Eid Mubarak, Mr. Bond

Earlier this year, James Bond escorted
Her Majesty the Queen to the Olympics in London.

The Muslim community in Britain celebrated Eid-ul-Azha on October 26. It was also the 50th Anniversary of James Bond movies. The latest, Skyfall, was released to mark the anniversary.

It may not be a coincidence that the first James Bond novel was received in the same year when Sir Winston Churchill and Dwight D. Eisenhower directed their secret agents to topple an unfavourable government in Iran.

Creative artists can sometimes assimilate a deeper current in the lives of their societies, and this may have happened to Ian Fleming. The secret agent created by him can be seen as an embodiment of the complications embedded in the post-colonial vision of the West, and perhaps also some of its apparent self-contradictions. Moreover, the continuous evolution of the famous spy also seems to be consistent with the evolution of that vision, and the present resurrection is a candid example.

In the new century, a burning issue for Great Britain has been whether it should see its participation in the much-needed action against terrorists as "a war on terror" (as believed by the American allies), or whether terrorism should still be regarded as a mere "crime" and dealt with accordingly.

The twenty-third official adventure of James Bond seems to be addressing this issue (and the high-point is the speech delivered by M to a group of decision-makers, where M ends up reciting lines from Tennyon's poem 'Ulysses').

It is beside the point whether this was actually the intention of the team who created this film. Being a creation of several minds, even a one-off film is a mystery that could be explored forever. The complexity increases where the film involves a legend that has been evolving for half a century and has brought out 22 predecessors.

As such, the surface of a popular film's narrative can always be scratched to reveal something about the collective consciousness of its parent society. What may have always lurked beneath the surface of the 007 legend has perhaps come out most succinctly in the 80-second "official teaser trailer" of Skyfall (embedded below).

James Bond: pride of a wounded empire,
or apprehensions about the future?

• "Country?" "England."
• "Gun?" "Shot."
• "Agent?" "Provocateur."
• "Murder?" "Employment."
• "Skyfall?" "[Silence]."
• "Skyfall?" "Done."
• "Some men are coming to kill us. We gonna kill them first."

Is this how the British patrols stationed at Suez Cannal thought in January 1952 when they shot down 49 Egyptian policemen and invoked the wrath of the natives ("Some men are coming to kill us. We gonna kill them first.")? Were these the very words that rang in the mind of the CIA officer Kermit Roosevelt in August 1953, when he saved his job by stirring up riots in Iran that claimed 700 civilian lives and toppled a liberal democratic government ("Agent?" "Provocateur". "Murder?" "Employment.").

The role of Western powers in the post-colonial era has generated many controversies (not to mention outrage and criticism). Skyfall might be one of the most useful resources for anybody looking for a well-rounded and honest answer, befitting the dignity of a former world power that has been known for its "sense of fact".

Nevertheless, the answer is disturbing. It gives a basis for asking: Was the immortal James Bond born out of the pride of a wounded empire, or does he stand for apprehensions about the future?