007 Femme Fatales

Deborah Lipp, author of "The Ultimate James Bond Fan Book" continues her countdown to "Skyfall" with lists of 007 things!

Author Ian Fleming, creator of the James Bond series, had no interest in the archetype of a femme fatale—a seductive, beautiful, dangerous woman. The femme fatale is Freud's ultimate woman, combining sex and death. Fleming's women were either love interests, usually fragile and in need of rescue, or—if villains—hideously ugly. But the Bond films introduced us to the sexy villainess. As it happens, there have been exactly seven such villainesses in the course of Bond film history.

In chronological order, then, here's a run-down of the femmes fatale that have passed through Bond's films and bed...

Miss Taro

001 Miss Taro, Dr. No (1962)
A secondary villain, Miss Taro sleeps with Bond to keep him at her house long enough for compatriots to come and kill him. Unfortunately, he knows her plan, and in a rare gesture of mercy, has her arrested. She's the only character on our list who survives the encounter! She's also not terribly interesting; she seems uneasy in her role as villainess and the film relies far too heavily on "inscrutable Asian" stereotypes.  

What should I say to an invitation from a strange gentleman?"
-Zena Marshall as Miss Taro 

Fiona Volpe

002 Fiona Volpe, Thunderball (1965)
This one's the best, ladies and gentlemen, the prototype, the mold upon which all other seductresses are based. 

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LFF: Sightseeing British talent

David here reporting on three homegrown participants in the 56th BFI London Film Festival.

Steve Oram & Alice Lowe in 'Sightseers'A distinctly British melding of comedy and horror grew from the roots of Edgar Wright’s Shaun of the Dead, and it’s telling that Wright has an executive producer credit on Sightseers, director Ben Wheatley’s follow-up to his terrifying, schizoid Kill List, which made it to US theatres earlier this year. Sightseers proves similarly unclassifiable, but the black magic horror of Kill List is replaced by a crunching absurdity. Co-writers Steve Oram and Alice Lowe star as Chris and Tina, a young couple who leave behind Tina’s demanding, cruel but dependent mother and set out on a sightseeing tour around England that quickly becomes a killing spree after Chris reverses over a tourist he witnessed littering. Justifications for the killings range from a rambler’s “smug complacency” to Tina’s sexual jealousy, removing any kind of social agenda from Oram and Lowe’s anarchic, cruelly witty script. Instead they parody usual clichés – Tina is still affected by the loss of her dog, who meets an unfortunate end by knitting needle in flashback – and affectionately mock bullshit social rhetoric. There’s a guilty pleasure in our enjoyment of the escalating brutality of the situation and how the pair’s romantic entanglement evolves through this. Despite their obvious issues, Chris and Tina are genuinely entertaining people to spend time with, and the surreal, morbid flourishes of humour combine with dark flares of blood to make for a generic hybrid that has been deftly melded together. Sightseers is worth making tracks to see. (A-)

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Reader Ranking Announcement: James Bond!

I meant to follow up February's very popular Meryl Streep Reader Ranking with another participatory countdown that's turned over to you! But I've been slow about it. Here's a perfect opportunity. Let's do everyone's favorite spy, James Bond. Deborah has been listing her favorites as we count down to Daniel Craig's third outing as 007, Skyfall on November 9th. 

The official James Bond films as a reminder... 

1. Dr. No (1962) Connery 
2. From Russia With Love (1963) Connery 
3. Goldfinger (1964) Connery 
4. Thunderball (1965) Connery 
5. You Only Live Twice (1967) Connery 
6. On Her Majesty's Secret Service (1969) Lazenby
7. Diamonds Are Forever (1971) Connery 
8. Live and Let Die (1973) Moore 
9. The Man With the Golden Gun (1974) Moore
10. The Spy Who Loved Me (1977) Moore 
11. Moonraker (1979) Moore 
12. For Your Eyes Only (1981) Moore 
13. Octopussy (1983) Moore 
14. A View To a Kill (1985) Moore 
15. The Living Daylights (1987) Dalton 
16. License to Kill (1989) Dalton
17. Goldeneye (1995) Brosnan 
18. Tomorrow Never Dies (1997) Brosnan 
19. The World is Not Enough (1999) Brosnan 
20. Die Another Day (2002) Brosnan 
21. Casino Royale (2006) Craig 
22. Quantum of Solace (2008) Craig 

