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While trying to recover two nuclear bombs stolen by the evil criminal syndicate SPECTRE, Bond runs across the gorgeous SPECTRE assassin Fiona Volpe. Positively shocking."-as Bonita comes to.īond does it again in his next outing, Thunderball. Bond wrestles the assassin into the bathtub and electrocutes him with a lamp, then leaves the room with a quip-"Shocking. As they kiss, an assassin attacks-in order to deflect the attack, Bond throws Bonita between himself and his assailant. Bond greets her by shoving his tongue down her throat. In the film's pre-credit sequence, 007 relaxes after a successful mission by visiting Bonita, a local dancer.
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In You Only Live Twice, Bond goes undercover by dressing in yellowface, making his eyes slanted and wearing a terrible wig while learning how to be "Japanese." If the cinematic Bond isn't outright hostile towards other races, he's at least a little misguided. Live and Let Die depicts Harlem, New Orleans, and the Caribbean's black residents as obstacles-if not outright villains-that the white super-spy needs to overcome.
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Amazingly, Bond agrees, vowing to put "put Oddjob or any other Korean firmly in place, which in Bond's estimation was lower than apes in the mammalian hierarchy." In For Your Eyes Only, Fleming describes Cuban gunmen-who the audience is seeing through James' eyes-as wielding weapons with their "monkey hands." And then there's Live and Let Die, which depicts the entire population of Harlem as uneducated fools who can barely speak English and believe in ridiculous superstitions.īond isn't quite as prejudiced on the big screen as in print (especially in the modern era), but he's not innocent either. In Goldfinger, for example, Auric Goldfinger feeds cats to his Korean henchman, Oddjob, and describes Koreans as "the cruelest, most ruthless people" in the world. Unlike the book, the Goldfinger film never outright says that Galore is homosexual, but it's heavily implied-at least until 007 forces himself on her. She's "cured" of her condition, of course, when Bond takes her to bed. In Ian Fleming's original Goldfinger novel, Pussy Galore lost interest in men after her uncle abused her as a teen, and her "Flying Circus" (a group of pilots in the movie, acrobats-turned-thieves in the book) is made up of lesbians like herself. If you know Pussy Galore's backstory, it's even worse.
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The hanky-panky that follows is supposed to be consensual, but let's face it: that's a rape disguised as playful flirting. He responds by attacking her, throwing her to the floor, climbing on top of her while she unsuccessfully tries to push him away, and only gives in after James overpowers her and plants a kiss on her lips. Pussy tosses James to the ground and tells him to leave. After Pussy says no again, James pulls her away from the door. Bond makes a pass at Galore, and she says "I'm not interested." Pussy heads for the exit, and Bond grabs her by the arm. Watch the love scene between Bond and Pussy, and try to ignore John Barry's playful score.