Film / James Bond

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From left to right and top to bottom: Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig note 

"The name's Bond. James Bond."

A long running film franchise based on Ian Fleming's novel series about British secret agent James Bond, code-named 007. Over its decades long run, the franchise has featured six different Bonds, codified Tuxedo and Martini Spy Fiction, and ranged in tone from comedic to gritty.

Official Eon Productions Films:
  1. Dr. No (starring Sean Connery as Bond, 1962)
  2. From Russia with Love (Sean Connery, 1963)
  3. Goldfinger (Sean Connery, 1964)
  4. Thunderball (Sean Connery, 1965)
  5. You Only Live Twice (Sean Connery, 1967)
  6. On Her Majesty's Secret Service (starring George Lazenby, 1969)
  7. Diamonds Are Forever (Sean Connery, 1971)
  8. Live and Let Die (starring Roger Moore, 1973)
  9. The Man with the Golden Gun (Roger Moore, 1974)
  10. The Spy Who Loved Me (Roger Moore, 1977)
  11. Moonraker (Roger Moore, 1979)
  12. For Your Eyes Only (Roger Moore, 1981)
  13. Octopussy (Roger Moore, 1983)
  14. A View to a Kill (Roger Moore, 1985)
  15. The Living Daylights (starring Timothy Dalton, 1987)
  16. Licence to Kill (Timothy Dalton, 1989)
  17. GoldenEye (starring Pierce Brosnan, 1995)
  18. Tomorrow Never Dies (Pierce Brosnan, 1997)
  19. The World Is Not Enough (Pierce Brosnan, 1999)
  20. Die Another Day (Pierce Brosnan, 2002)
  21. Casino Royale (starring Daniel Craig, 2006)
  22. Quantum of Solace (Daniel Craig, 2008)
  23. Skyfall (Daniel Craig, 2012)
  24. Spectre (Daniel Craig, 2015)
  25. Bond 25 (Daniel Craig, 2019)

Other Films (not produced by Eon):
  • Climax!: Casino Royale (Barry Nelson, 1954) note 
  • Casino Royale (David Niven, 1967)
  • Never Say Never Again (Sean Connery, 1983)

The series has spawned legions of imitators and in many ways defined all of modern Spy Fiction, with Bond himself having become the quintessential Action Hero. In fact, many tropes featured in action films to this day can be traced back to the franchise, from the Tuxedo to the Bond One-Liner to the Cool Car.

The following tropes are best served shaken, not stirred:

  • Action Prologue: The Trope Codifier, as the series has featured dozens of openings going all the way back to the 1960s where Bond fights through a giant action set piece before the main plot is even introduced.
  • Action Girl: May Day, Pam Bouvier and Wai Lin principally. The others, despite not lacking of good moments, go more for the Faux Action Girl side, sadly.
  • Adaptation Distillation:
    • Quite a bit, as Ian Fleming was inordinately obsessed with Bond's food and drink.
    • Bond himself is a cardboard cut-out compared to the complicated, sympathetic character in the books, at least until Timothy Dalton and Pierce Brosnan came along. Daniel Craig seems to be finishing up the job nicely.
  • Adaptational Heroism: Tracy Di Vicenzo and Ali Kerim Bey are both portrayed as being far less ambiguous in the films, due to both being fairly close allies of Bond. Also, Kara Milovy, whose equivalent was the antagonist of the original short story.
  • Adapted Out: In many novels by Fleming, the villain is on the payroll of SMERSH, a (real, though actually dissolved in 1946) Soviet anti-espionage organisation that seeks to undermine Western powers at every opportunity. It wasn't until the ninth book that he introduced SPECTRE, a criminal organisation with no political ties (because he worried Soviet villains would become dated). The films either make the villains independent entrepreneurs (Goldfinger, Live and Let Die), or outright change their SMERSH allegiance to SPECTRE instead (From Russia with Love, Dr. No).
  • Agents Dating: Happens many, many, many times in the series, if you're willing to be sufficiently loose with the term "date." More details on some of the movies' pages and in the trope page.
  • The Alleged Car: The initially Cool Cars Bond is given almost always invariably turn into this by the time that Bond is done with them, to Q's great dismay.
  • Aloof Dark-Haired Girl: The brunette Bond Girls are the ones who have a high tendency in become the Femme Fatale or/and the Defrosting Ice Queen towards Bond.
  • And Starring: The actor playing M always has the "And [name] as M" billing. He or She is usually preceded by a "With" that varies in films.
  • And the Adventure Continues: Every film has ended with the phrase “James Bond Will Return.”
  • Anti-Hero:
    • Bond was all over the scale since his beginnings. His probably most harmless (that is, most heroic impersonation) was probably during the Moore era, and that is saying a lot. Bond has never been above killing people while they were unarmed, down, at his mercy, or with their backs turned to him (Brosnan-era Bond often even did so with a playful smirk), and had more than once been playing dirty while doing so. The films also show Bond taking pleasure in killing his opponents when it was personal for him, as seen in From Russia with Love and For Your Eyes Only.
    • Daniel Craig's Bond is probably the most stone-cold, although that seems to reflect the overall turn in direction of the films. In his first appearance ever, he casually admits to his target that his first kill was "difficult,"note  to which the target replies "The second one will be..." (presumably "easier") before Bond shoots him, and responds with no emotion whatsoever other than perhaps bemusement, "Yes, considerably." While playing word-association with a psychiatrist in Skyfall, the psychiatrist says "murder" to which Bond replies "employment." To this Bond, killing is just a job, like filing reports.
  • The Atoner: This is a thread throughout the Brosnan era. Trevelyan straight up asks Bond, "...if you find forgiveness in the arms of all those willing women for all the dead ones you failed to protect." Bond's attitude throughout Tomorrow Never Dies, The World Is Not Enough and Die Another Day (specifically his desperate attempt to resuscitate Jinx) indicates that this statement has left him pretty rattled.
  • Badass in a Nice Suit: Bond almost always wears a handsome suit.
  • Bat Scare: A few of the Disturbed Doves in the 1980s films are this (such as in For Your Eyes Only, where Bond is climbing the mountain and the doves come out of a hole). This is a trademark of director John Glen, who directed all five of the Bond films in the 80s, from For Your Eyes Only to Licence to Kill.
  • Beauty Is Never Tarnished: Both Bond and his ladies usually keep tidy despite everything they face. Exceptions for 007 are Dr. No (after he's imprisoned and beat up), Licence to Kill (he ends up covered in blood, sweat and sand), Die Another Day (after the Action Prologue, he spends 14 months being tortured and looks like Cast Away) and the first two Daniel Craig movies, since those are essentially a two-parter Darker and Edgier Continuity Reboot.
  • Billed Above the Title: The credits always pays tribute to two of the creators of the franchise first—"Albert R. Broccoli's EON Productions Limited presents followed originally by "[actor] in Ian Fleming's [title]", later expanded to "...as James Bond 007 in Ian Fleming's..." at the beginning of Roger Moore's tenure; this was switched around to "...as Ian Fleming's James Bond 007 in..." for The Spy Who Loved Me (which was not really based on the book), switched back for Moonraker, and switched around again permanently from For Your Eyes Only onwards.
  • Blonde, Brunette, Redhead: Being a Long Runner film series, there has been a Bond Girl in every hair spectrum. Dark-haired is the majority, followed by the blondes.
  • Bloodless Carnage:
    • Well, they are rated PG-13. There was a famous sequence in A View to a Kill where Christopher Walken mowed down dozens of miners with a Uzi, and they didn't even use squibs.
    • Averted in Licence to Kill.
    • In GoldenEye, Xenia dies when the chopper she's rappelling from is shot down. The result yanks her safety harness into the crotch of a tree, which ought to have torn her in half. Instead, she writhes about and dies beautifully.
    • Although, to be fair, the Daniel Craig films are VERY hard PG-13s. Cold-Blooded Torture is utilised more than once, and the lack of explicit blood doesn't stop them from being BRUTAL in their violence.
