The Brooklyn Rail

While narratives of gender politics and female identity in Western visual culture have become more dynamic with the passage of time, one of the most contentious spheres of discussion in mass media surrounds that of Ian Fleming’s ultimate fictional creation, James Bond. Female sexuality and gender politics in the Bond universe has been robustly, and rightfully, scrutinised by academic and casual spectators for at least 50 of the 70 years since his inception. Yet, one of the most enduring characters in the cinematic canon has not yet been given this discerning treatment, in earnest. Originally called "Fiona Kelly" by screenwriters Richard Maibaum and John Hopkins, Fiona Volpe was portrayed by Italian actress Luciana Paluzzi-Solomon in Terence Young’s 1965 film adaptation of Thunderball. In November 2017, I had the opportunity to interview Mrs. Paluzzi-Solomon for a now-abandoned book concept. As one of the few actresses from the Sean Connery-era who are still living, she was remarkably forthcoming regarding her professional and personal experiences on set. Without pride or prejudice, Mrs. Paluzzi-Solomon’s account proved to be not only to be illuminating in and of itself as an interview, but also served as a foundation to better understand the origins, development, and public reception of the gold standard femme fatale of the Bond films. This article will explore the character of Fiona Volpe, her origins, plot function, and legacy, from the unique perspective of the woman who brought her to life.

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Philippe Bourrinet The Dutch and German Communist Left (1900–68). ‘Neither Lenin nor Trotsky nor Stalin!’ ‘All Workers Must Think for Themselves!’. [Historical Materialist Book Series, 125.] Brill, Leiden 2017 lxii, 639 pp. ill. €210.00; $252.00. - Volume 63 Issue 1