Many film bluffs exploring the unlimited success of Ian Fleming’s secret agent James Bond through almost six decades have placed him under the category of “an assassin”.
It’s not astounding if we consider that -as the promotions for the first film Dr No
reminds us- Bond has a licence to kill “when he chooses, where he
chooses and whom he chooses”, and that ever since 2002 EON Production
has embraced this narrative: in Die Another Day, two North Korean characters brand 007 as “A British assassin” and in SPECTRE
another villain, Mr White, is reluctant to hear “the word of an
assassin” when Bond comes to visit him in order to reach the man in top
of him at the organization he used to integrate.
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