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MI6 looks at the history of the Bond Girls and how characters and perceptions have changed over the years. Bond Girls - The Legacy 2nd July 2006 (Updated: 6th February 2009) Defining A Bond Girl The modern-era definition of a Bond Girl is a character who provides a love interest for James Bond or is sex object in a,. Bond girls are often victims rescued by Bond, fellow agents or allies, villainesses or members of an enemy organisation; sometimes, as with many 'pool' scenes, they are mere eye candy and have no direct involvement in Bond's mission. Other female characters such as and are not considered Bond girls. The role of a Bond girl is typically a high-profile part that can give a major boost to the career of unestablished actresses (for example, ), although there have been a number of Bond girls that were well-established prior to gaining their role (for example, ).

Above: Ursula Andress as Honey Ryder - considered the 'first' Bond Girl. However, the original term 'Bond Girl' was associated with the many bikini-clad girls who had no spoken lines and hung around pools, hotels and lairs and served no real purpose, other than to act as eye candy or to generate publicity at the film's launch. The shift in this meaning occurred after, the last film to use a gaggle of bikini babes and the James Bond actor of the day for publicity shots. Above: Timothy Dalton posing with the 'Bond Girls' for a The Living Daylights photo shoot.

Examples of these include sunbathing Miami beauties in, 's bathing beauties in, the Thai girls at the kung fu school in, and Sheik Hossein's harem in. However, in, and The Living Daylights these women were also referred to in the media as fully-fledged Bond girls to provide added publicity for the film through eye-catching magazine and newspaper appearances. In Moonraker this included members of 's 'master race' and a group of women encountered by Bond in the jungles of Brazil. In For Your Eyes Only, the women were seen frolicking around a villain's pool, while in Octopussy they served mainly as the title character's underlings. In A View to A Kill, they adorned 's outdoor reception and in The Living Daylights, they served as decorations at the villain's swimming pool.

One 'Bond girl' in For Your Eyes Only was later revealed to be a (Tula). Past To Present is often considered the first Bond girl, playing Honey Ryder in the film (1962).

In fact she was preceded by who played the character Sylvia Trench in the same film. Trench is the only Bond girl to appear as the same character in more than one film, appearing again in (1963). Initially, Trench was planned to be a regular girlfriend of Bond's in the series, but she was dropped due to a change of director for Goldfinger. To date, only one Bond girl has really captured the heart of James Bond. Tracy di Vicenzo played by Diana Rigg, marries Bond in (1969).

At the end of the film, Tracy is gunned down by Bond's nemesis Ernst Stavro Blofeld. It was initially planned that her death would actually occur in (1971), but this idea was dropped during filming of On Her Majesty's Secret Service. Within the official series, is the only actress to play two different Bond girls, first in The Man with the Golden Gun in 1974, and then as the title character in Octopussy (1983).

She additionally appears as an extra in a third Bond film, A View to a Kill in 1985, in the market scene. Two other girlsand Nadja Regin (Goldfinger) also appear in a second adventure: they first appeared in From Russia with Love. Above: Mr & Mrs Bond in 'On Her Majesty's Secret Service' In 1995, portrayed Xenia Onatopp in; she is considered the only major female character (and villain) whom Bond does not bed. More frequently, traditional Bond girls that have romantic trysts with Bond are later discovered to be villainesses, such as 's Elektra King in (1999) and Rosamund Pike's Miranda Frost in.

Above: Denise Richards and Sophie Marceau from 'The World Is Not Enough' Critics Since the film series began, Bond girls have been criticized by feminists, and others, who feel they generalize women as bimbos, damsels in distress, or objectify women as a result of Bond's actions. Through the years, the role of the Bond girl has changed from the stereotypical 'woman hanging on his gun-arm' to Bond's equal, possessing special skills he needs to complete his mission, or even at times women that rescue Bond.

These Bond girls are shown to be more headstrong, resourceful, and, in recent films, capable of holding their own. For example, in Moonraker the character of is established as being a trained space shuttle commander, a number of years before the first female shuttle commander was appointed in the real world. In, is a trained special agent working for People's Republic of China; in Die Another Day is presented as Bond's opposite number in the NSA. There have been a few failed attempts to create a female version of Bond though.

