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The James Bond theme is the main theme of the James Bond films. It appears in each of the twenty four installments produced by Eon Productions, most often accompanying the gun barrel sequence and action scenes, and is one of the signature motifs of the franchise. The theme was originally composed by Monty Norman, and it was arranged by John Barry for its premiere Dr. No (1962).
Origin and original recording
[edit]The theme was performed by the John Barry Seven and the John Barry Orchestra under the direction of John Barry.
The guitar melody was played by Vic Flick, a member of the John Barry Seven. Flick was paid a one-time fee of £7 and 10 shillings for his work in recording the theme,[1] though he remained a member of the John Barry Seven and recorded for subsequent Bond films, including Goldfinger and From Russia With Love.[2] He recorded the theme with a Clifford Essex Paragon De Luxe, which he later described as possessing a sound that "would complement the drums and bass, and cut through the wind instruments".[2]
Authorship
[edit]The theme is registered with the Performing Rights Society under Norman's name.[1][3]
In October 1997, the London Sunday Times wrote an article that Norman felt suggested that the theme was written by Barry, not Norman. In response, Norman sued the paper for libel, claiming that the statement reflected negatively on his career; Norman's counsel stated that the article suggested Norman dishonestly received credit and royalties for the theme.[3][4] The trial was held over two weeks in 2001 at the London High Court of Justice. After hearing testimony from both Norman and Barry, the jury came to a unanimous verdict that Norman was libeled, and he was awarded £30,000 in damages.[1][3]
Composition
[edit]Norman described the guitar melody as dum-diddy-dum-dum.
The theme has a "dynamic component, intrinsically capable capable of expressing an unstoppable energy and determination" and the "rhythmic pattern sounds like a martial formula: a simple trumpet signal similar to a “call to arms” or “charge!” At the same time, the electric guitar gives a modern urban mood to it and an insolent tone to the overall pattern. Indeed, there is the coexistence of a conformist, strict side with an unconventional, unpredictable one (as the protagonist is). [There is also] a sense of self-satisfaction deriving from his own omnipotence, which can be heard both in the contrapuntal writing...—which is like an irrepressible extroversion of different components—and in the harmonic structure... whose chords sound like a celebratory chorus (Bond's prerogatives seem to be out of control but they are nevertheless the expression and product of a complex and multi-form government apparatus."[5]
Usage in the James Bond franchise
[edit]James Chapman identified the theme as one of the elements that has "become so institutionalized to such an extent that, without them, a Bond film will not feel like a Bond film at all".[6]
Films
[edit]GoldenEye (1995) composer Éric Serra was asked to include the theme "a couple of times" in the film, and he obliged. However, Serra found the theme difficult to work with because it believed it sounded old-fashioned. Serra felt that his "very modern" arrangement of the theme was feared to be "too modern", so the film orchestra's conductor was asked to create a "more traditional" orchestral version to appear in the middle of the film. Serra did not agree with this and felt it ill-advised to not commit to a "very modern way and a very new way" throughout the whole film and "just on one sequence to do an old version".[7]
Video games
[edit]Cultural impact
[edit]Sergio Miceli stated the theme "stands out in the collective imagination as an icon of "Bondism," that is, supermanhood".[5]
Usage outside the franchise
[edit]During the Thames Diamond Jubilee Pageant in June 2012, the London Philharmonic Orchestra played the theme as its boat passed the SIS Building, headquarters of MI6, at Vauxhall Cross.[8] The London 2012 Summer Olympics opening ceremony included a pre-filmed short film where Bond, played by the current Bond actor Daniel Craig, escorts Queen Elizabeth II to the opening ceremony. The film ends with Bond and the Queen apparently jumping from a helicopter live above the stadium accompanied by the theme.[9][10][11]
Cover versions
[edit]Chart performance
[edit]Barry was given permission to record the theme as a single, which was released by Columbia Records.[12] The single premiered on the UK Singles Chart at position 47 on 7 November 1962 and remained on the chart for eleven weeks, until the week ending with 16 January 1963; it peaked at position 13.[13]
See also
[edit]References
[edit]- ^ a b c Tweedie, Neil (20 March 2001). "£30,000 damages for composer of 007 theme tune". The Telegraph. Retrieved 8 July 2016.
- ^ a b Prown, Pete (April 2012). "Vic Flick: 007 Guitar Man" (PDF). Vintage Guitar. pp. 28–30. Retrieved 29 July 2016.
- ^ a b c "Bond theme writer wins damages". BBC. 19 March 2001. Retrieved 8 July 2016.
- ^ "Libel battle over Bond theme". CNN. 6 March 2001. Retrieved 8 July 2016.
- ^ a b Audissino, Emilio (2014). John Williams's Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style. University of Wisconsin Press. ISBN 978-0-299-29734-3.
- ^ Chapman 2000, p. 272.
- ^ Kendall, Lukas (November 1995). "Goldeneye: Eric Serra Tackles 007" (PDF). Film Score Monthly (63): 11. Retrieved 7 July 2016.
- ^ Rayner, Gordon (3 June 2012). "Queen's Diamond Jubilee: the most familiar wave in the world". The Telegraph. Retrieved 7 July 2016.
- ^ "Olympic Ceremonies, London 2012, Opening Ceremony". BBC One. Retrieved 7 July 2016.
- ^ Brooks, Xan (27 July 2012). "London 2012 Olympics opening ceremony – as it happened". The Guardian. Retrieved 7 July 2016.
- ^ "In pictures: Olympic opening ceremony". BBC. 28 July 2012. Retrieved 7 July 2016. In caption of image 12 of 20.
- ^ Smith 1998, p. 108.
- ^ "John Barry Orchestra". The Official Charts Company. Retrieved 8 July 2016.
Bibliography
[edit]- Brittany, Michele (2014). James Bond and Popular Culture: Essays on the Influence of the Fictional Superspy. McFarland. ISBN 978-0-7864-7793-7.
- Burlingam, James (2014). The Music of James Bond. Oxford University Press. ISBN 978-0-19-935885-4.
- Chapman, James (2000). Licence to Thrill: A Cultural History of the James Bond Films (1st ed.). Columbia University Press. ISBN 978-0-231-12048-7.
- Leonard, Geoff (1998). John Barry: His Life and Music. Sansom & Co. ISBN 978-1-900178-86-0.
- Leonard, Geoff (2008). John Barry: The Man with the Midas Touch. Redcliffe Press. ISBN 978-1-904537-77-9.
- Lindner, Christoph, ed. (2009). The James Bond Phenomenon: a Critical Reader. Manchester University Press. ISBN 978-0-7190-6541-5.
- Smith, Jeff (1998). The Sounds of Commerce: Marketing Popular Film Music. Columbia University Press. ISBN 978-0-2311-0863-8.
- Weiner, Robert; Whitfield, Lynn; Becker, Jack, eds. (2012). James Bond in World and Popular Culture: The Films are Not Enough (Second ed.). Cambridge Scholars Publishing. ISBN 978-1-4438-4384-3.
- https://www.theguardian.com/uk/2005/aug/07/arts.filmnews
- https://www.theguardian.com/media/2001/mar/19/sundaytimes.pressandpublishing1
- http://www.montynorman.com/james_bond_story.html
- http://variety.com/2008/film/markets-festivals/john-barry-invented-the-spy-movie-score-1117995119/
- http://www.telegraph.co.uk/culture/film/jamesbond/9634191/James-Bond-the-early-years.html
- https://www.pri.org/stories/2012-10-05/origin-bond-theme-music