
Bond's briefing also provides an opportunity for Fleming to offer his views on race through his characters. "M and Bond... offer their views on the ethnicity of crime, views that reflected ignorance, the inherited racialist prejudices of London clubland", according to the cultural historian Jeremy Black.[16] Black also points out that "the frequency of his references and his willingness to offer racial stereotypes [was] typical of many writers of his age".[54] The writer Louise Welsh observes that "Live and Let Die taps into the paranoia that some sectors of white society were feeling" as the civil rights movements challenged prejudice and inequality.[55] That insecurity manifested itself in opinions shared by Fleming with the intelligence industry, that the American National Association for the Advancement of Colored People was a communist front.[56] The communist threat was brought home to Jamaica with the 1952 arrest of the Jamaican politician Alexander Bustamante by the American authorities while he was on official business in Puerto Rico, despite the fact that he was avowedly anti-communist. During the course of the year local Jamaican political parties had also expelled members for being communists.[57]
Friendship is another prominent element of Live and Let Die, where the importance of male friends and allies shows through in Bond's relationships with Leiter and Quarrel.[27] The more complete character profiles in the novel clearly show the strong relationship between Bond and Leiter, and this provides a strengthened motive for Bond to chase Mr Big in revenge for the shark attack on Leiter.[27]
Live and Let Die continues the theme Fleming examined in Casino Royale, that of evil or, as Fleming's biographer, Andrew Lycett, describes it, "the banality of evil".[25] Fleming uses Mr Big as the vehicle to voice opinions on evil, particularly when he tells Bond that "Mister Bond, I suffer from boredom. I am prey to what the early Christians called 'accidie', the deadly lethargy that envelops those who are sated."[58] This allowed Fleming to build the Bond character as a counter to the accidie, in what the writer saw as a Manichaean struggle between good and evil.[25] Benson considers evil as the main theme of the book, and highlights the discussion Bond has with René Mathis of the French Deuxième Bureau in Casino Royale, in which the Frenchman predicts Bond will seek out and kill the evil men of the world.[27]
Publication and reception
Publication history
It is an unashamed thriller and its only merit is that it makes no demands on the mind of the reader.
Fleming to Winston Churchill, in a letter accompanying a copy of Live and Let Die[23]
Live and Let Die was published in hardback by Jonathan Cape on 5 April 1954[59] and, as with Casino Royale, Fleming designed the cover, which again featured the title lettering prominently.[23] It had an initial print run of 7,500 copies which sold out, and a reprint of 2,000 copies was soon undertaken;[60][61] by the end of the first year, a total of over 9,000 copies had been sold.[62] In May 1954 Live and Let Die was banned in Ireland by the Irish Censorship of Publications Board.[63][c] Lycett observed that the ban helped the general publicity in other territories.[59] In October 1957 Pan Books issued a paperback version which sold 50,000 copies in the first year.[64]
Live and Let Die was published in the US in January 1955 by Macmillan; there was only one major change in the book, which was that the title of the fifth chapter was changed from "Nigger Heaven" to "Seventh Avenue".[65][d] Sales in the US were poor, with only 5,000 copies sold in the first year of publication.[68]
Critical reception
Philip Day of The Sunday Times noted "How wincingly well Mr Fleming writes";[59] the reviewer for The Times thought that "[t]his is an ingenious affair, full of recondite knowledge and horrific spills and thrills—of slightly sadistic excitements also—though without the simple and bold design of its predecessor".[69] Elizabeth L Sturch, writing in The Times Literary Supplement, observed that Fleming was "without doubt the most interesting recent recruit among thriller-writers"[70] and that Live and Let Die "fully maintains the promise of... Casino Royale."[70] Tempering her praise of the book, Sturch thought that "Mr Fleming works often on the edge of flippancy, rather in the spirit of a highbrow",[70] although overall she felt that the novel "contains passages which for sheer excitement have not been surpassed by any modern writer of this kind".[70] The reviewer for The Daily Telegraph felt that "the book is continually exciting, whether it takes us into the heart of Harlem or describes an underwater swim in shark-infested waters; and it is more entertaining because Mr Fleming does not take it all too seriously himself".[71] George Malcolm Thompson, writing in The Evening Standard, believed Live and Let Die to be "tense; ice-cold, sophisticated; Peter Cheyney for the carriage trade".[23]
Writing in The New York Times, Anthony Boucher—a critic described by Fleming's biographer, John Pearson, as "throughout an avid anti-Bond and an anti-Fleming man"[72]—thought that the "high-spots are all effectively described... but the narrative is loose and jerky".[73] Boucher concluded that Live and Let Die was "a lurid meller contrived by mixing equal parts of Oppenheim and Spillane".[73][e] In June 1955 Raymond Chandler was visiting the poet Stephen Spender in London when he was introduced to Fleming, who subsequently sent Chandler a copy of Live and Let Die. In response, Chandler wrote that Fleming was "probably the most forceful and driving writer of what I suppose still must be called thrillers in England".[75]
