James Bond and Moonraker

James Bond and Moonraker is a novelization by Christopher Wood of the James Bond film Moonraker. Its name was changed to avoid confusion with Fleming's novel. It was released in 1979.

The screenplay of Moonraker differed so much from Ian Fleming's novel that Eon Productions authorized the film's screenwriter, Christopher Wood to write a novelization based upon the film, as he had done for The Spy Who Loved Me.

As with the first novelization, Wood had no input from, or communication with Glidrose Publications. Instead he worked directly with Jonathan Cape publisher Tom Maschler.

Unlike Wood's first novelization, which showed a significant difference to the actual film, in James Bond and Moonraker, Wood writes a virtually direct novelization of the screenplay. The only noticeable differences between the novelization and the screenplay for Moonraker is that there is no mention of Dolly, Jaws' girlfriend, and his characterization stays true to Wood's description as being a mute. In addition, at the conclusion of the Venetian canal chase sequence, Bond's gondola does not sprout a flotation device and ascend to St. Mark's square as it does in the film.

Wood's second novelization was barely reviewed. Syndicated columnist Bob Greene was scathing. He said the novelization was dreary and schlocky and juvenile; it lacks all of the wonderful tension and personality of the original Fleming book. James Bond would be embarrassed to be in it. In the meantime, shed a tear for Ian Fleming and James Bond. And don't, under any circumstances, buy the "Moonraker" you see in the stores today. Hold out for the real thing. If you can't find it in the attic, come over and I'll lend you mine.

After the release of the novel, Eon Productions chose not to commission novelizations of the next few Bond films; not until Licence to Kill ten years later in 1989, would there be a Bond film novelization.

Read more about James Bond And MoonrakerPublication History

Famous quotes containing the word bond:

    Man’s characteristic privilege is that the bond he accepts is not physical but moral; that is, social. He is governed not by a material environment brutally imposed on him, but by a conscience superior to his own, the superiority of which he feels. Because the greater, better part of his existence transcends the body, he escapes the body’s yoke, but is subject to that of society.
    Emile Durkheim (1858–1917)