It is no little irony that the lasting, iconic style of James Bond, the yardstick against which all Bonds are compared, should first have been personified by Sean Connery. The rough-hewn actor, one-time milkman and bodybuilder from Edinburgh, had not been the producers’ first choice for Bond. That was reserved for Roger Moore. But Moore was tied up with a contract filming The Saint for TV and already a star. If not quite the establishment man that Ian Fleming outlined for Bond – private schooled, upper-crust stock – in his taut novels, Moore was suave, well-groomed and at least sounded the part. In comparison, Connery was a bit of rough.
So, the director of the first Fleming novel to hit the screen, Terence Young, set about – Pygmalion like – to polish Connery up, and knock off the rough edges. In 1996, I co-wrote a book on the style of