Narrative structure and The Bond film

A standard formula to deliver pleasure

Bond films often do not have a conventional narrative in the sense that it can be difficult to apply Todorov's narrative equilibrium. By extension, Bond films deliver not so much a coherent narrative, but a satisfying and formulaic delivery of pleasurable scenes. Think back on Skyfall, or indeed any other Bond film, and it is likely we can come up with a selection of cool, explosive, violent and/or sex related scenes, even if we can’t remember the character’s name, what he or she is doing, and why.

Another way in which Bond films work is as a metanarrative,  that Bond doesn’t exist in the ‘real world’ as such, but in “a vast network of media-generated images’. Put simply, we know what is going on because we have seen other Bond films. We know what drinks he drinks, his trademark quips, and large parts of his personality. Even if you have never seen a Bond film, it is likely that you will know his code name, occupation, and a few other key facts.

In short, even if the audience is unable to follow the complex narrative, they are still able to take considerable pleasure from the text.

Reducing the narrative yet further

This formulaic narrative isn’t unique to Skyfall. In his study of the novel of Casino Royale; narrative theorist Umberto Eco found a certain formula could be applied, more or less, to every Bond film.

Umberto Eco's 1979 analysis of Casino Royale raises some interesting points about the rigid narrative structure of the entire series. 

Umberto Eco’s analysis of narrative in Bond films

Eco stipulated that the reduction of the narrative to a simple series of ‘moves’ made the Bond novels resemble a “game” as opposed to a novel. Reading through the above list, you will hopefully see how easy it is to apply this structure to Skyfall, Casino Royale, Spectre or any Bond film.

This game theory materializes itself yet further in what Eco refers to as “play situations”. Instead of resembling a conventional narrative, the Bond film resembles a game of chess (or poker, if you prefer). Bond and the villain take it in turns to 'move' from one location to the other, This moving from one locale to another gives the producer an excellent opportunity to show off whatever countries are most exciting or fashionable at the time. Along the way, Bond must play by certain 'rules'. At one point he will assert his dominance through 'possessing' the female lead (invariably sexually). However the villain will capture the 'Bond girl' and/or Bond, before torturing Bond in order to infer to the audience that he has the upper hand. This is before, or course, Bond will find a way out, and then kill the villain.

Losing the woman

One of the most most important aspects of any Bond film is the very end. After 'reclaiming' the woman, Bond will then 'lose' her in one of two ways:

1. The woman will die, often through suicide at the guilt of being a double agent.
2. The woman will merely disappear, never to be seen again in any film

This loss is problematic in terms of representation, but it serves a narrative purpose. Bond never has to deal with the narrative hang-ups of romance, marriage or of fatherhood that could get in the way of his job. Instead he is once more a bachelor, his life free of complications, and the narrative can begin anew. Some things will be remembered, but are usually only briefly alluded to. The next film can be enjoyed by a completely new audience, with no knowledge being assumed.