  • Blue Blood: Bond's family is strongly hinted as coming from Scottish nobility. In On Her Majesty's Secret Service, Bond's history is explored, and it's noted that he has a family crest and motto, evidence of noble standing. Skyfall drives this point home, with the title itself referring to Bond's ancestral home.
  • Bond Gun Barrel: Trope Maker, of course. Used to open all the movies prior to Daniel Craig's era (in the first, it precedes the credits; in the other two, it closes the movie instead). It finally returned to the opening for Spectre.
  • Bond Villain Stupidity: The Trope Namer. This is a recurring Fatal Flaw for many Bond villains, as they have a tendency to gloat about their Evil Plans, but by then, 007 has already cooked up a plan B to escape and defeat the baddies. Examples in chronological order:
    • Dr. No:
      • After a dinner gone wrong, Dr. No just orders his guards to beat up Bond and get him imprisoned. 007 later escapes, nearly getting drowned in the process (however, being the first Bond film nobody knew how dangerous he could be).
      • In the book, he also had Bond run through Dr. No's death course. Bond was close to dying through it, multiple times. As did everyone else Dr. No had "tested"; the course was designed to kill. The only difference Dr. No ever expected was how long it would take. Funny how much difference a stolen lighter and a steak knife (and Bond!) can make...
    • In From Russia with Love, Red Grant's plan is to just shoot Bond, and he actually manages to get the drop on his target and have him completely at his mercy, but he still fails because he can't resist indulging in some Evil Gloating and a Just Between You and Me speech. In Red's defense, he still would have been fine if he hadn't fallen for Bond's bribe. At least he didn't leave the guy unattended, unlike most of the jokers on this list.
      • He'd also had plenty of opportunities to kill Bond before he even got on the train, but his failure to do so was his superior's fault: Red's boss' boss (Blofeld in the movie, General G in the novel) didn't just want Bond to die, he wanted him to die in a manner that would embarrass MI6 and the British government, which required a more elaborate setup then just shooting him as he walked down the street.
    • Averted by Goldfinger, with Auric Goldfinger keeping Bond alive because if he dies, then MI-6 will just send in some guy called 008. Goldfinger instead tricks Bond's superiors into thinking that the situation is well in hand. Also justified in the same film — Goldfinger originally was going to have Bond sliced in half by a laser. The inversion is that this was going to work; Bond had to talk his way out of it, and was seconds away from losing his manhood when Goldfinger agreed. Goldfinger instead displays incredible stupidity (or maybe just bad writing) in dealing with his gangster accomplices. While he is showing them his plan with a miniature Fort Knox, one demands to leave and take his gold with him. They load the gold in a car and Oddjob drives him away, ostensibly to the airport. Then Oddjob kills him but instead of just dumping the body he takes the car, with the body in it, to an auto yard where it is cubed, along with the gold. He then returns to the farm where Goldfinger says they will have to extract the gold from the car and remains. This would be all too complicated as it is. However, after that gangster left, Goldfinger had the room sealed and all the other gangsters gassed to death. So why not just excuse himself for a minute, leaving that one guy with the others and kill them all at once, instead of destroying a car for no reason (and even then, attempting to separate the gold from the car after making it a three foot by three foot cube, rather than before)?
      • Notably, in the novel, the gangster who opted out of the plan "fell down the stairs" on his way out of the meeting, and the others all agreed to join the plan and were left alive, rather than the elaborate setup from the movie.
    • Thunderball:
      • Fiona Volpe successfully seduces Bond — not that it's especially difficult to do so — and doesn't do a High-Heel–Face Turn, but then monologues about it and generally screws around until Bond escapes, killing her shortly thereafter. Helga Brandt makes almost the exact same mistake a film later, though she's instead killed by Blofeld for being a moron.
      • Big Bad Largo himself provides a classic example. He catches Bond in his pool fighting with one of his men. The mook with him is just about to shoot Bond, while Largo stops him and instead traps Bond in there to be eaten by his sharks. Naturally, Bond uses this to escape.
    • In You Only Live Twice, Blofeld's guilty of it at least twice; first, he sends an assassin to kill Bond with an elaborate poison trick while he sleeps… you know, instead of shooting him or dropping a grenade on him or any of another ways to kill a sleeping guy from roughly the same distance. Later, he catches Bond in his base, and keeps him alive because he wants Bond to witness his success even though he really ought to know better than that by now. He even pulls an elaborate fakeout where he seems like he's about to shoot Bond, but shoots his own henchman instead at the last second. A little while after that, he finally tries to shoot Bond for real, but of course by then it's too late.
    • Justified in On Her Majesty's Secret Service, where just for once the villain genuinely has an actual sensible reason for keeping the captured James Bond alive and explaining the plot to him: Bond is trusted by the authorities and familiar with Blofeld's record, so his report will help convince the UN that the threat is serious. Granted, that's still a pretty dumb defense, considering M — or anyone with access to the records of previous Blofeld cases — could have done the job just as well… but at least it's something.
    • In Diamonds Are Forever, Mr. Wint and Mr. Kidd had Bond unconscious and they simply dumped him in an unfinished pipeline and left, assuming he'd eventually die. Doubly stupid, as this was the second time the pair had been given an unconscious James Bond to dispose of; the first time they tried to burn him alive, and it didn't work then; Shady Tree and Morton Slumber get him out of the retort when Tree discovers that Peter Franks' remains had been stuffed with fake diamonds planted by Bond and the CIA before being transported to Slumber, Inc. to be burned, and Bond takes the opportunity to just waltz out of Slumber, Inc. when Tree tries to question him about the whereabouts of the real diamonds.
    • Most of Live and Let Die revolves around this, as the villains sequentially attempt an elaborate assassination involving a snake (despite having keys to his room), leave him unattended on a small island to be eaten by alligators, and finally try to have him fed to sharks — admittedly a recurring classic — instead of just shooting him, despite having by then having had enough experience with the guy to know better.
    • The Man with the Golden Gun:
      • Bond takes up Hai Fat's invitation to join him for dinner in his mansion while pretending to be Scaramanga, not knowing that the real Scaramanga had already gotten in touch with the guy. When he arrives there late at night, he's incapacitated by some guards in an ambush. As they're about to kill him, Hai Fat forbids them from doing so because he doesn't want Bond killed in his home. They'll just take him somewhere else to finish him off right? Nope. Hai Fat has Bond placed in a krabi krabong school to... get beaten up? Maybe?
      • Justifiably invoked by Scaramanga late in the film; he freely admits that he could have used his solar-powered laser to blow up Bond's plane before he even landed on the island, but chose not to do so because of how unsatisfying it would be.
    • For Your Eyes Only:
      • In The Teaser, "Blofeld" opts to zig and zag Bond around in the helicopter, instead of just crashing it as soon as he takes control. Justified in this case by the fact that he had looked forward to killing Bond for a long time and had been crippled by him — he wanted Bond to suffer the same way he did.
      • Big Bad Kristatos is guilty of it as well, choosing to kill Bond and the Bond Girl by dragging them behind his boat and assuming sharks ate them when they finally disappeared as opposed to just shooting them when he had the chance.
    • A View to a Kill:
      • It has a pretty bad one early on, where Zorin decides to kill Bond by rolling his car into a lake. One could guess he wanted to make it look like an accident, but once awake it was probably his easiest escape ever.
      • The car case above actual downplays this as Zorin does try to get it done while James is still unconscious and even stays at the lake long enough to make sure James didn't survive (James managed to survive by spotting that Zorin was watching and using the air from the tire to stay underwater until Zorin left).
      • Later Zorin has Bond at his mercy but decides to kill him by locking him in a museum and setting it on fire. In this case at least he has the excuse that he wants to frame Bond for the murder of someone else and make it look like he failed to escape after setting the museum on fire himself.
    • Averted in The Living Daylights as the villain's whole plan hinges on Bond killing someone on his say so and his own ability to look like the victim and/or hero. He does miss a good opportunity to kill Bond late in the film, but it's because he thinks sending Bond to jail will be better for his cover — which he'd be right about, if Bond hadn't already outsmarted him a few scenes before.
