Are "James Bond" Movies Racist?

[SlyCardie]

Racism certainly isn't as pervasive in these films as sexism--that would require its own thread, for sure. I think the few examples that can be named have already been brought up in this thread.

I haven't read the books so I can't comment on Fleming's attitudes, but I wouldn't be surprised if racist elements emerged.

I haven't noticed anything overt, but I've never really been looking. As you note though, I think sexism is far and away more prevalent and that's the topic that needs to be addressed about the way James Bond is portrayed.

 

[CaptJimboJones]

There certainly are some elements in Fleming's works that would be interpreted today as racist. It seems to me, however, that they're basically reflective of the upper-class British attitudes of the time, and probably not fair to judge them by today's standards. And in fact, there are statements to the contrary - in Live and Let Die (the one most often criticized as racist) M has this to say: "the negro races are just beginning to throw up geniuses in all the professions — scientists, doctors, writers ... They've got plenty of brains and ability and guts."

Not exactly the words of a raving racist, it seems to me.

 

[Hermiod]

Actually, the plan in Live and Let Die is one of the more sensible in the series. Flood the market with free drugs, create many more addicts, put everyone else out of business and then jack the price up. It's a lot smarter than flooding the planet or poisoning everyone.

 

[PKTrekGirl]

I've always felt they were more sexist than racist. If all they had to go by was Bond films, future generations would believe that women in the 20th century were little more than playthings for men....and only 'lucky' enough to be even that much if they were beautiful.

Some of the movies are fun...and I always like watching Sean Connery. But I have always felt Bond movies were sexist.

 

[cardinal biggles]

^That's certainly true up until 1977 and The Spy Who Loved Me, when Women's Lib finally caught up with Bond and they started introducing stronger female counterparts. Some of them played better than others (what's-her-face from Charlie's Angels makes me want to claw my eyes out with her performance), but they're generally a cut above many of Bond's female companions of the 60s and 70s.

 

[cardinal biggles]

^Again, Dr. No was a product of its time. And while none of the movies has had an Asian as the main villain, there have been plenty of Asian actors in the roles of allies and heroines, from Tiger Tanaka to Wei Lin. And Teru Shimada, who played Mr. Osato, was the top-billed villain in YOLT, even though his role in the story was as Blofeld's underling. In fact, Connery is the only actor in the top five spots of that movie who isn't Asian.

Teru Shimada was the top-billed villain because Donald Pleasence's agent negotiated him a featured credit at the end of the list. Otherwise, Pleasence would have been second-billed behind Connery.

 

[I am not Spock]

Live and Let Die really hasn't aged very well, has it? It feels like one of those 'blaxploitation' movies which swept the globe in the early seventies. It's aged worse than any of the Connery films in my opinion.

 

[Good Will Riker]

I haven't seen a lot of the older 007 movies. (I just recently saw Goldfinger all the way through for the first time.) But what I have seen hasn't seemed that racist. Sexist? A little bit, but only for brief moments and it's not nearly as pervasive or destructive as its detractors claim it is. I mean, it's not like James Bond has ever pretended to be serious social commentary. It's escapist fun. Either have fun & enjoy it or go home.

Also, that fucking Ferrai stickingout of that rice paddy whille a yak herder passes by in 2002 South Korea in Die Another Day...c'mon, guys I know racist Sony (Japan) owns your studio, but the Japanese didn't have to stick it to South Koreans with that racist image, when South Korea looks like this today:


link - http://en.wikipedia.org/wiki/Image:Haeundae_2008.png

It never seemed racist to me. I mean, you have farms and animal herders in pretty much every country. I could just as easily see a similar scene with a befuddled shepherd in the English countryside. It's only set in South Korea because of the geography of that particular part of the movie.

BTW, wasn't Die Another Day made before Sony started buying an interest in MGM?

This isn't some backwater part of South Korea, which is way towards the southern part of South Korea, but DMZ is located right next to a highly-industrialized city called, let's see...SEOUL!

If that scene were set in Japan, what the movie producers did was to place a scene with a rice paddy and a yak smack dab in the middle of Tokyo. That's what I am talking about here.

They weren't showing a 2002 South Korea in Die Another Day...more like something out of a 1902 South Korea. A scene like that made an already bad film even worse.

 

[cardinal biggles]

Get over it already. Even if they'd actually filmed in the fucking DMZ you'd find something to bitch about.

And Charlton Heston was outstanding in Touch of Evil.

