In the films, Bond's sex life attained levels of priapism that would merit serious medical attention or industrial supplies of Viagra in a real human being.

But even those critics prepared to see Bond's bed-hopping for the fantasy it was found something chilly and unpleasant in Bond's sexual licence and emotional reserve. Bond's attitudes to women caused outrage, titillation and amusement in roughly equal parts: they made a generation of men and boys very overexcited, and a generation of feminists extremely angry. Here was a hero enjoying sex, not merely outside marriage, but effectively without responsibilities or guilt.īond is the first major British thriller hero to lead an active sex life. Fleming had enjoyed an expansive sex life before the war, and the war had loosened sexual mores greatly. The Bond Girl is a very specific postwar fantasy. Like Bond's cars, they are attractive commodities, subject to modifications and improvements, but they can also be exchanged for newer, faster models without much regret. In the books, at least, Bond's women are often damaged, in need of male protection, and with some small physical flaw. She tends to be good at one-liners, but less inclined to intellectual conversation. A Bond Girl is beautiful, for sure, and sassy and sporty she is also sexually available, and unlikely to make a fuss when she is killed off, either literally or metaphorically, at the end of the last instalment to make way for new love interest. It is a mark of James Bond's cultural reach that, for better or worse, a âBond Girlâ has attained a specific meaning in modern parlance, with either positive or negative connotations depending on your point of view (and, perhaps, your gender). What went on in the often dark sexual world of Bond girls and Ian Fleming? Ben Macintyre writes in The Times.

The creator of James Bond liked his women wealthy, double-jointed and able to make an incomparable Bearnaise sauce.

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