[QUOTE=featherlou]
I just finished Ian Fleming’s “Casino Royale,” and am currently reading “To Live and Let Die,” and the most striking thing about the books is how wrong the movies are getting it. The Bond of the movies may well be a sociopath; he’s basically a cartoon figure. The Bond of the novels is not a sociopath. He is an extremely disciplined individual; he controls all his feelings, but he certainly feels them. Towards the end of “Casino Royale” he has a massive crisis of conscious; that alone proves he is not a sociopath.
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Quite true. There are a couple of film portrayals (On Her Majesty’s Secret Service, The Living Daylights) where Bond displays regret, remorse (to a limited extent), and the ability to form somewhat normal relationships.
In most of the films, however, he’s not only a ruthless executioner–complete with cute quips after dispatching a henchman–but he seems to have no compassion or empathy with anyone else. This is particularly true in the Roger Moore-era films, where Bond seemed to be almost laughing at peril. Disarm a nuclear bomb? No problem! Send a henchman off the top of a building after you’re done questioning him? Sure! Blow a villian into space after shooting him with a cyanide-tipped dart? What, me worry?
The singular exception, if barely, for Moore was For Your Eyes Only; although he’s “on mission” and eliminates opponents with efficiency, he doesn’t stop to make snappy riparte after dispatching some hapless lieutenent. He doesn’t avail himself of the readily available but way-too-young skater, and he shows remorse when both a collegue and a lover are murdered. Even his most ruthless act–kicking the car of an assassin off the side of a cliff–is done with a joyless demeanor rather than the sort of gloating victory he usually displayed.
Connery played a complete (if very charming) sociopath, and Goldfinger, the archtype for all Bond movies to come, illustrates this handily. Bond uses one woman as a human shield (admittedly, she set him up), gets Both of the Masterson sisters killed by his irresponsible actions, essentially rapes Pussy Galore into abandoning her (implied in the movie) lesbianism, and horror of horrors, cheats at golf. At no time does he show any sense of responsibility or regret (save perhaps for running over to Tully Masterson after she’s killed, but I suspect his concern was borne of regret for not having bagged her before her death.)
Dalton’s portrayal is actually more in line with the literary Bond, in that he played an efficient, emotionless executioner, but at the same time clearly had a dark, twisted view of the world and his job. “Make your report. If he fires me, I’ll thank him for it,” after a collegue criticizes him for not shooting a female “assassin”. He uses Koskov’s girlfriend to get to the Koskov (parallelling Joseph Cotton in The Third Man) but feels a sense of responsiblity for her. He’s a disturbed individual, to be certain, but not quite sociopathic.
The literary Bond is a seriously messed up individual; he has no family or stable social life, he apparently spends his non-working time boozing and gambling, and seems to be pretty bent over the death of his wife. He’s often regretful and doubtful about his job. So, not really what you’d think of as a sociopath, though definitely in need of some serious help.
The Brosnan Bond is so far into characture (even more than Moore) that it’s hard to even conceive of him as having any pathology. He’s a cartoon of a spy.
Stranger