    • Almost averted again in Licence to Kill as the villain doesn't find out Bond's not on his side 'till very near the end, and when he does, puts Bond into his death trap he sticks around to watch until he's forced to leave because the place is on fire and about to explode, at which point he leaves his number two man in charge of finishing the job. Naturally, that goes poorly for him, but credit to Sanchez for getting so much closer to getting it right than most.
    • In GoldenEye, the villains had several opportunities to just shoot Bond, but they don't. Then Ouroumov has the chance to shoot Bond, announces that he is about to do it, and then is promptly cold-cocked. What moves this into beyond-belief territory is that both have direct evidence of how dangerous he is when cornered. The only such opportunity that has a justified reason for not killing him is in the Statue yard, where Trevelyan is trying to frame Bond and Natalya for the theft of the helicopter. If a post-explosion examination of the bodies revealed that they had been shot beforehand, it would have raised suspicion. Also, given Trevelyan's motivations, it's not merely enough to kill Bond, and if it would be he usually has more pragmatic reasons for keeping them alive. The aforementioned frame up is just the first such example.
    • Elliot Carver was preparing to do this in Tomorrow Never Dies, leaving Mr. Stamper and his henchmen to torture Bond and Wai Lin for an ungodly amount of hours, but the heroes decide to make their escape before Carver even leaves the room.
    • Classic example in The World Is Not Enough. Elektra King drops a loaded pistol for Bond to collect, before she runs up a set of stairs — unarmed. In her case, she thought she was smart enough to believe that Bond wouldn't shoot a woman. She was dead wrong. Elektra seems pretty reticent to kill Bond generally — she seems to be waiting for him to give in to his affection for her and become her new Renard — which is still nonsensical, but no longer this trope (as she doesn't actually want him dead).
    • It's either lampshaded or a spectacularly bad example, albeit not involving Bond himself: In Die Another Day, two henchmen have Jinx at their mercy, and one actually proposes shooting her... but the other one wants to do it with lasers, and gets his way, allowing Bond time to arrive and rescue her. Earlier in the film, Bond gets out a Bullet-Proof Vest and Colonel Moon keeps shooting it until it falls off into the ground.
    • In Casino Royale, both Le Chiffre and Mr. White make a dumb — and wholly unnecessary — deal to keep Bond alive. It ends poorly for them.
    • Not quite averted in Quantum of Solace, as while the villains never really have Bond at their mercy the way they usually do at least once a movie, they do leave the oft-imperiled Bond girl alive way too many times, and she ends up having as much to do with their downfall as 007 does.
    • Raoul Silva in Skyfall initially toys with Bond instead of killing him because it's all part of his plan to get caught so he can exact revenge on M. Later, however, his failure to take advantage of various opportunities to kill the heroes after said plan has already run its course is best chalked up to Plot Armor and Sanity Has Advantages.
    • Crops up twice in Spectre:
      • First, when Oberhauser/Blofeld has Bond at his mercy in his secret base, he then decided to go all "Reason You Suck" Speech, Evil Gloating, and Break the Badass on both Bond and his girl, and then he'd get to killing Bond after the Cold-Blooded Torture. This gave Bond time enough to bail out. The second time, he constructs an elaborate Death Trap, giving Bond a choice: escape now on your own but live with the guilt of not saving Madeleine in time for the rest of his life, or try to rescue Swann and die together. In the latter case, he was playing on Bond's feelings to get him to fall, but since he was more interested in tormenting Bond rather than killing him, this gave Bond plenty of time to find Swann and then escape.
      • Blofeld's henchmen aren't too bright either. When they kidnap Bond, they tie his hands in front of him, with plastic zip ties. Sure enough, Bond's able to grab one of their guns and shoot them both, then break free.
    • Empire listed the Bond Villain Monologues, while stating on all "What he should have done: Shot Him", save Tomorrow Never Dies. There, the villain should have "Bought Google." To be fair, General Whittaker in The Living Daylights only monologued to distract Bond as a remote control gun was aiming to shoot him.
  • Body-Count Competition: Bond probably has the highest on-screen body count of any film character ever, counting all 24 official movies. Unsurprisingly for an action hero/government assassin, he kills at least one person in every film, and more commonly a lot of people. He has canonically killed 362 people. Roger Moore has the highest body count of the Bonds, with 121 kills. Pierce Brosnan gets the close second with 103, which is quite remarkable because he appeared 3 fewer movies than Moore and it was noted that Brosnan's Bond tended to get his hands on automatic weapons a lot.
  • Broad Strokes: Essentially the only times there was strict continuity was from 1962-1967, and again the Craig era, which was a reboot.note  Since then, it's just been getting messier. New actors, explicitly different settings and "soft" reboots are only some of the continuity problems. All fans have their own theories or lack thereof.
  • Cartwright Curse: Every girl Bond has a relationship with is gone by the next film if they aren't already dead.
  • Catch-Phrase:
    • "The Name Is Bond, James Bond"
    • "Vodka martini. Shaken, not stirred."
    • Just before Q explains Bond's gadgets, he'll start with, "Now, pay attention, 007..." He usually finishes the explanation with am admonition to Bond to bring his equipment back "in pristine order" (which Bond never does). And of course there's the ever-popular "Grow up, 007."
    • The end credits for all the films from Dr. No to Octopussy have concluded with the phrase "James Bond will return in..." followed by the title of the next film. This tradition stopped with A View to a Kill, in which the end credits simply say "James Bond will return." Due to the limbo-like nature of the franchise since the 80s, all subsequent films have ended with "James Bond will return."
  • Chekhov's Armoury: The sections with Q, where the film's gadgets, weapons, and/or car are revealed and have their uses explained. Some may qualify as Chekhov's Boomerang if he uses it more than once.
  • Chickification: Strong, independent female characters from the books often appear as bimbos in the first four films (with the exception of Pussy Galore). For example, Bond's Jamaican ally Quarrel is much more of a subordinate in Dr. No, mirroring Honey Ryder's dependence on Bond for protection, and being transformed into her simply walking out of the sea, then shortly afterwards, needing sex.
  • Chronically Crashed Car: Bond destroys nearly every Cool Car Q provides him.
  • Chuck Cunningham Syndrome: For every movie you see, you can bet that you will never see the Bond girl again. From that point on they will almost never even be mentioned. The few aversions are:
    • The first-ever movie Bond Girl Sylvia Trench. After Dr. No, she's there again early in From Russia with Love. After that, though, she's never heard from again.
    • Tracy Di Vicenzo gets a Call-Back from time to time, being Bond's wife and apparent greatest love in the original continuity.
    • Vesper Lynd, featured in Casino Royale (2006), remains plot-relevant in Quantum of Solace and is mentioned in Film/Spectre.
    • Maud Adams, the actress who plays the secondary Bond Girl in The Man with the Golden Gun, went on to play the primary Bond Girl in Octopussy, but they are distinctly different characters, and no reference to the actress' first appearance is made in the second.
    • "Eve" (Naomie Harris) plays the role of "Bond Girl" for the majority of Skyfall, and only at the end is it revealed that she is Moneypenny.
    • Non-Bond Girl examples:
      • Jack Wade is seen in the first two Brosnan films and isn't mentioned afterwards. He was most likely a replacement for:
      • Felix Leiter, who is last seen (not counting his reboot appearances in the recent films) in Licence to Kill. Though it can be assumed he was forced into retirement after being dismembered by a shark. His newlywed wife wasn't so lucky.
    • The books averted this. Each previous adventure was referenced in the next book and previous Bond girls were also referenced as well.
  • Chummy Commies: In one of the series' ultimate ironies, Bond, one of the prototypical Cold War Warriors, teams up with the USSR in an Enemy Mine situation more often than working directly against them. In fact, For Your Eyes Only and the pre-titles of GoldenEye are the only times in the entire series where the USSR is outright antagonistic, and not a fellow Unwitting Pawn that 007 must make a hasty alliance with in order to save the world. In both The Spy Who Loved Me (USSR) and Tomorrow Never Dies (China), he even works together with a female communist agent to save the day.