Live and Let Die was adapted as a daily comic strip which was published in The Daily Express and syndicated around the world.[76] The adaptation ran from 15 December 1958 to 28 March 1959.[77] The adaptation was written by Henry Gammidge and illustrated by John McLusky, whose drawings of Bond had a resemblance to Sean Connery, the actor who portrayed Bond in Dr. No three years later.[78]
Before Live and Let Die had been published, the producer Alexander Korda had read a proof copy of the novel. He thought it was the most exciting story he had read for years, but was unsure whether it was suitable for a film. Nevertheless, he wanted to show the story to the directors David Lean and Carol Reed for their impressions, although nothing came of Korda's initial interest.[79][80] In 1955, following the television broadcast of an adaptation of Fleming's earlier novel, Casino Royale, Warner Bros. expressed an interest in Live and Let Die, and offered $500 for an option, against $5,000 if the film was made. Fleming thought the terms insufficient and turned them down.[81]
↑ Casino Royale was released on 13 April 1953 in the UK as a hardback edition by publishers Jonathan Cape.[4] Sales were successful enough that his publishers, Jonathan Cape, offered Fleming a contract for three further Bond novels.[5]
↑ The term école du regard was originally devised by the French writer François Mauriac, to describe a class of writers as an "objective school" in their descriptions.[49]
↑ There is no explanation given in the Board's records as to the rationale for the ban, with the only text being "Banned".[63]
↑ The chapter title remained in British print editions. Fleming's biographer, Matthew Parker, wrote that Cape retained the name "presumably assuming that their readership would recognise it as the title of an anti-racist novel from the 1920s by Carl Van Vechten about the Harlem Renaissance."[66] The chapter title still appears in modern UK editions.[67]
Dr. No is the sixth novel by the English author Ian Fleming to feature his British Secret Service agent James Bond. Fleming wrote the novel in early 1957 at his Goldeneye estate in Jamaica. It was first published in the United Kingdom by Jonathan Cape on 31 March 1958. The novel centres on Bond's investigation into the disappearance in Jamaica of two fellow MI6 operatives. He establishes that they had been investigating Doctor No, a Chinese-German operator of a guano mine on the fictional Caribbean island of Crab Key. Bond travels to the island and meets Honeychile Rider and later Doctor No.
Ian Lancaster Fleming was an English writer, best known for his postwar James Bond series of spy novels. Fleming came from a wealthy family connected to the merchant bank Robert Fleming & Co., and his father was the Member of Parliament (MP) for Henley from 1910 until his death on the Western Front in 1917. Educated at Eton, Sandhurst, and, briefly, the universities of Munich and Geneva, Fleming moved through several jobs before he started writing.
From Russia, with Love is the fifth novel by the English author Ian Fleming to feature his fictional British Secret Service agent James Bond. Fleming wrote the story in early 1956 at his Goldeneye estate in Jamaica; at the time he thought it might be his final Bond book. The novel was first published in the United Kingdom by Jonathan Cape on 8 April 1957.
Goldfinger is the seventh novel in Ian Fleming's James Bond series. Written in January and February 1958, it was first published in the UK by Jonathan Cape on 23 March 1959. The story centres on the investigation by the British Secret Service operative James Bond into the gold-smuggling activities of Auric Goldfinger, who is also suspected by MI6 of being connected to SMERSH, the Soviet counter-intelligence organisation. As well as establishing the background to the smuggling operation, Bond uncovers a much larger plot: Goldfinger plans to steal the gold reserves of the United States from Fort Knox.
Moonraker is the third novel by the British author Ian Fleming to feature his fictional British Secret Service agent James Bond. It was published by Jonathan Cape on 5 April 1955 and featured a cover design conceived by Fleming. The plot is derived from a Fleming screenplay that was too short for a full novel, so he added the passage of the bridge game between Bond and the industrialist Hugo Drax. In the latter half of the novel, Bond is seconded to Drax's staff as the businessman builds the Moonraker, a prototype missile designed to defend England. Unknown to Bond, Drax is German, an ex-Nazi now working for the Soviets; his plan is to build the rocket, arm it with a nuclear warhead, and fire it at London. Uniquely for a Bond novel, Moonraker is set entirely in Britain, which raised comments from some readers, complaining about the lack of exotic locations.
Thunderball is the ninth book in Ian Fleming's James Bond series, and the eighth full-length Bond novel. It was first published in the UK by Jonathan Cape on 27 March 1961, where the initial print run of 50,938 copies quickly sold out. The first novelisation of an unfilmed James Bond screenplay, it was born from a collaboration by five people: Ian Fleming, Kevin McClory, Jack Whittingham, Ivar Bryce and Ernest Cuneo, although the controversial shared credit of Fleming, McClory and Whittingham was the result of a courtroom decision.
