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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: Pam Bouvier, Wai Lin and May Day, principally. Though others, despite not lacking of good moments, go more for the Faux Action Girl side, sadly.
Ironically, strong, independent female characters from the books often appear as bimbos in the films, (the first four films are probably the only time this happens, with the exception of Pussy Galore.) Bond's Jamaican ally Quarrel is also much more of a subordinate in the first film, mirroring Honey Ryder's dependance on Bond for protection being transformed into her simply walking out of the sea and, shortly afterwards, needing sex. 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.
Adaptational Villainy: In the original short story of "The Living Daylights" the agent (Koskov) is someone Bond must help while the sniper (Kara) is the antagonist. In the film the roles are reversed, with Koskov revealed to be the mastermind, and Kara being an innocent girl he framed.
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.
And Starring: The current credit for Bond pays tribute to two of the creators of the franchise - "Albert R. Brocolli's EON Productions Limited presents Daniel Craig as Ian Fleming's James Bond 007 in [title].
The title was originally "[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.
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", 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.
Beauty Is Never Tarnished / 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 18 months being tortured and looks like Cast Away) and the Daniel Craig movies with the exception of Skyfall.
Bigger Bad: S.P.E.C.T.R.E. in the first handful of films.
Quantum has been this during two of Craig's films.
In Golden Eye, 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. Skyfall drives this point home, with the title itself referring to Bond's ancestral home.
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.
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).
Body-Count Competition: Bond probably has the highest on-screen body count of any film character ever, counting all 23 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 378 people. Pierce Brosnan was by far the most dangerous Bond, having killed 47 people in Golden Eye alone.
Broad Strokes: Essentially the only time there was continuity was from 1962-1967. Since then, it's just been getting messier. New actors, explicitly different settings, reboots, and abandonded reboots are only some of the continuity problems. All fans have their own theories or lack thereof.
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 a majority of Skyfall, and only at the end is it revealed that she is Moneypenny. So, we'll likely see her again, though not in the Bond Girl role.
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 Craig films appear to have done this with an entire organization. Casino Royale and Quantum of Solace featured Bond against a shadowy organization called Quantum. It was initially announced that the Quantum story would play out in a trilogy of films (much like SPECTRE was the prime focus of Thunderball, You Only Live Twice and On Her Majesty's Secret Service). Perhaps due to the lukewarm response to Quantum of Solace, the Quantum trilogy idea was dropped and Skyfall takes place some years later with no further reference made to it. As it is, the producers have finally regained the copyright ownership of Ernest Stavro Blofeld and SPECTRE, so they will likely be used again instead.
Notably, the books averted this. Each previous adventure was referenced in the next book and previous Bond girls were also referenced as well.
Averted in "Live and Let Die", 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 crtainly 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.
Alleged Car: The cars invariably turn into this by the time that Bond is done with them, to Q's great dismay.
Corrupt Hick: The first two Roger Moore films feature the same racist sheriff from Louisiana Ś 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.
However, Bond doesn't work for a law enforcement agencyŚMI6 is an intelligence agency.Additionally,the License doesn't authorise him to use lethal force in self defence as law enforcements officials are, it authorises him to uses lethal force whenever he judges it to be in the interests of England. As later films extrapolated, the code of "double-oh" is shorthand for essentially an assassin.
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.
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, 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.
Getting Crap Past the Radar: the films from the seventies 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.
Disposable Woman: And the above for multiple woman occurs, the evil one might bite the dust. Or even the good one - enemies kill both Tracy and all women with whom Daniel Craig sleeps - Vesper, Fields, and Severine - in the latter's case, probably as deconstruction.
Graying Morality: Over the course of the series, though the Craig reboot seems to have started out grey.
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.
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.
Jerkass: Sure, he's a hero and he saved the world on numerous occasions, but the guy's 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.
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 boots 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, when the four remaining players show an ace-high flush, a full house, a better full house (Le Chiffre), and a straight flush (Bond).
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.
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 the 2006 Casino Royale when Bond makes up a porn-sounding alias for Vesper, 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 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, and the same goes for Skyfall, as the film reveals M to be the "Bond girl" for the film, he doesn't actually sleep with Eve Moneypenny, and the other Bond girl is only on screen for a few minutes before being William Tell'd to death.
Product Placement: A lot, especially in the Craig films. It has been joked that Bond has a License To Shill.
Some critics referred to Die Another Day as 'Buy Another Day', which is why product placement was toned down for Casino Royale.
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.
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.)
Blofeld and Jaws are about a fair bit, on the other side of the fence. Until Roger Mooredropped the former down a smokestackbefore the opening credits in For Your Eyes Only and helped convince the latter to perform a Heel-Face Turn (which also made Jaws utter his only on-screen line that wasn't a wordless grunt or scream) in Moonraker. 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.
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.
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, MI6 has moved into the Universal Exports offices from the older films, Moneypenny is reintroduced and there's a new (male) M.
As with Greying 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.
In a meta sense, the title sequences from From Russia with Love onwards put the credits for the cast and crew next to* Or in the case of From Russia with Love and Goldfinger, projected onto various attractive women, and usually even show scenes from or symbolic images related to the films' plots projected or digitally added onto said attractive female bodies.
More prosaically, 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.
Sociopathic Hero: How long have you got? 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.
Strictly Formula: To the point that when Roald Dahl decided 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 which usually has some connection, if tangential, to the main plot of the movie or something which establishes the main villain's plot. 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...
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...).
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.
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 and let most of the pre-existing buildings fall into disrepair.
Tech Marches On: Given that it's a gadget-heavy series that spans over 50 years, it's bound to happen every now and again. However, the more basic and low-tech a gadget was, the less likely it was to look silly in a few years.
Casino Royale came close to invoking this by featuring Blu-ray discs in several scenes before it was determined what the next-generation HD disc would be. Beyond that, however, the Daniel Craig films appear to be intentionally averting this trope by rarely giving Bond anything more high-tech than a mobile phone to play with.
However, ironically the real-life cell phone Bond uses in the 2006 film is already dated and outmoded, whereas some of his gadgets from the 1960s such as the rebreather from Thunderball or even Q's radioactive tracking lint in OHMSS, still come across as cutting-edge.
Skyfall parodies it, with Bond's only gear besides his firearm being a simple radio transmitter, which for its size would have been cutting edge back in 1962, but could be built with parts from a Radio Shack nowadays.
Director Sam Mendes explanation was that the most innovative gadgets they could think of were basically available in your local Apple store, so it was less ridiculous to avoid them entirely.
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.
Trust Password: Being spies, James has a number of signs and countersigns for when he meets friendlies (in Golden Eye, for example, he refused to even speak to Jack Wade until Wade showed him the Embarrassing Tattoo on his hip).
Villain Song: Characteristic of the Brosnan films - Goldeneye and The World Is Not Enough play over the opening credits of those two movies and Surrender plays over the end credits of Tomorrow Never Dies.