  • Clothes Make the Legend: James will wear a tuxedo at some point in each movie. (The gun barrel doesn't count.) The only times where it is averted are in You Only Live Twice and in Live and Let Die, the latter where Roger Moore isn't seen in a tuxedo at all (except for the gun barrel sequence, that is) to fill on the gritty look the producers wanted on Moore's debut.
  • Cool Car: Varies from film to film, but you can usually count on at least one per film. The Aston Martin DB5 is certainly the most memorable. Introduced in Goldfinger and brought back for a cameo in Thunderball, the car was later featured in both the Brosnan and Craig films, with it playing a major role in Skyfall.
  • Complexity Addiction: Most Bond villains are bad enough to name a whole separate trope — for instance, instead of simply killing Bond, they beat him up and leave him in a somewhat easily escapable cell, leave him in the middle of an alligator farm, and kill a mook that failed them instead.
  • Corrupt Hick: The first two Roger Moore films feature the same racist sheriff from Louisiana—even though the second film takes place in Thailand.
  • Couch Gag: Between the 1960s and the early 1980s, it was standard for the film to end with some variation of the on-screen message "James Bond will return in..." and the next film title announced. On several occasions, however (following Thunderball and later following The Spy Who Loved Me) the wrong title was announced as EON decided to adapt a different book or story when the time came to actually make the next film. Octopussy also got it wrong, but only by one word. James Bond was said to return in From A View To A Kill, which was the title of a Fleming short story. However, when the movie was actually released, the From was dropped from the title.
  • Darker and Edgier: After the end of the Moore era the films have been progressively getting darker and grittier.
    • Licence to Kill is by far the darkest entry. When an Ax-Crazy South American druglord brutally maims an old friend of Bond on his wedding night and murders his bride, Bond sets out on a Roaring Rampage of Revenge which sees him (with the help of tough-as-nails Action Girl Pam Bouvier) becoming a Rogue Agent and carving through the cartel in gory fashion. It's something of a Contested Sequel as a lot of viewers were put off by the sheer violence, but it comes closest to emulating the tone of the novels.
    • Casino Royale (2006), as a Continuity Reboot, sees a return to brutal and bloody fight scenes, gritty realism, Bond being even more of an Anti-Hero than usual, and the story taking on elements of a political thriller. Skyfall gets even darker by throwing in plenty of Deconstructions, Bond's Dented Iron status, questions on his sanity and the good guys' victory over the villain being hugely pyrrhic.
  • Death by Adaptation: Several: Rene Mathis in Quantum of Solace is perhaps the most notable example. Also, Dikko in You Only Live Twice, Kronsteen in From Russia with Love, Lisl in For Your Eyes Only, Saunders, the equivalent of Sender in the short story in The Living Daylights, as well as the agent that is transformed into the villainous General Koskov for the film, who is probably executed after the events of the movie, Gettler in Casino Royale (2006). More recently, the death of M in Skyfall, as no M has ever been killed off in the books.
  • Death by Sex: Quite a lot of the women Bond sleeps with meet unfortunate ends.
  • Death Trap: Not the creator, but certainly a codifier.
  • Design Student's Orgasm:
    • Every movie title sequence.
    • And any Bond film that contains a set design credit for Ken Adam.
  • Disposable Love Interest: Bond Girls. Some entries even have more than one of them.
  • Disposable Woman: Bond's enemies kill Tracy, Paris Carver and all women with whom Daniel Craig sleeps before Spectre—Vesper, Fields, and Severine; in the latter's case, it's a deconstruction.
  • Distressed Dude: For a badass secret agent, Bond sure ends up in sticky situations a lot.
  • Dirt Forcefield: Both Bond and his ladies usually keep tidy despite everything they face. Exceptions for 007 are Dr. No (after he's imprisoned and beat up), Licence to Kill (he ends up covered in blood, sweat and sand), Die Another Day (after the Action Prologue, he spends 14 months being tortured and looks like Cast Away) and the first two Daniel Craig movies, since those are essentially a two-parter Darker and Edgier Continuity Reboot.
  • The Don: On Her Majesty's Secret Service has Marc-Ange Draco, head of the Union Corse.
  • Double Entendre: Expect to have at least one per movie.
  • Downer Ending:
  • The Dragon: Several (Oddjob, Jaws and Red Grant are three of the most famous examples in cinema history.)
  • Dress Hits Floor: Happens a bunch of times throughout the series—Thunderball, Diamonds Are Forever, The Man with the Golden Gun, For Your Eyes Only, Tomorrow Never Dies, Die Another Day, etc.
  • Drink Order: Bond is a connesieur of fine wines in general and vodka martinis (shaken, not stirred) in particular.note 
  • Early Installment Weirdness:
    • Dr. No lacks many of the trademarks that the franchise is known for. A Cold Open, the Cool Car, gadgets and many others are all absent. Dr. No also contains the infamous scene where Bond murders Professor Dent; even Fleming never had Bond act so cold-bloodedly in the books, and for all intents and purposes Bond wouldn't act this way again until 2006's Casino Royale (2006), which was, like Dr. No, the start of a new continuity.
    • Could be said of the early ones in general, due to the fact that the series spans 50 years, for those younger viewers. Bond is very much a man of his time, and the early Connery's being rooted in Rat Pack culture, must seem odd for those who grew up with Brosnan.
    • In retrospect, Live and Let Die and The Man with the Golden Gun could be this with the Moore era. The comedic elements that peppered Moore's run are there, but the writers at the time seemed indecisive about whether or not to make the series more humorous or playing them like the earlier films.
  • Everyone Loves Blondes: The blonde Bond Girls are usually the ones who are eager to hop on bed with Bond, sometimes more so than Bond himself.
  • Evil Cannot Comprehend Good: This is a recurring flaw of many of the Bond villains — because most of them are criminally insane megalomaniacs and psychopaths who think they're Well Intentioned Extremists and Knight Templars, so whenever they explain their motives and discuss their Evil Plans, it quickly becomes clear they're just talking about themselves and their selfish motives, as they're trying to psychologically project their viewpoint and flaws unto him, only for Bond to make a sarcastic remark about their insanity, angering them. For example:
  • Evolving Music: The iconic theme tune has changed over the years.
  • Expository Theme Tune: Most of the films' opening sequences comes with plot-relevant music (typically to go with the silhouettes foreshadowing the plot).
  • Famous-Named Foreigner: The KGB Chief is called Gogol, and his sucessor's name is Pushkin.
  • Fatal Flaw:
    James Bond: World domination. The same old dream. Our asylums are full of people who think they are Napoleon. Or God.
    • From Russia with Love:
      • Kronsteen's arrogance and status as the Know-Nothing Know-It-All bites him hard in the ass. When asked by Blofeld to defend his plan, he could with ease, but doesn't think it's necessary. Instead, he simply remarks, "Who is Bond, compared with Kronsteen?" That's a bunk answer and it lets Klebb off the hook. The competition wasn't between Bond and Kronsteen, it was between Bond and Grant. Kronsteen stupidly lets Klebb change the parameters of the argument and pays for it with his life.
      • Rosa Klebb's fatal flaw is not properly vetting her people. Kronsteen says that his plan went wrong when Klebb chose Grant as Bond's assassin, and he has a point. She could have investigated Grant better and possibly uncovered his fatal flaw (which happened to be Greed), even though on paper he was totally the right guy.
      • Donovan "Red" Grant's greedy nature leads to his downfall in the film. For all the Bond Villain Stupidity mentioned elsewhere, none of it would actually have mattered if Bond hadn't been able to dupe him into trying to steal the fifty gold sovereigns from one of the two field equipment briefcases, which causes him to unwittingly activate a tear gas cartridge that gives Bond the opening he needs to take it down.
    • Goldfinger and his Greed, his obsession with all things related to gold, and a penchant for cheating.
    • Thunderball: Fiona Volpe's vanity and ego. Count Lippe and his Greed. Angelo Palazzi's Smug Snake behavior. And when Emilio Largo decides to betray his mistress, it costs him his life.
    • Live and Let Die: Dr. Kananga's bloated ego brings him down. As quipped by Bond: "He always did have an inflated opinion of himself."