 

[Good Will Riker]

And Charlton Heston was outstanding in Touch of Evil.

Not according to my Mexican American friends, he isn't.

 

[cardinal biggles]

You and they are certainly entitled to be wrong.

 

[Good Will Riker]

Good Will Riker loves The Fast and the Furious: Tokyo Drift because some Asian guy directed it, but wouldn't give it a second thought if the director had been white.

Isn't that attitude in itself racist?

Just for the record, I have never seen The Fast and the Furious and 2 Fast 2 Furious. I was at Best Buy last night, came across those 2 films in the DVD aisles, held 'em in my hands, and said "Nah..."

Anyways, I don't care what everyone else says. For those of you with HDTV's and a fancy DVD/HD-DVD/Blu ray and a kicking sound system, "The Fast and the Furious: Tokyo Drift" is one thrilling ride from start to finish. I own this film on DVD, and along with the main feature, there are a lot of cool features that show you what went into the making of this film including the stunts and director Justin Lin's insights and expertise into film-making.

I realize that DVD/HD-DVD/Bly ray offer far superior image quality than VHS tapes, but besides being able to offer clearer pictures rarely did I see any of the early films that took full advantage of how exciting films can appear on an HDTV. Regardless of the quality, from a visual aesthetic sense "Tokyo Drift" is definitely the first to capture that for me.

Also, I generally do not like "popcorn films" like these, but there is something very appealing about "Tokyo Drift" in the fact that it has a cast of Asian American character actors (Sung Kang, Brian Tee, Leonardo Nam) who are portrayed in a non-stereotypical light, and a white American character who actually embraces (rather than begrudgingly accepts) the Japanese culture. The guy actually goes with the flow, and makes every effort to fit in, whether it is learning at school, trying Japanese food, or getting into drifting.

Directed by Justin Lin ("Better Luck Tomorrow"), he really gave us a product that Asian Americans can be real proud of. The fact that you see confident Asian characters portrayed by talented Asian American actors, while smoothly giving the audience the feel of what it is like for an outsider to visit Japan (I've been to Japan, and this film recaptures the feel of what it is like being there as a visitor or a tourist.). Also, the racing sequences are really awesome and thrilling on your home theatre system. This film simply rocks! I also liked this update on 1955's "Rebel Without a Cause," where actor Lucas Black portrays an American southern teenager who is forced to move from town to town because he has trouble fitting in. Nathalie Kelley assumes the Natalie Wood role here, and Bow Wow assumes the Sal Mineo role. Brian Tee portrays the sexy main villain of the film. Even Sung Kang is on hand portraying an Asian American who helps Black's character of Sean Boswell adapt to Japanese society. Best of all, for all you "Street Fighter" fans out there, keep your eyes peeled for a cameo by the legendary Sonny Chiba whose presence adds gravitas to "Tokyo Drift." All in all, you do not have to be a fan of the previous "Fast and the Furious" installments to enjoy this film. Enjoy this film for the thrilling ride, the exciting visuals, and awesome sounds.

I would also like to add that it was actually Lin himself who volunteered to take on this project when he realized that it was the only major Hollywood theatrical film to predominantly feature an Asian American cast in 2006. Lin read the script, realized it was riddled with stereotypes that would have made Rosie O'Donnell's "Ching, chong, chong" tame by comparison. Lin just could not bare to see the fact that a film with this much exposure around the world was going to misrepresent Asians and Asian Americans, so he bit the bullet and took one for the team, and decided to take this on as his next Hollywood directorial assignment.

Although Lin could not get his way in casting Sung Kang as the lead for "Tokyo Drift," because the studio specifically wanted a white actor for the lead role, Kang was still given a prominent role as the non-stereotypical Asian American mentor for the male lead (He is to drifting, what Mr. Miyagi is to karate.) Lucas Black as the male lead was unassuming, and this worked well in maintaining the cast as a true ensemble where all the principal roles were equally important.

I really loved this film on a pure visceral level for the reasons I mentioned above. Justin Lin is one filmmaker who is truly in touch with the Asian American ethos. I understand that there are 2 previous entries in this franchise, but the reason why I bypassed them when they were released in theaters is because I personally thought that those tricked-out films could never compete with the stunts and camera work, as well as the plots and character developments of George Miller's Australian motor classics "Mad Max" and "The Road Warrior."

This film is one cool thrill ride after another. If you are looking for that rush, this film definitely delivers the adrenaline!