Confession: I have a soft spot for Octopussy (1983) which most people think is terrible, because it's the first Bond I ever saw.How to play along: 

• Send me a ranked list of every James Bond film you've seen by November 1st with "BOND RANK" in the subject line. Your list could be as short as 3 films or as long as 22 -- I'll take any size list but the lists are weighted to prioritize the readers who've seen the most (just like we did with Streep). If you need help remembering which film is which here's a handy compendium.
• Bonus Points: If you include a list of your 7 favorite Bond Girls in the e-mail, I'll add more weight to your film rankings if you do.
• Feel free to include soundbytes. I might publish them if they're relevant to the final rank.
• Feel free to include links to something you've written about the franchise if you have a blog. I might link them if it's relevant to the final writeup.
• Depending on your enthusiasm we'll know how Bond crazy we should get in early November when Skyfall premieres.

Interview: On Casting and Politics of Sex with the Director of "The Sessions"

Amir here. TIFF has been over for more than a month but I still have one interview left to share with you. With The Sessions opening in theaters today, it was the perfect time to share my chat with Ben Lewin, the film's director. We touched upon everything from the politics of sex and nudity in Hollywood to the influence of his own experience with polio on building the character of Mark O'Brien. It's a film I encourage everyone to see because it's surprisingly funny and incredibly heartfelt, and features two of the strongest lead performances of the year. (In case you missed these back in September, here's my review of the film and my interview with one of its stars, William H. Macy.)

 

Amir for TFE: I can’t think of a better place to start the interview than nudity.

Ben Lewin: Neither can I!

Amir: Because, in general I’ve been accustomed to seeing certain types of people have sex on screen in Hollywood films and everyone else’s sex life is barely ever shown, as if, you know, people in their 40s or black people don’t have sex. It’s unbelievable and I really appreciate that we get to see something very different here. Was the film always so explicit since the idea was conceived in your head?

Ben: I think if you read Mark O’Brien’s article, there’s no other way. The essence of it was that he was learning the ABCs, what goes where, what do you do, and I think the explicitness is part of revealing his naiveté and how childlike he was when it came to sex. I was only keeping faithful to his original work, which was really what inspired me. Every time I felt like I was losing my way in the script, I’d go back to his text and rediscover what turned me on in the first place. The first thing that struck me when I read it was the frankness. The explicitness doesn’t make it sexier, it just makes it more ordinary.

My point exactly! Everybody at every age does it. You don’t have to look like a star.

I’d never imagined myself going there though...[MORE]

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Oscar Horrors: 'The Virgin Spring'

Oscar Horrors continues with Beau and his favorite filmmaker.

HERE LIES... Ingmar Bergman's The Virgin Spring, which won the Academy Award for Best Foreign Film for 1960.

I'm not going to beat around the bush here. Let's just get right to it. Ingmar Bergman is my favorite filmmaker of all time. He's self-indulgent, woefully meandering, and I love him for it. I first watched The Seventh Seal when I was all of eighteen, and the imagery and gallows humor wowed me. I pursued the rest of his respective oeuvre like a feverish animal, devouring early works and late masterpieces with the rabid enthusiasm of a junkie who just discovered Burroughs, Kerouac and Ginsberg on the same day.

That being said, The Virgin Spring was a strange one for me. A meditation on the convoluted, considerable blindness of faith at odds with the cold, ruthless foundation of nature by way of a virginal sacrifice? Oh no, Ingmar, no. Don't worry about imbuing levity here dude, we cool.

While all of his films have resonated since first viewing, The Virgin Spring was peculiar for the fact that you sensed he wasn't entirely being himself... 

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Just Sayin'

This should be an Oscar.

And Natalie Wood shouldn't have to share it!

P.S. What the hell statue is that?