    • The Man with the Golden Gun: Francisco Scaramanga holds 007 in too high of a regard. The novel version is opposite – Scaramanga held a dim view of James Bond and underestimated the threat 007 posed to him.
    • The Spy Who Loved Me: Karl Stromberg's obsession with the sea.
    • Moonraker: Hugo Drax's tendency to gloat.
    • For Your Eyes Only: Kristatos' disloyalty. He was a member of the Greek Resistance in WWII, but was secretly working for the Nazis. When the Nazis won anyway, he switched his allegiance to the Soviets, despite the Nazis and Soviets being enemies, simply because they paid good money. And while in the Resistance, he made contacts with MI-6 and through them, uses Bond to try and kill his rival Colombo, another ex-Resistance fighter who found out about his treachery. When MI-6 and Bond found out about his treacherous nature, they were just as displeased as Columbo was when they discovered the truth and realized he intended to turn the ATAC over to Gogol. Ultimately, it bites him in the ass as he gets stabbed in the back from the man he betrayed, Columbo, who ended the feud with his death and adopted Bibi as her new sponsor.
    • Never Say Never Again: Fatima Blush and her vanity.
    • Octopussy: Renegade Russian General Orlov's Hair-Trigger Temper causes him to snap at people while arguing with them, seen most prominently in his confrontations with both General Gogol and James Bond. And he was also an insane psychopath, not caring that millions would die in the ensuing mayhem due to his plan to invade Western Europe, and had a manic fixation of the Warsaw Pact gaining full control of Europe and isolating the United States. Add in the fact that he clearly doesn't understand that the United States would retaliate equally, resulting in World War III, which would basically leave no winners.
    • A View to a Kill: Max Zorin and his Ax-Crazy sociopathic behavior.
    • The Living Daylights: Brad Whitaker is a Smug Snake and acts like a real military commander, but he gets outwitted by Bond.
      • Georgi Koskov and his Chronic Backstabbing Disorder. A corrupt and two-timing Russian general, he first backstabs his fellow countrymen by falsely blaming KGB head Pushkin as the mastermind of a plot to kill off American and British spies, knowing that the setup will lead to Pushkin's death, with Bond as the assassin. With Pushkin out of the way, he will then engage in a three-way arms deal with Brad Whitaker and Colonel Feyador in Afghanistan to obtain valuable opium. Once the deal ends, Koskov will return to Russia with arms from the deal that gave them the payoff for the opium, a promise that the defection was an undercover assignment from Pushkin, and with Bond in tow, it's implied that he'll seize control of the KGB. He also fools the British into thinking he's defecting to the West, tries to manipulate Kara Milovy into distrusting Bond, and even tried to pin the blame on Whitaker when all things went south. But by then, nobody's buying his lies, and Pushkin promptly has him arrested to be sent back to Moscow, where he will be executed for his treachery. He also very much wants to be a Magnificent Bastard and Smug Snake, but doesn't quite make the cut.
    • Licence to Kill: Franz Sanchez and his obsession with personal loyalty. Throughout the film, 007 drops hints to Sanchez that his henchmen are plotting to betray him. And because Sanchez doesn’t truly understand loyalty (and the fact that it is a two-way street, essentially), he believes the lies. He thinks loyalty is only bottom-up, not top-down. And because he is not loyal to those around him, it is easy for Sanchez to believe the worst of them.
    • GoldenEye:
      • Xenia Onatopp's sadism — murdering people turns her on, as shown during the Severnaya massacre, enough to get an Eye Take from Ourumov. It ultimately backfires on her, as while trying to torturing 007 with her Murderous Thighs, Bond is able to connect the rope she rappelled down to her safety harness, grab her AK-74 rifle, and shoot down a helicopter with her rifle. The harness yanks her off Bond and sends her flying, screaming, into the crotch of a tree, with her safety harness ironically crushing her to death. Bond quips, "She always did enjoy a good squeeze."
      • Boris Grishenko and his sexual deviousness, disloyalty, arrogance and overconfidence.
      • Alec Trevelyan and his extreme anger.
      • General Ourumov and his smugness.
    • Tomorrow Never Dies: Elliot Carver's narcissism is a major problem, going so far as to decorate his headquarters and other places pertaining to his media empire, with tapestries and over sized banners that bear his visage. His Evil Plan to have China and the United Kingdom go to war against each other just to arrange a broadcasting deal with the new Chinese government shows his selfish behavior.
    • The World Is Not Enough: Elektra King and her Daddy Issues.
    • Die Another Day: Colonel Moon/Gustav Graves and Miranda Frost have one big weakness: Winning at all costs.
    • Casino Royale (2006): Le Chiffre's complete overconfidence, along with his compulsive gambling addiction prove to be his fatal weaknesses — his habit of betting on his clients' money in order to bolster the riches that he would gain as a result of his success backfired violently when 007 foiled his plot to blow up a prototype plane at Miami Airport. In a desperate bid to recoup the money, Le Chiffre impulsively then sets up a high-stakes Texas hold 'em tournament before his bosses find out that he blew up their money on his self-destructive gambling addiction. And yet 007 foils him there. In both attempts, it is clear that Le Chiffre showed a dangerous level of desperation, fear and paranoia by repeatedly falling back on his gambling habit in order to repay his bosses. The literary version of Le Chiffre also had the same problems of overconfidence and an impulsive gambling habit.
    • Quantum of Solace: Dominic Greene and his recklessness, alongside his tendency to pick the wrong people to side with.
    • Skyfall: Raoul Silva's intense fear of abandonment, emotional extremes, and an unstable sense of identity.
    • Spectre: Max Denbigh/C's tendency to belittle and underestimate those (especially M) who don't like his Knight Templar views on why Democracy Is Bad and how total surveillance will fix things, alongside his arrogant behavior prove to be major problems for him.
  • Faux Affably Evil: Being brutish and sociopathic megalomaniacs, most Bond villains have a calm deposition, have 007 over for dinner or cards, and even engage in idle banter with him. But when things go south, they can turn rather nasty, especially in Villainous Breakdown mode. And the Snark-to-Snark Combat they have with Bond hides their true personality, especially when Bond makes a subtle but accurate insult about their insanity.
  • Fiery Redhead: The redheaded Bond Girls have a tendency to be quite feisty.
  • Getting Crap Past the Radar: The films from The '70s feature silhouetted nude women with visible nipples and pubic hair in the opening credits, none of which was pixellated or black-barred out when broadcast on network TV.
  • Girl of the Week: Or, in Bond's case, more a Girl of the Movie — though some movies have two, often one good and one evil.
  • Go-Karting with Bowser: A shtick of many Bond villains. They inevitably have him over for dinner or cards.
  • Graying Morality:
    • Dr. No and From Russia with Love are actually pretty grey movies; it becomes lighter with Goldfinger, but has light and dark moments throughout. The series is more cyclical as far as this trope goes—it starts off grey, but then becomes progressively more outlandish and lighthearted, before going becoming Darker and Edgier again.
    • The Craig reboot seems to have started out grey.
  • Greater-Scope Villain:
    • With the exception of Goldfinger, SPECTRE and its leader Ernst Stavro Blofeld in the first 7 films. Blofeld is also the overall villain in the Daniel Craig era.
    • Quantum has been this during two of Craig's films. In Spectre, it's later revealed that Quantum was actually a faction of SPECTRE.
    • The Soviet Union may also count in some of movies there (For Your Eyes Only and A View to a Kill for instance). Much more so in the original novels (for example in the Casino Royale novel, Le Chiffre is backed by the USSR).
  • Heel–Face Turn: Sometimes happens with Dragons.
  • Hellish Copter: Every movie but the first has a scene with a helicopter. Most times used against Bond, and going down in a spectacular fashion.
  • He Who Fights Monsters: Being a Professional Killer who considers murder a big part of his "job", 007 sometimes doubts the morality of what he does and fears the potential of becoming just as evil and monstrous as his enemies. But despite taking a grim view on his employment, he refuses to let that shake his incredible loyalty to Her Majesty's Secret Service and country.
  • Heroes Want Redheads: Though only three of them, one of which Bond had killed.
