When the Jameseymes Bond made his debut on a large screen In 1962 with "D -NO", The world was definitely a different place than it is now. The United States and the Soviet Union were not so quietly led by the Cold War (the Cuban missile crisis occurred during the first month in 007 in cinemas), the civil rights movement caused systemic racism throughout America, and women fought for equal pay and control over one's own bodies. Maybe "definitely" is a strong touch.

Since the world handled the mass political and social twist, the films did what they were doing best and sent chaos with mixed messages. The industry has always taken its role seriously as a beacon of hope and enlightenment, but this is a business, the directors have never moved away from the trafficking of stunning, harmful stereotypes on the condition that they make a large enough pop from the audience. In the 1960s, this meant catering directly to the insensitive whims of white male cis. If there was a laughter or a huba-hub in the product, go after that.

When it comes to the treatment of women, Jameseims Bond on John Connery It was both Suave CAD and unwanted cave. He appreciated the female beauty, but there was little time for the face under the blinding surface. Obviously, it was unprofessional, if not fatal, to be for the Inuubi Spy of the status of 007. This is just what his opponents wanted him to do. It is clear that this was invested in his natural mistrust of women. But after a while, the grassing treatment of Connery with women like Bond became so rooted in his portrait that he threatened to play as a parody of Matt Helm. According to the legendary author of children Roald Dal, Bond's bad behavior baked his character by the producers.

When it came time to write the script for the fifth film in the Jamesesheims Bond series, "You Live Only Twice", Bond Harry Salzmann and Albert Kobe's producers were found without services by Richard Maibaum, who wrote the first four films. They turned to Roald Dahl, a friend of the late Ian Fleming, who worked as a British spy during World War II. The author of "Charlie and the Chocolate Factory" took wild freedoms with the strange self-reflective novel of his palm (a continuation of the top "of the Secret Service of Her Majesty", "" What is Christopher Nolan's favorite), but when it comes to showing women in the film, he was obliged to obey some very strict rules.

According to Robert A.'s book. Kaplen "Shining and Mixed: Feminism of the Jamesesheims Bond", "" Dal claims he was told by the producers: “You can use three different girls and Bond has them all. No more and no less. " Becomes more sexist than there.

The first girl, described as a "violent pro-connection", is a sacrifice lamb. She should be killed in the hands of Bond, but it must be in good taste (which I suppose is the death of the Sander belt). The second girl is more complicated and, after giving, should be treated that way:

"Girl number two is an anti-binding. She works for the enemy and remains around the middle third of the picture. She must catch Bond, and Bond must be saved by bowling with pure sexual magnetism. This girl should also be kicked Off, preferably in an original way. "

The third girl is also a "forcibly pro-link", but "she must not be killed." Manufacturers said she should not have sex with Bond until it fades at the end of the film (where we usually get a disgusting two -man match).

Dal was not a fanboy of "You Live Only Twice", and it seems possible, despite the huge success of the box office, the producers have been tired of their own formula. The next film in the series was "At the Secret Service of Her Majesty", which briefly introduced George Lazeli as 007 and presented the great Diana Rig as a fiercely independent Countess Tracy Di Vincenzo. By leaving their sexist rules for a movie, the directors knocked out what still stands as the best Jamesesheim Bond film of all time. Unfortunately, he returned to the monkeys business as usual when Connery returned to the BOI "Diamonds are forever".