It's so weird that Bond of 1987 was so decidedly monogomous in wake of the AIDS scare, probably the first time the screen incarnation of 007 had to pander to poltical correctness. However, he still had his cigarettes and boy, did THE LIVING DAYLIGHTS still revert to dated, sexist humour.
Unfortunately the sexist humour I refer to wasn't merely a follow on from previous Bond films, it was something that wasn't really ever part of the franchise! Even at Roger Moore's extreme worst, he looked five inches tall by way of Lois Chile's unforgettable glare in MOONRAKER ("A woman?" "Your observations do you little credit Mr. Bond"). The Bond girls (save Britt Eckland and Tanya Roberts) were always intelligent women who could protect themselves. Most importantly (in relation to this post), Lois Maxwell's groundbreaking portrayal of Moneypenny was never ever a butt-slapped piece of wet luttuced, Barry Manilow admiring, thick spectacled goofy mouse. Heck, Penelope Smallbone in her thirty second cameo from OCTOPUSSY had a presence, elegance and dignity (even when she sighed after Bond's exit at least she never did it to his face).
Caroline Bliss as Moneypenny was like the most offensively sexist drivel from a smutty British quota flick from the 70s- I want to say CARRY ON but it's more HOLIDAY ON THE BUSES. For every box ticked with confidence and satisfaction on THE LIVING DAYLIGHTS (and that's all of them bar "Moneypenny"), good lord they didn't have get this wrong. Plus, Bliss was apparently only in her mid 20s when she did the movie - why then is she dressed like a middle aged secretary? No style, no sense of self respect...
It wasn't just the writing either. Watch the spectacles slide against Bliss' face without an iota of self respect, watch Timothy Dalton seemingly dismiss Ms. Bliss with a slap on the buttocks without even looking at her- she doesn't care, he doesn't care; her only loss is that Barry Manilow didn't help Bond get into Moneypenny's concerningly desperate pants. Lois who?? Twenty five years of what???
What a refresher it was- and I mean SUPEREMELY refreshing to see Samantha Bond turn up in GOLDENEYE, enjoying a date at the opera (class, taste, a life and NO Barry Manilow come ons), utterly professional and leading the way. Self respect, dignity, style (all Lois characterisitic's but made her own), but also intelligent enough to play the game with Bond and leave him to his manhood. Highly engaging for Bond (and a great run-up to the grilling he gets from the new "M").
THE LIVING DAYLIGHTS is a classic. It is one of the best Bond films and always will be. John Glen however obviously did not assign any time to the reimaging of Moneypenny. I guess it was a toss up between that and storyboarding the cello chase. Oh well.
"Anytime you'd like to drop by, and listen to my, Barry Manilow, collection"...