  • Iconic Outfit: The tuxedo. Indeed, actors who are contracted to play Bond are forbidden to wear tuxedos in other movies.
  • Iconic Sequel Character: Arguably, "Q," since this character was referred to as "Major Boothroyd" in the first film, and was not played by the instantly recognizable Desmond Llewlyn until the second film, From Russia with Love. Definitely in the books, where this character does not come up until the sixth book.
  • Incredibly Long Note: The title themes tend to end in a suitably epic fashion. Especially Shirley Bassey's songs, and of course, Tom Jones fainted on the last note of Thunderball.
  • In Love with the Gangster's Girl: Many of the Bond Girls start out as the girlfriend/wife/mistress of the Big Bad or The Dragon. Unfortunately for them, this often results in the Big Bad deciding to Murder the Hypotenuse.
  • Innocent Fanservice Girl: A few here and there—although most of the ladies are pretty shameless and like to showcase their fan service.
  • It May Help You on Your Quest: The most useless-seeming gadget Bond is supplied with is usually the one that saves his life.
  • Jerkass: Sure, he's a hero and he saved the world on numerous occasions, but Bond is an asshole. Just how much is subject to change with every actor. Good thing the villains tend to be even bigger Jerkasses.
  • Just Between You and Me: Probably better named "Before I Kill You, Mister Bond...". Actually averted in nearly every movie- Bond almost always figures the gist of the plan on his own, and what the Big Bad tells him is usually more like a Motive Rant, explaining the profit in their otherwise senseless act of mass murder or seemingly mundane criminal enterprise that Bond was trying to stop anyway. Goldfinger is the only movie that comes close to playing this straight, and it actually zigs-zags it a lot anyway, starting with Bond overhearing the villain explaining his plan to somebody else, and not even telling them the real plan anyway (partly by being interrupted) as well as murdering them afterwards. Sort-of played straight when Bond confronts him with apparent holes in his scheme and Goldfinger tells him he didn't get the whole plan, then confirms Bond's alternate theory- its still possible Bond had an inkling of what was really going on anyway, and would have / had figured out the real scheme, and was just manipulating Goldfinger into confirming his suspicions.
  • Lantern Jaw of Justice: While all of the actors who play Bond have fairly impressive jawlines, George Lazenby's chin is the most exaggerated.
  • Large Ham:
  • Laser Cutter: May have codified the laser cutter portable gadget.
  • Latex Perfection: The Teaser of From Russia with Love. Subverted in Live and Let Die, which has a perfectly realistic example.
  • Licensed Pinball Tables: Two of them — James Bond 007, which was based on The Spy Who Loved Me (somewhat), and GoldenEye.
  • Lighter and Softer: Moore's tenure was decidedly less graphic, at least until his last movie (which he hated). The actor fought against a scene in For Your Eyes Only where Bond kicks a henchmen's car off of a cliff, but it was included anyway. Tellingly, in the opening gun barrel scene, Moore's gun has no muzzle flare. Ironically, however, Moore's Bond personally (and occasionally cold-bloodedly—see Stromberg) personally killed virtually all the villains he encountered (Kristatos being an exception). Connery's Bond killed only Dr. No—everyone else either got away (including Blofeld) or the Bond girl did the nasty work.
  • Loving a Shadow: Most if not all of Bond's romances could be seen as this on the part of the ladies, with a few exceptions (Tracy, Paris Carver, Vesper...).
  • Made of Explodium: Seen throughout the whole series, but particularly evident during the Brosnan era, when any vehicle that impacts with anything else will explode. Except for the vehicle Bond is driving at the moment, of course.
  • The Magic Poker Equation: Very often, usually in baccarat, when Bond has a ridiculously high probability of getting 9 at any key point. Taken Up to Eleven in the final poker hand in Casino Royale (2006), when the four remaining players show an ace-high flush, a full house, a better full house (Le Chiffre), and a straight flush (Bond).
  • Married to the Job: James' work ethic is a combination of this, being addicted to the thrill, and genuine loyalty to MI-6/England as a subtitute parental figure.
  • Metallicar Syndrome: James Bond's Aston Martin DB5 could rotate the license plates to choose between 3 different versions to distract the villains. Even as the 1960s lacked computer databases of cars, even a thick-headed villain might have understood there couldn't have been too many silver Aston Martins in a given town, leave alone in the relative poverty of most European countries at that time. A real London-based spy in 1964 probably would've driven a gray Morris Minor.
  • Minor Crime Reveals Major Plot: A common trope in the series, as the plot always starts with something minor:
    • Dr. No. Murder of a British agent → Dr. No's SPECTRE operation to destroy American missiles.
    • From Russia with Love. Rosa Klebb coerces Tatiana Romanova to defect to MI-6 → elaborate scheme hatched by SPECTRE to steal Lektor decoding machine from the Russians and selling it back to them while exacting revenge on Bond for killing their agent Dr. No.
    • Goldfinger. Cheating at Gin Rummy, murder of Jill Masterson and gold smuggling → nuking Fort Knox.
    • Thunderball. Attempted murder of Bond → Hold the world ransom with two stolen nuclear warheads.
    • You Only Live Twice. American and Russian spacecraft are stolen → elaborate plan by SPECTRE to start a nuclear war between the U.S. and U.S.S.R.
    • On Her Majesty's Secret Service. Blofeld claims title of 'Comte Balthazar de Bleuchamp' → plan by SPECTRE to abduct women from around the world and use them as pawns to spread a dangerous virus that is capable of destroying crops and livestock unless he gets a pardon for his past crimes.
    • Diamonds Are Forever. Diamond smuggling → Hold the world for ransom with a laser-armed Kill Sat.
    • Live and Let Die. Deaths of three British agents → massive heroin-smuggling operation.
    • The Man with the Golden Gun. 007 receives gold-plated bullet → theft of device used for controlling solar energy.
    • The Spy Who Loved Me. Disappearing nuclear submarines → a plot to start a nuclear war between the U.S. and U.S.S.R.
    • Moonraker. Disappearance of a space shuttle → a plot to kill all humans on Earth.
    • For Your Eyes Only. British spy ship containing Automatic Targeting Attack Communicator (ATAC), which controls nuclear subs gets sunk → plot to steal ATAC for the Soviets.
    • Octopussy. Smuggling stolen Faberge Eggs and murdering a British agent → nuclear sabotage, wiping out an American military base along with nearby cities and WW 3.
    • A View to a Kill. A scheme by Max Zorin of systematic doping in thoroughbred horse racing → destroying Silicon Valley (though these two plot points don't directly connect)
    • The Living Daylights. A faked sniping attack on a fleeing general → attacks on British agents and an illegal weapons smuggling network in the middle of the war between U.S.S.R. and Afghanistan.
    • Licence to Kill. Felix Leiter gets injured while his wife gets killed → plot to smuggle cocaine dissolved in petrol into Asia and sell it disguised as fuel to drug lords.
    • GoldenEye. Theft of a prototype helicopter → crippling London with an EMP-based Kill Sat to cover up a massive electronic bank robbery.
    • Tomorrow Never Dies. An unusually fast newspaper article on a ship sinking → starting a war to gain exclusive media rights in China.
    • The World Is Not Enough. Murder of a prominent businessman → a plot to force a nuclear sub into meltdown, nuke Istanbul, and contaminate 90% of the world's oil supply.
    • Die Another Day. Rogue North Korean colonel trades in smuggled diamonds for weapons but is presumably killed → plot by said rogue colonel, who was previously thought to have died, to use solar-powered Kill Sat to cut a path through the Korean DMZ, allowing North Korea to launch an invasion of South Korea.
    • Daniel Craig's Bond gets one that spans two movies: elimination of bomber-for-hire → the shut down of a banker to terrorist cells around the world → The Reveal of an N.G.O. Superpower.
    • Skyfall: Botched attempt to recover an encrypted hard drive containing the identities of every active undercover NATO agent → MI-6 comes under intense government scrutiny for the mishap → Rogue Agent turned cyber-criminal wants to destroy MI-6 and get his revenge against M for selling him out to the Chinese.