In The Spy Who Loved Me was supposed to be Bond's equal from the KGB, but her character lacked a sense of threat or competency. Other character failures have occurred when supposed intelligence has been over stressed: geologist in A View To A Kill is a damsel in distress, and nuclear physicist in The World Is Not Enough was criticised for her bimbo-esque appearance. Actress Honey Ryder Sylvia Trench Miss Taro Tatiana Romanova Sylvia Trench Vida Zora Aliza Gur Martine Beswick Jill Masterson Tilly Masterson Pussy Galore Bonita Dink Nadja Regin Margaret Nolan Dominique 'Domino' Derval Fiona Volpe Patricia Fearing Paula Caplan Mlle. Bond Girl Casino Royale Vesper Lynd Live And Let Die Solitaire Moonraker Gala Brand Diamonds Are Forever Tiffany Case From Russia With Love Tatiana Romanova Dr.

No Honeychile Rider Goldfinger Pussy Galore Jill Masterson Tilly Masterson From A View to a Kill. Mary Ann Russell For Your Eyes Only. Judy Havelock Quantum Of Solace.

No Bond girl Risico. Lisl Baum The Hildebrand Rarity. Liz Krest Thunderball Dominetta 'Domino' Vitali The Spy Who Loved Me Vivienne Michel On Her Majesty's Secret Service Teresa di Vicenzo You Only Live Twice Kissy Suzuki The Man With The Golden Gun Mary Goodnight The Living Daylights. No Bond girl The Property Of A Lady. No Bond girl Octopussy. No Bond girl 007 In New York. Solange Kingsley Amis (AKA Robert Markham).

Bond Girl Licence Renewed Lavender Peacock Ann Reilly For Special Services Cedar Leiter Nena Bismaquer Ann Reilly Icebreaker Paula Vacker Rivke Ingber Role Of Honour Percy Proud Freddie Fortune Cindy Chalmer Nobody Lives For Ever Sukie Tempesta Nannie Norrich No Deals, Mr. Bond Ebbie Heritage Heather Dare Scorpius Harriet Horner Win, Lose Or Die Beatrice Maria da Ricci Clover Pennington Nikki Ratnikov Brokenclaw Sue Chi-Ho The Man From Barbarossa Nina Bibikova Stephanie Adore Death Is Forever Elizabeth St. John Praxi Simeon Never Send Flowers Flicka von Grusse SeaFire Flicka von Grusse COLD (AKA Cold Fall) Beatrice Maria da Ricci Toni Nicolleti Raymond Benson.

Tattooed Woman former top model maud adams joins bruce dern in “tattoo',' the year's most controversial skin game pictorial essay By BRUCE WILLIAMSON. Maud Adams photographed exclusively for PLAYBOY by Denis Piel. With the upcoming autumn release of Joseph E. Levine's Tattoo, movie mavens as well as mere voyeurs will be treated to one of those sexual collisions that nearly always provoke controversy.

Do they or don't they really get it on? Is the big question. We may never know the answer, for magnificent Maud Adams and quixotic Bruce Dern. Who co-star as the film's extravagantly adorned busy bodies, have been Hashing different signals all year about whether or not their lovemaking during the intensely erotic climax of Tattoo is the real thing.

Dern said yes in a woman’s magazine interview last spring, adding, 'The film is not X-rated, but what the crew saw was X-rated.' Then a slightly mismatched pair of interviews in Oui's April issue had Bruce promising “a whole fucking relationship from beginning to middle to end, including a physical consummation on camera,” while Maud played it cagey in print—and privately began to steam. Such food for feuds seldom hurts at the box office, and there is an honorable historic tradition of speculating about famous love scenes that seem to fog the fine line between hard breathing and hard-core—Julie Christie and Donald Sutherland in Don’t Look Now, Sarah Miles and Kris Kristofferson in The Sailor Who Fell from Grace. That’s pretty good fast company. Photo: Chosen over 200 other dream girls to entice Dern in Tattoo (right), Adams shows the distinctive style that prompts super-producer Joseph E.

