Hard to imagine, but before 1962 relatively few people knew about James Bond. Some readers knew that Bond was a new type of secret service agent since Ian Fleming wrote the first Bond novel in 1952 (Casino Royale). Unlike stereotypical colorless and bland secret agents, Bond knows the best wines, champagnes, cigars, and automobiles. Bond would have intimate, firsthand knowledge of any of the finest items found in The Robb Report. He also personifies the ultimate ladies' man who can charm and bed any woman he desires.

Ten years after Fleming penned his first James Bond spy novel, co-producers Harry Saltzman and Albert "Cubby" Broccoli began the Dr. No movie project, and the legend began to blossom. The "real" James Bond is always played by Sean Connery. Those early Connery Bonds that ran from 1962 through 1971 are the only ones I ever purchased on video, so that indicates my preferences. (I must admit, however, that Daniel Craig may have accomplished the mission impossible and proved a worthy successor in the current theatrical release)

Being the first Bond movie, Dr. No remains historically important. It introduces James Bond to the world in a down-to-earth way. The classic touches are here: the gambling knowledge where Bond is impossible to beat at blackjack, the legendary perfectly timed initial introduction of "Bond--James Bond," the favored medium dry martini (vodka of course) that is "shaken, not stirred," and the supremely confident Bond seducing beautiful women. We also get one innocent beautiful woman--the scantily clad Ursula Andress (a name sometimes spoofed as "undress") on Dr. No's island in this case. Additionally, we need an interesting enemy that must be missing body parts--the movie's namesake here, who has artificial hands due to bad radiation experiments.

While these essential touches are present, as in all the Bond movies, Dr. No remains the simplest and least technical. There are no fancy spy gadgets, nor is there a Desmond Llewelyn acting as Major Boothroyd (Q) to supply them. In fact, M has to work to convince Bond to give up his 10-year-old gun in favor of a more modern one.

When preparing his room to detect intrusions, Bond uses simple techniques like placing one of his hairs across the closet doors and standard fingerprint dust on his briefcase. The enemy comes after Bond in straightforward fashion--killer driver, killer secretary, killer spider, killer evil scientist with a six-chambered Smith and Wesson, and enemy staff armed with machine guns. In like manner, Bond dispatches of them easily with a little fisticuffs, some quiet gunplay, or with a shoe, in the case of the spider.

For sociologists and historians, watching Dr. No and the other Bond films can make an excellent study of the Cold War and in examining the United States' relations with the Soviet Union. You can almost trace when the Berlin Wall went down and when the Soviet Union broke up by carefully examining the evidence in the various James Bond films. We can definitely sense the distrust we had of the East (Soviet Union) when Bond meets up with Dr. No.

Recurring supporting characters are first introduced here. M is the detailed head of the 00 division who attempts to keep Bond in line, reminding him that he has only three hours and 22 minutes before he must catch his plane to Jamaica, and also reminding Moneypenny to "forget the usual repartee" since 007's in a hurry. We also see the beginning of the flirtations that Moneypenny and Bond carry throughout the series. An explanation for this is found on the special features of the DVD version.

Dr. No also explains what the evil S.P.E.C.T.R.E. organization stands for: Special Executive for Counter-intelligence--Terrorism, Revenge, Extortion. After dealing with the ordinary foes, Dr. No does turn out to be an interesting adversary--a genius corrupted by delusions of power, like many of the "Napoleons" found in asylums. Dr. No also supplies a logical reason that he had not had Bond killed when he was rendered defenseless a few hours before their meeting. Of course, sophisticated filmgoers realize that no bad guy can kill off the hero of a series so easily. By the "rules" the enemy must delay any execution to allow our hero to turn the tables (a situation spoofed in Austin Powers). In this case Dr. No explains that he respects 007 and has hopes that Bond will use his superior mind and take a position in S.P.E.C.T.R.E. He genuinely seems disappointed at Bond's refusal.

After a fairly ordinary career, director Terence Young struck it rich with Dr. No and directed two more Bond movies successfully--From Russia with Love and Thunderball. While there's nothing extraordinary about Young’s direction and his techniques, this is to his credit. The film moves well without all the fancy stunts and fancy gadgets of subsequent Bond fare. We're certainly not looking for classic cinematic art when we attend a James Bond movie, and Young’s straightforward Dr. No introduces the series extremely well. This is escapist fare, fashioned well before the summer blockbuster came upon the scene and introduces one of the most recognizable film scores in history, highlighted by John Barry's “James Bond Theme.”

Sean Connery dominates the film, and makes it difficult on future Bonds, as he serves as the definitive standard. We are fortunate that the previously unknown Connery got the role over Roger Moore, who later serves less satisfactorily. Connery's timing is impeccable. Note his classic introduction and his droll responses to adversaries and colleagues, whether it's with words or with subtle facial expressions. For example, when some pursuers meet their doom after their automobile plunges over the cliff, Bond calmly states, "I think they were on their way to a funeral." Later, when Bond meets Dr. No, who proudly offers Dom Perignon (1955), Bond responds that he prefers the 1953 vintage. This is only a sample of more to come. Bond is simply more aware than anyone else is, and we love him for it.

It's fun to look back at this original, knowing that we will be treated to many more enjoyable adventures. Quite frankly, I do not remember any furor about this film when it was released. In fact, the first Bond film that I remember hearing a lot about was the third in the series, Goldfinger. This is the one that teens began raving about, talking about how "cool" it was. Here was the same Bond character, but in full use of great cars and fancy gadgets and he had now penetrated the psyches of middle America.

Although Goldfinger was the first to catch my attention, the first two of the series are even more enjoyable. There is a purity of character that is missing in later episodes. These two started the most prolific series in film history. That alone makes them worthy of examination—especially now that the entire series has been re-released in four box sets with plentiful extras!