Make Love In Your Own Hand, Mother

You know that list of hand prosthetics in film from 1964 to the present you were looking for? No? Well here it is anyway. (Hand Prosthetics In Film by Scott Beale, via Laughing Squid)

Previously on Popped Culture...

Watch Out for Hop-Ons

The Trustworthiness Of Beards

Framework: The Eyes Have It

Me and the Boys

My name is Bond. James Bond. That line always gives me a thrill. The first 007 I ever saw on the big screen was Moonraker – at a dive-in with my 17-year-old aunt who was supposed to take me to something far more age appropriate. In retrospect, it was hardly the best introduction to the franchise, but outer space and a huge, metal-mouthed villain named Jaws and I was in a 9-year-old’s idea of heaven.

Over the next few years I saw Bond films mostly on TV and mainly starring Roger Moore. For the longest time I thought he was the only actor to have ever portrayed the suave secret agent. As a kid, my favourite was Live and Let Die, featuring the fat southern sheriff, J. W. Pepper. Thinking about it now, that might have been because I also loved The Dukes of Hazzard (Boss Hogg) and Smokey and the Bandit (Sheriff Buford T. Justice). It wasn’t until years later that I heard of the word blaxploitation and saw how campy and full of ‘70s kitsch the film was.

Eventually I was introduced to oeuvre of Sean Connery – he was a harder man, more willing to lay a beating on anyone, including woman. Such was the time I suppose. Still I found myself drawn to Diamonds are Forever, one of his last runs at the character. Nowadays I give high praise to From Russia With Love and Goldfinger, which are the true origins of the Bond and Austin Powers film franchises. It was those movies that introduced gadgets to 007, including the Aston Martin and gadget man Q.

At the end of Grade 9, my graduation gift was a movie – and I chose to go and see The Living Daylights. It was Moore’s last portrayal of the role of Commander Bond and he had become increasingly creaky. The film itself was a pastiche of ‘80s pop culture, with a Duran Duran theme song, a villain played by Christopher Walken and Grace Jones as a Bond girl May Day. Again, not much of a film to speak of.

When Moore retired (and it was about time) the producers installed Timothy Dalton, whose characterization in The Living Daylights was darker and more serious than the light-hearted jokiness of Moore’s performance. I wasn’t a fan, which is ironic as that’s what I’ve been hoping for in the new Bond.

When Dalton was replaced after two films with Pierce Brosnan (who I had enjoyed in Remington Steele), it was like a return to a young Roger Moore. I liked what he brought to the role, but by the end of his run it was the stories that had gotten out of control. Invisible cars and a diamond-encrusted villain were too much and even showing Bond being held prisoner and tortured didn’t do enough to ground the spy in reality.

So tomorrow we are going to go and see Casino Royale (and our first time away from Tristan) and I’ll get a look at the new face of Bond. Can Daniel Craig take 007 into the new century or is he a spy out of time? I’ll find out soon.

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