Levine to laud her as 'the most beautiful, most promising actress I have had the pleasure to present since Sophia Loren in Two Women.' Photo: The big talked - about love scene in Tattoo (left) and the intense erotic moment just preceding it (opposite page) bring a dramatic new dimension to you-show-me-yours-and I'll-show-you-mine. 'I can't imagine what some people will say when they see this,' says Dern, though Maud insists that their sexy close encounter may appear to be cinema verite but was mostly realistic acting and. Well, all in a day's work. We say nice work if you can get it—and the Moral Majority doesn't picket theater box offices. Photo: Unveiling his handiwork (above), Dern's compulsive tattooist personifies the film's provocative paster, which proclaims: EVERY GREAT LOVE LEAVES ITS MARK.

As director Bob Brooks puts it: 'The most horrific aspect of the movie is that he does on the outside of the body what we ordinarily do on the inside—we tattoo each other's heads.' SCENES FROM 'TATTOO' PHOTOGRAPHED BY NANCY ELLISON/GAMMA-LIASON Photo: Says Tattoo cinematographer Arthur Ornitz, “She has something that Garbo had, that almost mesmerizes the camera, but she's a freer spirit than Garbo.' Maud's classic beauty becomes gloriously warm when she oils up, then simmers down far photo sessions at a Long Island beach house where she is no longer a captive as in Tattoo—merely captivating. A dedicated nature lover, Maud finds 'utter bliss' in the outdoors. 'That's where I go to seek peace, strength, a new perspective. It's like meditation far me.

This is a key to Swedish temperament. When you're brought up in a severe climate, you love warmth. People just blossom like flowers in the summer sun.'

Call her a queen if you want to turn Maud off. But who would want to?

Photo: Working with photographer Denis Piel, says this scrumptious Svensko flicka, 'was more like an acting experience than simply posing in front of a camera. He prepares you for a shot almost as a director would, then seems to be peeking in on you with a feeling of intimacy that I love.' Whether posing or performing, unguardedly nude or Tattoo'd, what Maud values most is total commitment. 'I'm a modern woman in that I've always looked after myself; yet I'm old-fashioned when it comes to love. I like to take care of a man, cook for him. Giving love and being loved back is the most marvelous thing I know.' Adams and Dern, however, don’t really need a trumped-up battle of the sexes to sell themselves.

He has been one of moviedom’s top character actors since the early Sixties, finally nudging his way to superstardom for his hypersensitive work in Coming Home and last year’s unfairly neglected Middle Age Crazy. Maud, a Scandinavian cover girl who made her first movie (The Christian Licorice Store) in I97I, is the former supermodel well remembered for that rainy, wringing-wet Lip Quencher TV commercial, though she also made a splash opposite Roger Moore's James Bond in. Still, what’s a more interesting conversational topic than sex? In search of the story behind the movie and Australian-born photographer Denis Piel’s PLAYBOY-commissioned exclusive shooting of Maud Adams, I decided to let the lady have the last word. So I talked to Dern first. 'Maud and I did more exploring of each other than of the material, in terms of a relationship.' Bruce was wearing a plaid shirt and jeans when he showed up at my Beverly-Wilshire Hotel suite.

Now 45, with a lean, hungry look, he's a habitual runner (lately doing 45-50 miles per week). He used to teach acting, a craft he practices with total concentration and with that hypnotic intensity that became his trademark in the neurotic, weirdo or redneck roles he used to play before Hollywood discovered he could be a certified sex object to hordes of women. Although Dern didn’t want to give away too much of the plot of Tattoo, he admitted having had misgivings that the character he portrays—a tattoo artist who becomes romantically obsessed with a famous model and spirits her away to his beach house—might be viewed as a throwback to those psycho parts. “I was worried about it. I didn’t want the Bruce Dern of Black Sunday to reappear in Tattoo. But Joe Levine didn’t want that, either. This is not the study of a psycho.

In this movie, through a character, I feel there is more of the real soul of Bruce Dern than in any role I've ever played. This is a most honest love story, the serious exploration of a relationship.' The casting of Maud, Dern confided, was a combination of flukes. 'Actually, they offered the role to Nastassja Kinski, but she didn't want to do it. We had to find a girl I could literally fall in love with, be obsessed with, someone I could give everything to.