    • Spectre: Unauthorized mission by 007 to foil terrorist plot in Mexico City → campaign to shut down 00-agent section and replace it with intelligence-sharing program called "Nine Eyes" → The Reveal that said N.G.O. Superpower whom Bond fought against in Casino Royale (2006) and Quantum of Solace was also behind events of Skyfall, hopes to use "Nine Eyes" program to stop any investigation into their operations, and its leader Blofeld is revealed to be Bond's estranged step-brother, who masterminded the tragedies 007 faced since Casino Royale (2006).
  • Moment Killer: Bond's final romantic clinch with the Bond Girl is often interrupted by either the bad guy or his henchman seeking a last bit of revenge, or by his superiors either trying to make sure he's still alive or pass on the hearty congratulations of some high-ranking official for saving the world again.
  • Mood Whiplash: Very much so in the Brosnan era, but present in the Connery and Moore films too. There's a bit of it in Skyfall too, especially at the end.
  • Mr. Fanservice: Bond himself—comes with being a Sex God.
  • Ms. Fanservice: Multiple examples across every film.
  • No, Mr. Bond, I Expect You to Dine: The Trope Namer. Although it's more prevalent in the earlier films than the new ones.
  • Non-Indicative First Episode:
    • Dr. No lacks many of the trademarks that the franchise is known for. A Cold Open, the Cool Car, gadgets and many others are all absent. Dr. No also contains the infamous scene where Bond murders Professor Dent; even Fleming never had Bond act so cold-bloodedly in the books, and for all intents and purposes Bond wouldn't act this way again until 2006's Casino Royale (2006), which was, like Dr. No, the start of a new continuity.
    • In retrospect, Live and Let Die and The Man with the Golden Gun could be this with the Moore era. The comedic elements that peppered Moore's run are there, but the writers at the time seemed indecisive about whether or not to make the series more humorous or playing them like the earlier films.
  • Non-Violent Initial Confrontation: Common throughout the franchise. Given that espionage involves obfuscation of identity so often, this only stands to reason.
  • One-Man Army: All of the Bonds are this to a certain extent, but Brosnan's takes the cake because he has the highest body count on average per movie.
  • Paid Harem: One of the perks of being a Bond Villain.
  • Plot Tailored to the Party: Gadget variation.
  • Porn Names:
    • Quite popular among the Bond Girls. One of them was named Pussy Galore for heaven's sake, which—despite debuting fifty years ago—is still something you might not be able to get away with saying on network television.
    • Almost as blatant: Dr. Holly Goodhead. Also Xenia Onatopp (say it out loud) who kills with sex.
    • Lampshaded in Casino Royale (2006) when Bond makes up a porn-sounding alias for Vesper, "Stephanie Broadchest" (let's just say that it was very accurate), much to her annoyance.
  • The Pornomancer: Bond. It's one of his defining traits. The Dalton and Craig eras, being Darker and Edgier, play with it. Bond practically has to be dragged into bed in the teaser for The Living Daylights, and stays monogamous throughout that movie and more-or-less so in Licence to Kill. In the Craig era, he actually doesn't sleep with or even romance the main Bond girl of Quantum of Solace, a first for the franchise.
  • Product Placement: A lot. It has been joked that Bond has a License To Shill.
    • Became an issue with Licence to Kill, to the extent that the makers were forced to include the American Surgeon General's warning against smoking into the closing credits due to its use of a recognizable cigarette brand in one scene, yet the visible presence of a Players Tobacco poster in Die Another Day—intended to be a Shout-Out to something from the original Thunderball novel—garnered no such concern.
    • Some critics referred to Die Another Day as 'Buy Another Day', which is why product placement was toned down for Casino Royale.
    • Despite the above-mentioned toning down for Casino Royale, much mileage was given to a scene in the film where Bond goes looking for security camera footage that plays out as an ad for Sony DVDs. (Funnily enough, this was made while the "LaserDisc vs. DVD" war was still waging.)
    • There was outrage when Heineken got product placement in Skyfall, because everyone knows Bond only drinks vodka martinis. The cosmic irony is that, while rooted in a few such drinks making appearances in the novels, the association of Bond with vodka largely comes from the product placement of a vodka company in the 1960s.
    • Even Bond's Weapon of Choice isn't immune to this. Walther is a big endorser of the films and, on two occasions, Bond's PPK is swapped out for the latest pistol Walther is trying to advertise.
  • Protagonist Title: None of the film thus far have used "James Bond" as part of their titles, but the franchise as a whole is refered to as the James Bond franchise. In some countries, the titles of the films are preceded by Bond's code number, 007.
  • Raven Hair, Ivory Skin: Majority of the Bond Girls are brunettes.
  • Recurring Character:
    • Q, M, Moneypenny and Felix Leiter are the ones who appear the most. (Though it should be noted that M and Q are titles passed around between different individuals over time.)
    • Blofeld, about a fair bit, on the other side of the fence, until Roger Moore dropped the former down a smokestack before the opening credits in For Your Eyes Only. However, since the copyright issue about Blofeld has been settled with MGM getting the full use of the character again, it's more than likely he and SPECTRE will be back to challenge Bond again. As of recent events, SPECTRE is back.
    • The Q played by Desmond Llewellyn is in more Bond films than any other character save Bond himself. If one ascribes to the Bond-as-reused-code-name theory, he shows up more than any of the agents!
  • Recurring Extra:
    • In the Roger Moore films The Spy Who Loved Me, Moonraker and For Your Eyes Only, the man who keeps seeing Bond do crazy stuff in Italy, probably without ever realising it is the same man (emerging from the sea in his car-sub; driving around the streets of Venice in his land-gondola; and escaping from armed assassins on skis in the Italian alps, respectively). In each case he is drinking and in the first two, finds what he's seeing so bizarre that he seems to wonder if he's been drinking too much (though not enough to stop, evidently). Played by Victor Tourjansky, who was the assistant director for these Italy-set scenes in all three films.
    • Producer Michael G. Wilson, Albert Broccoli's adopted son, has several cameos as various different characters, mostly extras or single-scene appearances; in Tomorrow Never Dies, for instance, he's the one Carver tells to blackmail the President. Wilson's first cameo was way back in Goldfinger, and he has since become the Alfred Hitchcock of the series, with his walk-ons considered part of the tradition.
  • Red Right Hand: Frequently among Dragons and Big Bads.
  • Revisiting the Roots: Looks to be the case with the franchise as of Skyfall: besides the reintroduction of Q, by the end of the film, MI-6 has moved into the Universal Exports offices from the older films, Moneypenny is reintroduced and there's a new (male) M.
  • Right-Hand Cat: Ernst Stavro Blofeld is almost never seen without his white persian cat. He's certainly the Trope Codifier, and inspired most, if not all examples on the trope page.
  • Running Gag: James fiddling around with Q's gadgets during the exposition, and then later finding a nonstandard use for the ones he has with him.
  • Sacrificial Lion: Hoo boy. If the character is a cool ally or a neat love interest for Bond, chances are he/she is going to die. Among them include Quarrel, Karim Bey, Paula, Aki, Tracy, Ferrarra, Vijay, Sir Godfrey Tibbett, Felix Leiter (he doesn't die, but the effect is still the same), Valentin Zukovsky, Vesper Lynd, Rene Mathis and M.
  • Scenery Porn: If the production design is done by Ken Adam, you can certainly expect this.
  • Sealed with a Kiss: Nearly every one, with four notable exceptions.
  • Sequel Escalation: Sometimes inverted (Moonraker > For Your Eyes Only and Die Another Day > Casino Royale (2006)), but usually the movies get bigger and bigger. As with Graying Morality, it's something of a cyclical process, often (but not always) coinciding with a new actor taking the role of Bond; every so often, the series 'reboots' to adopt a more gritty tone only to gradually escalate into larger-scale plots and action sequences, at which it goes gritty again.
  • Second Person Attack: The gun-barrel sequence.
  • Sex God: Bond. James Bond.
  • Sexposition: A few Bond movies use the franchise's signature sex scenes to provide important dialogue or plot points, usually involving the villain's mistress or henchwoman revealing parts of the Evil Scheme to Bond.