You Only Live Twice is the eleventh novel and twelfth book in Ian Fleming's James Bond series. It was first published by Jonathan Cape in the United Kingdom on 26 March 1964 and quickly sold out. It was the last novel Fleming published in his lifetime. He based his book in Japan after a stay in 1959 as part of a trip around the world that he published as Thrilling Cities. He returned to Japan in 1962 and spent twelve days exploring the country and its culture.
The Man with the Golden Gun is the twelfth and final novel in Ian Fleming's James Bond series and the thirteenth Bond book overall. It was first published by Jonathan Cape in the United Kingdom on 1 April 1965, eight months after the author's death. The novel was not as detailed or polished as the others in the series, leading to poor but polite reviews. Despite that, the book was a best-seller.
Felix Leiter {pronounced Fee-Lex Lighter} is a fictional character created by Ian Fleming in the James Bond books, films, and other media. The character is an operative for the CIA and Bond's friend. After losing a leg and a hand to a shark attack, Leiter joined the Pinkerton Detective Agency. The name "Felix" comes from the middle name of Fleming's friend Ivar Bryce, while the name "Leiter" was the surname of Fleming's friend Marion Oates Leiter Charles, the then wife of Thomas Leiter.
On Her Majesty's Secret Service is the tenth novel and eleventh book in Ian Fleming's James Bond series. It was first published in the United Kingdom by Jonathan Cape on 1 April 1963. Fleming changed the formula and structure from the previous novel, The Spy Who Loved Me, and made a determined effort to produce a work that adhered to his tried and tested format. The initial and secondary print runs sold out quickly, with over 60,000 copies sold in the first month, double that of the previous book's first month of sales. Fleming wrote the novel at Goldeneye, his holiday home in Jamaica, while Dr. No, the first entry in the James Bond film series by Eon Productions, was being filmed nearby.
The Spy Who Loved Me is the ninth novel and tenth book in Ian Fleming's James Bond series, first published by Jonathan Cape on 16 April 1962. It is the shortest and most sexually explicit of Fleming's novels, as well as the only Bond novel told in the first person. Its narrator is a young Canadian woman, Viv Michel. Bond himself does not appear until two-thirds of the way through the book, arriving at precisely the right moment to save Viv from being raped and murdered by two criminals. Fleming wrote a prologue to the novel giving the character Viv credit as a co-author.
Octopussy and The Living Daylights is the fourteenth and final James Bond book written by Ian Fleming. The book is a collection of short stories published posthumously in the United Kingdom by Jonathan Cape on 23 June 1966.
Casino Royale is the first novel by the British author Ian Fleming. Published in 1953, it is the first James Bond book, and it paved the way for a further eleven novels and two short story collections by Fleming, followed by numerous continuation Bond novels by other authors.
"Shaken, not stirred" is how Ian Fleming's fictional British Secret Service agent James Bond prefers his martini cocktail.
Live and Let Die is a 1973 spy film, the eighth film in the James Bond series produced by Eon Productions, and the first to star Roger Moore as the fictional MI6 agent James Bond. It was directed by Guy Hamilton and produced by Albert R. Broccoli and Harry Saltzman, while Tom Mankiewicz wrote the script.
Diamonds Are Forever is the fourth novel by the British author Ian Fleming to feature his fictional British Secret Service agent James Bond. Fleming wrote the story at his Goldeneye estate in Jamaica, inspired by a Sunday Times article on diamond smuggling. The book was first published by Jonathan Cape in the United Kingdom on 26 March 1956.
"Casino Royale" is a live 1954 television adaptation of the 1953 novel of the same name by Ian Fleming. An episode of the American dramatic anthology series Climax!, the show was the first screen adaptation of a James Bond novel, and stars Barry Nelson, Peter Lorre, and Linda Christian. Though this marks the first onscreen appearance of the secret agent, Nelson's Bond is played as an American spy working for the "Combined Intelligence Agency".
Commander James Bond is a character created by the British journalist and novelist Ian Fleming in 1953. He is the protagonist of the James Bond series of novels, films, comics and video games. Fleming wrote twelve Bond novels and two short story collections. His final two books—The Man with the Golden Gun (1965) and Octopussy and The Living Daylights (1966)—were published posthumously.
↑ Black, Jeremy (Winter 2002–03). "'Oh, James' – 007 as International Man of History". National Interest (70): 106–12. JSTOR42897447.(subscription required)
1 2 Kelly, James (2004). "The Operation of the Censorship of Publications Board: The Notebooks of C. J. O'Reilly, 1951–55". Analecta Hibernica (38): 320. ISSN0791-6167. JSTOR20519909.(subscription required)
Chancellor, Henry (2005). James Bond: The Man and His World. London: John Murray. ISBN978-0-7195-6815-2.
Chapman, James (2007). Licence to Thrill: A Cultural History of the James Bond Films. New York: I.B. Tauris. ISBN978-1-84511-515-9.
Eco, Umberto (2009). "The Narrative Structure of Ian Fleming". In Lindner, Christoph (ed.). The James Bond Phenomenon: a Critical Reader. Manchester: Manchester University Press. ISBN978-0-7190-6541-5.
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