It was my secretary, Donna, who saw Maud on The Tonight Show and said. ‘You ought to take a look, she’d be right for the part.’ Three hours earlier, as it happened, our director. Bob Brooks, had seen the same show in New York and asked who that girl was. They flew her out for an interview the next day.' During the first two weeks of rehearsal, Dern continued, “Maud and I did more exploring of each other than of the material, in terms of a relationship. 'I'm not interested in fucking you,' I told her, 'because I have a wife, Andrea, the lovely lady you had dinner with last night.

She's here, she goes on all locations with me. But for me, the purest kind of acting is to be publicly private. In order to do that,' I told Maud, I'm going to have to be totally naked mentally and physically—and you’re going to have to be mentally and physically naked, too, in front of 60 people on the crew who are-going to be embarrassed by what you're doing. Unless you're ready for that, you won't be happy with this role.' 'So now, when some guy asks me.

Well, did you fuck her?, I always say that what you see in the movie is what you get. There's no question that my penis was around her erogenous zone. And was not in a limber state. At the same time, remember, you have to do take two, then takes three and four.

Nothing was going on between us outside the movie, yet Maud and I loved each other, and what you see in that final scene is real, legitimate lovemaking. I mean, that's as good a piece of ass as I'll ever be—in that scene. I've always felt there are pieces of me left in films that I never get back somehow. And I probably left more in Tattoo, particularly in that bedroom, than in any other film. I poured my guts out and the camera caught it, and if they say that's shit, then I’m fucked, because I don't have any more than that to give.' Dern predicts that, besides stirring controversy, the movie may launch a fad for temporary skin tattoos.

'You know, Levine and his two make-up men have patented the process they used on us. So you can have a tattoo effect just for an evening. Actually, it stays on from 48 to 72 hours.' Does it stay on when you make love?

Was my inevitable next question. Dern smiled his crooked.smile. 'Well, it did in the movie.' Full of praise for his co-star as far more than a flickering partner in passion. Bruce ventured that Tattoo would establish Maud's dramatic credentials light-years beyond what the public has been conditioned to expect of a model.

'There's a moment when she gets out of bed and goes to the closet to look for her clothes and turns and sees herself in a mirror, and moves to the mirror and starts to rub off the tattoo on her body. And that reaction of Maud's, that whole scene, is as incredibly pure a piece of work by an actor as any I've ever seen.” And that's from a man who once taught acting classes attended by Ellen Burstyn and her ilk. From Dern's provocative description, Maud's second heaviest day was a masturbation scene she began on camera and had to continue after the action cut to Dern outside the bedroom door. 'I told her, 'You must do it.

Maud, for your own sake. You must really do it.

Without your robe on, so I can see. And I promise no one else will see what you do.'

And no one did. Because the camera is outside shooting me. A strange shot, watching her through a little peephole.

What makes the scene work is that I’m almost ashamed while I'm asking her to do it, but the compulsiveness of the character makes him keep on. Then she opens the door, and I'm a basket case, and she goes into another rage-”. By the time I caught up with Maud at her house nestled in one of the Hollywood canyons, she was no longer angry with Dern, only wary and bemused by his loose lipped lack of restraint. “First, I just blew my stack. I was furious,” she said, blue eyes brightening as she poured me a vodka and lounged stylishly in a natural-cotton jump suit. Uh, well, a girl like Maud might make a guy feel reckless.

“We've talked about it, and I forgive him.' She continued. “Bruce has a tendency to get carried away.

I think he also wanted to come on in those interviews, for fun, as a kind of macho man. When he speaks of physical consummation during our love scene, readers are set up to believe there’s actual penetration taking place. That is what people are left thinking, that we're actually making it-” Maud softened a little. “Even if we were, wouldn't it have been better left unsaid? I felt very hurt, because I had gained such respect for Bruce in the course of the film, as the most consummate actor I'd ever seen.

I also loved him as a person and thought he was such a sensitive, vulnerable man. But I think when he starts working on any project, he loses Bruce Dern and becomes the character he’s playing. That was very evident about halfway through the movie. 'The same thing happened to me, in a sense, big emotional revelations about myself, almost like psychoanalysis. I felt violated at times. Before that, I'd done love scenes with some nudity, innocent scenes underneath the sheets. I would always insist the nudity be kept to a minimum; I felt very uptight.