  • Sharp Dressed Man: Bond almost always wears a handsome suit.
  • Shoe Phone Aside from an array of other gadgets, one of Bond's most common tools is a tiny radio beacon hidden in the sole of a shoe. It must be removed to be used, though.
  • The Sociopath: Most of the villains Bond faces are cunning but insane and homicidal maniacs to begin with, as they claim that they're Well Intentioned Extremists to begin with, but are actually only motivated by Greed while maintaining a superficial charm, and some are even willing to kill countless innocents for their own selfish gain, all without a shred of guilt or remorse. Goldfinger, Hugo Drax, Max Zorin, Franz Sanchez, Xenia Onatopp, Elliot Carver and Dominic Greene are some good examples.
  • Sociopathic Hero:
    • Aside from Bond's endless coldly wasting Mooks with the only emotion registering usually being amusement, he doesn't treat women much better: he all but rapes Solitaire in Live and Let Die, prior to that he practically raped his poor nurse Patricia Fearing in Thunderball as well as Pussy Galore in Goldfinger and Diamonds Are Forever begins with him strangling a woman with her own bikini top.
    • Fortunately for the audience and narrative, pretty much all of Bond's enemies are blood thirsty murderers, psychopaths and sadists. Most of them make Bond look like a boyscout by comparison.
    • Subverted during the Brosnan era. Although his Bond seems callously aloof when he takes a life, Trevelyan asks him in GoldenEye "...if all those vodka martinis ever silence the screams of all the men you've killed," which suggests that Bond is haunted by the murders that he has committed. Bond himself mentions in The World Is Not Enough, "I usually hate killing an unarmed man." He is unnerved by the sight of Miranda Frost's corpse, whom he had tried to murder earlier on in Die Another Day because she was The Mole at MI-6. Bond isn't the one who is responsible for her death, yet his facial expression leaves no doubt that he finds it unsettling even though he wanted Miranda dead for betraying him.
  • Spared by the Adaptation: Irma Bunt is a rare villain that dies in the books but not in the films, though this is due to the actress dying a few days after the movie was released.
  • Spy Cam: Is big on this.
    • In On Her Majesty's Secret Service, Bond uses a small camera to take snap shots of a map that shows where the "Angels of Death" are to release a biological agent.
    • One of Bond's gadgets in A View to a Kill is a ring containing a miniature camera. Bond uses the device at a Zorin's party to covertly take photographs of each of his guests.
  • Spy Drama: Cinema's Trope Codifier.
  • Storming the Castle: Bond's preferred method of dispatching his enemies.
  • Strictly Formula: To the point that when it was decided to bring Roald Dahl to add an original plot in You Only Live Twice to solve the lack thereof in the novel, the producers allowed him to do so only if he made sure to follow a few trends and include a few elements set by the other movies. Although there are a few variations, a James Bond movie usually goes something like this:
    • The Bond Gun Barrel; a stylized gun barrel tracks Bond (usually wearing a tuxedo, in later films at least) across the screen from right to left until he reaches the centre of the screen, at which point he spins around and shoots at the camera. The gun barrel slowly shifts from full colour to a red filter that gradually covers the screen from the top downwards (as if the person holding the gun has been shot and is bleeding out), at which point we segue to:
    • An Action Prologue, often involving either Bond in action on a mission. Said mission may or may not have some connection, even if tangential, to the main plot of the movie or something which establishes the main villain's plot (this is more common in later Bond movies than earlier ones). Once that's out the way and something's blown up, we go to...
    • The Opening Credits, often highly stylized and abstract, set to a catchy theme song by a major recording artist. Frequent motifs involve guns, beautiful women writhing about in (semi-)undress, playing cards and martinis, something thematically linked to the villain's plot or theme (lots of gold for Goldfinger or oil to reflect the villain's oil-based plot in The World Is Not Enough, for example) and Bond himself.
    • A scene/series of scenes where Bond flirts with Moneypenny, receives his assignment from M, and receives his gadgets from Q.
    • Bond arrives in his first exotic location (often driving his current car), meets a contact, crosses paths with the Bond Girl (or one of them if there's more than one), and begins to seek out the bad guy. He usually doesn't do so very subtly, allowing the bad guy's henchmen to pick up on him, which leads often to...
    • A fight with some henchmen. Bond may encounter The Dragon at this point.
    • Bond meets the 'main' Bond Girl. If they've already met, or if there's more than one, this is when it's made clear who Bond is going to end up with at the end of the movie.
    • The bad guy may become aware of Bond's presence around this point if he's not already. They meet and exchange veiled threats, after which...
    • Bond's contact is killed, and / or Bond and the Bond Girl are attacked or captured. They may be put in some kind of 'inescapable' Death Trap. If so, they escape, which in turn leads to...
    • A Chase Scene in an exotic location. This often shows off Bond's flashy car in some way. Once Bond has shaken / killed his pursuers, he now has to...
    • Find and infiltrate the villain's headquarters, often a Supervillain Lair of some description, in another exotic location. This generally leads to a battle with the bad guy's forces; Bond will kill plenty of Mooks, but he and the Bond Girl will be captured, leading to...
    • A confrontation with the bad guy, during which the bad guy will reveal the plot. After which, Bond is put into another 'inescapable' Death Trap and left to his 'assured' doom by the bad guy. Naturally...
    • Bond escapes, rescues the Bond Girl, and begins to sabotage the bad guy's base with her help, leading to...
    • The Final Battle. Reinforcements may be called in, but it will almost certainly end with Bond confronting the bad guy face to face. Spoilers: the bad guy ends up dead, at which point...
    • The bad guy's lair blows up. Bond and the Bond Girl just make it out, usually with the help of The Cavalry. If s/he hasn't already been dealt with, Bond dispatches The Dragon around this point. Finally...
    • Bond and the Bond Girl have a final romantic moment (Oh, James...). Simultaneously, Bond's superiors may be trying to contact him either to make sure he's still alive or to pass on the hearty congratulations of some high-ranking official. This may or may not result in an inadvertent cock-blocking of the final romantic moment.
    • End Credits. Usually set to the same pop song as the main credits. If it's different, then it'll be another catchy song but one which is often slower and more mellow than the main theme. By the end of the credits, we will usually be reassured that James Bond Will Return.
  • Supervillain Lair:
    • Most films feature one, the best of which, like the volcano rocket base in You Only Live Twice, were designed by legendary production designer Ken Adam.
    • On The Spy Who Loved Me DVD commentary around the time Bond and XXX are brought before Stromberg aboard his supertanker, there's a funny exchange between screenwriter Christopher Wood and director Lewis Gilbert. Wood wonders how anybody could build these great villains lairs without anyone noticing. Gilbert asks what about the huge staff and army the bad guy always seems to have. Does anybody write the next of kin whenever one of them gets killed? (The latter is lampshaded in the first Austin Powers movie.)
    • It was also lampshaded in a Saturday Night Live sketch where an interviewer talked with Blofeld, Goldfinger and Largo. For example, they mention how contractors tended to jack up the price of gadgets (like electric chairs) when they find out a Bond villain is the customer.
    • Averted in Skyfall where the villain just straight up stole an island, which was left in major disrepair after being abandoned decades ago when the population evacuated in a mistaken chemical accident scare.
    • Ironically, The Spy Who Loved Me actually does feature a moment where Stromberg, having whacked two henchmen he doesn't need anymore, orders a letter to be written to their next of kin explaining that they've been killed. Being a bit of a dick, he uses the opportunity to throw in a Post-Mortem One-Liner at their expense:
      Stromberg: [After blowing them up in a helicopter above the ocean] Tell their next of kin that they were killed in an unfortunate accident. The burial was at sea.
  • Tall, Dark, and Handsome: All but Daniel Craig has dark hair and stands 6 feet and above.
  • Technology Porn: Any scene in Q's workshop where he demonstrates his latest gadget for Bond to use on his next mission. A great example is in Goldfinger where he shows 007 his new Aston Martin DB5 with all kinds of hidden weapons and features.

The End... but James Bond will return...

http://tvtropes.org/pmwiki/pmwiki.php/Film/JamesBond