As with every version of Bond, there are many criticisms that it can be subjected to, but I would argue that there is room for Moore’s chapter in the modern era. When Connery’s Bond was followed up with Roger Moore’s comparatively less brutish performance, people quickly knew it was going to be a different era for the super spy. It only makes me glad that this is a world that does not exist anymore. Connery’s notorious off-screen persona compounds this distasteful vibe, which adds an uncomfortable authenticity to his Bond. We only need to mention that scene in You Only Live Twice for the point to become readily apparent – if it wasn’t already. These combine to make this iteration of the famous agent practically unwatchable. There’s racism, hints of colonialism, violence towards women and even “turning” the lesbian Pussy Galore because the alpha male Bond is simply too tempting.
It is Connery’s where the old-world-styled British sense of superiority and a heavy dose of misogyny course through it, as it was a close adaptation of Ian Fleming’s original novels, which are guilty of the same. However, Moore’s Bond is not even the most questionable. Racial stereotypes aside, in The Man with the Golden Gun, when Bond fights the dwarf henchman Nick Nack, he locks him in a suitcase. If that wasn’t enough to make the hairs on the back of your neck stand up, in Moonraker, after throwing a Japanese enemy through a window into a piano, Moore purs: “Play it again, San.” This was not the end of this grotesque facet either.
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