P.S. - I can't hardly wait until Fast and Furious comes out in 2009, which reunites actor Sung Kang (Han) with director Justin Lin. Also, along for the ride: Paul Walker and Vin Diesel.

 

[cardinal biggles]

So getting back to James Bond films...

 

[Good Will Riker]

However, conversely, I really found it quite refreshing from a 2008 point-of-view seeing Asian American actors in 1962's Dr. No act "American" and speak normal/proper/everyday Engiish with no faux-Asian accents, and not some Asian caricature like Dr. Daka from the 1940's Baman serial or Ming the Merciless from "Flash Gordon."

Of course, the Asian American actors still portrayed servant roles in that film, and the white actor who portrayed Dr. No wore bizarre prosthetic makeup, but at least he acted normally and didn't act like a buffoon Asian like that dope Long Duk Dong from Sixteen Candles.

 

[cardinal biggles]

You do realize that Sixteen Candles was a comedy, right?

 

[Good Will Riker]

You do realize that Sixteen Candles was a comedy, right?

A racist one at that.

Long Duk Dong's "What's hoppenin' hot stuff?" was the equivalent of Ted Danson's black face paint.

 

[Hermiod]

I've always felt they were more sexist than racist. If all they had to go by was Bond films, future generations would believe that women in the 20th century were little more than playthings for men....and only 'lucky' enough to be even that much if they were beautiful.

Some of the movies are fun...and I always like watching Sean Connery. But I have always felt Bond movies were sexist.

Earlier Bond films, maybe. These days they're falling over themselves to have a female character who is Bond's "equal".

If she was, however, Bond's equal then I'd strongly encourage Bond to go on holiday and let his equal do the world saving, since there are so many people out there who can do the job as well as him.

The only one who ever really was his equal was Tracy.

 

[cardinal biggles]

You do realize that Sixteen Candles was a comedy, right?

A racist one at that.

Long Duk Dong's "What's hoppenin' hot stuff?" was the equivalent of Ted Danson's black face paint.

Awww, dammit, now I'm going to have to watch it again, and see if I can get one tenth as offended as you do.

I'm not thinking it'll happen, but at least I have an excuse for a movie night now. Maybe I'll throw in a viewing of The Breakfast Club for good measure. (Please tell me what's offensive in that film prior to watching so I can gain the maximum level of non-enjoyment from it. )

 

[Good Will Riker]

You do realize that Sixteen Candles was a comedy, right?

A racist one at that.

Long Duk Dong's "What's hoppenin' hot stuff?" was the equivalent of Ted Danson's black face paint.

Awww, dammit, now I'm going to have to watch it again, and see if I can get one tenth as offended as you do.

I'm not thinking it'll happen, but at least I have an excuse for a movie night now. Maybe I'll throw in a viewing of The Breakfast Club for good measure. (Please tell me what's offensive in that film prior to watching so I can gain the maximum level of non-enjoyment from it. )

Well...I do own Sixteen Candles on DVD. I was watching that film a few years back, relating to the ups-and-downs and the funny situations that the caucasian characters go through in that film, and then my blond white friend turns to me and goes "You are HIM!" and points me to that buffoon Long Duk Dong! What, an Asian American man can't relate to the struggles of the caucasian? Talk about shoving you into an "ethnic pigeon hole."

Same thing happened to me while I was watching True Romance. Here I was relating to that Clarence Worley character, and then Alabama points to the screen at Sonny Chiba and goes "You mean that oriental guy?" WTF?! That threw me completely out of the picture. It's like when Barack Obama goes out there on the campaign trail and proclaims "I am for you," and then someone in the crowd points a finger at him and says "You're black."

 

[The Borgified Corpse]

Well...I do own Sixteen Candles on DVD. I was watching that film a few years back, relating to the ups-and-downs and the funny situations that the caucasian characters go through in that film, and then my blond white friend turns to me and goes "You are HIM!" and points me to that buffoon Long Duk Dong! What, an Asian American man can't relate to the struggles of the caucasian? Talk about shoving you into an "ethnic pigeon hole."

Same thing happened to me while I was watching True Romance. Here I was relating to that Clarence Worley character, and then Alabama points to the screen at Sonny Chiba and goes "You mean that oriental guy?" WTF?! That threw me completely out of the picture. It's like when Barack Obama goes out there on the campaign trail and proclaims "I am for you," and then someone in the crowd points a finger at him and says "You're black."

It seems to me that these movies aren't racist. You just have racist friends.