You Only Live Twice Streaming
Dimanche, mai 2nd, 2010 |
You Only Live Twice Streaming.
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“You Only Live Twice” (1964) was published the year of Ian Fleming’s death, and, as with its predecessor, the marvelous “On Her Majesty’s Secret Service,” it is suffused with doom and death. It is unlike any of the other Bond books, with a pervasive gloominess that was as considerable the result of Fleming’s like a flash declining health and unhappiness with the world around him as it was the result of Bond’s clinical depression after the tragedy that finished the last book.
Bond, recovering from the death of his wife, is falling to pieces. Taking the advice of a friend, M sends him on a principal mission to Japan, which he hopes will restore Bond’s spirits. What seems at first to be a rather placid visit soons turns unsafe as Bond agrees to find secrets about the Russians in exchange for carrying out a graceful mission for the Japanese government. What he encounters is the culmination of the previous two Bond novels, and the last half of the unique is virtually unputdownable.
This is the best writing of Fleming’s career, and his descriptions of Bond’s disintegration are surprisingly attractive. The final hundred pages or so are horrifying and gripping; never before had Fleming demonstrated such mastery of his craft or technical skill at setting up a denouement. The tension becomes almost unbearable.
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“You Only Live Twice” is not an uplifting book, but it is a critical book in the Bond series, and great better than its successor, the pale and posthumously published “Man With the Golden Gun.” Those expecting slam-bang action will have to wait until the middle and final chapters, but the rewards are worth the patience. This is a heavenly unusual, but I wouldn’t launch here if I were unprejudiced discovering Fleming’s Bond novels.
Taking plot nine months after the tragic ending of On Her Majesty’s Secret Service, You Only Live Twice was the last of Ian Fleming’s truly completed Bond books. (The Man With The Golden Gun, released after Fleming’s untimely death, is considered by many to be only a first draft.) It also served as the conclusion to the trilogy, beginning in Thunderball and continuing through OHMSS, that detailed James Bond’s story battle against Ernest Stavro Blofeld, founder of SPECTRE and essentially the anti-Bond. (Blofeld, we are reminded, refrains from almost all excessive behavior — even being described as a virgin in Thunderball though he later somehow contracted syphillis in the later books. Of course, while he doesn’t smoke or drink, he does seem to use a lot of time thinking up ways to blow up the world.) While Fleming’s prose is better than ever in this original (showing his uncanny ability to mix sophisticated urbanity with hardboiled cynicism), its smooth somewhat of a disappointing raze to the trilogy.
The situation does initiate out quite promisingly. Nine months following the death of his wife, James Bond has sunk into an alcoholic wave of depression. M, rather frigid hearted in this book after being humanized in OHMSS, comes terminate to terminating his service but instead, gives Bond a mission designed to respark his adore of espionage. Bond is sent to Japan to try to convince the head of the Japanese secret service — Tiger Tanaka — to ally himself with the English. These sections of the book are very strong. Bond’s mission is believable, the location (which is quite cynical while detailing how even allies like America and England are actually rivals when it comes to espionage) is compelling, and Tiger Tanaka is one of Fleming’s strongest connections. The scenes in which Bond learns about Japanese culture (while containing the well-meaning condascension that of which Fleming — like most writers of that era regardless of genre or nationality — was often guilty) are well-written and actually quite engaging. Quite behind in the book, Tanaka recruits Bond to investigate the Suicide Gardens of the mysterious Dr. Shatterhand (again, a very promising premise — Shatterhand basically has constructed a garden of poisonous plants designed to help visitors to commit suicide) . This investigation leads to Bond’s final battle with Blofeld and it is here that the book, unfortunately, disappoints. Blofeld feels like a tacked-on addition and, unlike the previous books, his dwelling makes absolutely no sense. (Fleming even admits this when Bond concludes that Blofeld’s gone insane — however, his blueprint is so ludicrous that it actually detracts from his location as a noble antagonist to Bond.) Whereas the previous books made Blofeld as absorbing a character as Bond, in this book both of them feel a itsy-bitsy bit bland and as a result, their final battle doesn’t carry the emotional wallop one might have hoped for.
However, in Fleming’s defense, it should be famed that he was quite ill when he wrote this book and it is a testament to his often maligned talents that, even while ailing, he unexcited managed to perform a book that — while uneven as a whole — collected contained some fantastically strong early scenes and a character as smart as Tiger Tanaka. No, this book is not perfect or even one of the best Bond novels but it will aloof be enoyed by fans of the new Fleming novels.
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