I'm not against it on principle. Growing up as I did, however, being super-shy, with a puritanical kind of background, it was very hard for me to relate to sex in a public, open manner. The way I was raised, that’s a topic to be kept behind closed doors.' She was raised in a subarctic Swedish town called Lulea, but good genes and that viking bone structure made it more or less inevitable that Maud would not wind up herding reindeer.

She was scarcely into her teens—a tall, skinny tomboy on the verge of jailbait, preferring Lady Chatterley's Lover to dull textbooks— when she overheard her mother, watching Maud basking in the sun, say, 'My God. This girl is going to be something'.' ' Which clearly implied something for the boys.

Determined to derail such prophecies, Maud's strict father wouldn't let her have boyfriends or even go to school dances. “Yet I managed to keep somebody on the side,' she acknowledges, “a Hungarian refugee, with dark curly hair. He was my first lover.” Flash forward to Stockholm, where Maud became a successful model, then moved in with and ultimately married graphic artist-photographer Roy Adams, an Englishman who stayed with her while she conquered the Everests of high fashion in Paris and New York. Her first and only marriage, long since dissolved, is hardly one of Maud's favorite topics.

She would rather discuss the films she has done, the Bond flick or Rollerball with James Caan, or her uncharacteristic role as a plain, plucky Belgian- Jewish woman in Playing for Time, last year's controversial television drama with Vanessa Redgrave. She may even relish telling you about movies she didn't make, such as The Pink Panther Strikes Again. Replaced by Lesley-Anne Down, Maud was peremptorily fired—either because she balked at what seemed a gratuitous nude scene or because of the bad vibes set off following a strange, celibate weekend in Paris with the late Peter Sellers. But that’s another story. Three years ago, Maud irrevocably left Lip Quencher behind to fight for unqualified recognition as an actress. After a year of virtual solitude at an old farmhouse she owned in Connecticut, she went West to stay, with time out for a couple of bread-and-butter film jobs abroad. “The parts I got were not terrific, mainly episodic TV work.

And because I still had a trace of accent, I'd generally be playing villainous women, Russian spies, that kind of thing. I studied acting, too, and started getting better, getting good feedback from the studios and casting agents.' She also hit the TV talk-show circuit, though she confesses she has to stifle a yawn when interviewers start to grill her as a golden, free-spirited Scandinavian sex goddess. “If you're Swedish, they think you must be very free regarding sex. It’s all so ridiculous. Most of my life.

I've been quite monogamous. Yet I consider myself liberated, and I do feel that Swedish women have a certain naturalness that allows them to regard life, sex, everything in a very normal, healthy way. We're open, I guess. But I'm old-fashioned, too.

There are no rules about love. People like Merv Griffin always treat me like a sex expert and ask questions about the differences between European and American men. I just shrug. That doesn't seem to me a serious subject. Merv will say.

How come you're not living with your boyfriend?' As if that's the truly normal and correct thing to do nowadays. He seemed quite shocked once when I told him I've discovered the best way is: Don't live with the man you love and don’t love the man you live with.'

Don't believe a word of it. Maud was aglow when she flew East for photo sessions several weeks after our encounter in California. She had just broken off a three-year relationship that seemed beyond repair and was excitedly considering moving in with a celebrated plastic surgeon she had met and mesmerized on the run. 'I love romance,” she said, all but purring. “I love romantic men.

I love surprises, but not gifts per se. I mean a thought. Simple, wonderful things like a flower at your bedside table.' She also loves simple things like yoga, tennis, sunshine, picking lingonberries and blueberries in the woods of Sweden in fall, when the air is cool, the skies bright and clear. Lest we forget, however, having the top spot in a major new movie can turn a girl's head as well as touch her heart. 'It's been a really good climb,” Maud notes, 'and all of a sudden, being billed above the title as leading lady puts you in a different category. There are lots of people out there, and you're competing with the heavyweights, Faye Dunaway or whoever.

That's exciting, I feel so good about everything right now.' Because Maud is obviously in mint condition, the plastic surgeon can relax and enjoy her as she is. Tattoo and Bruce Dern, however, may change the complexion of her future in more ways than one.

Source: Playboy, October 1981, P.100-I07,207,210-211. Copyright © 1981 Playboy. All rights reserved. The James Bond Playboy Dossiers.