![spectre cyndicate spectre cyndicate](https://i.ytimg.com/vi/zoHluYAMTZ8/hqdefault.jpg)
Number One flips a switch and Nine is electrocuted in his leather chair as the other operatives look on.
Spectre cyndicate movie#
In the movie version of Thunderball, Number One (Blofeld) determines Number Nine is guilty of embezzlement. This immediate mortality is displayed often, including in the current Bond film Spectre, as operatives are swiftly disciplined for their failures at the conference table by means of violent and gruesome death. Numerical labels create a sense that all members are replaceable, and thus easily eliminated. Though quite serious in Bond films, all three of these characters were hilariously spoofed in the 1997 movie Austin Powers, as Dr. In From Russia with Love-EON’s second Bond film-she engaged knives from the tip of her shoe during an attack on Bond.
![spectre cyndicate spectre cyndicate](https://i.ytimg.com/vi/8JbquBpwJjI/maxresdefault.jpg)
Number Three was allocated to short yet feisty Rosa Klebb. Emilio Largo, second in command and the main antagonist in Thunderball, is referred to as Number Two. Ernst Blofeld-head of SPECTRE who’s featured in seven EON films and one Warner Brothers production of James Bond-is Number One. Every operative within SPECTRE is assigned and referred to by a number, from one to twenty-one. Numerical order is efficiency in its rawest sense. SPECTRE nails these themes and keeps on punching.
![spectre cyndicate spectre cyndicate](https://i.ytimg.com/vi/UQCIfUxf0Zk/maxresdefault.jpg)
Three strong, defining elements of modern in the above mentioned context include efficiency, functionality, and breaking from tradition. Hence, SPECTRE’s modern characterizations grow out its period of creation, but also-and less obviously-its creator’s ideology. It’s my opinion mid-century modern-as a culture, style, and attitude-peaked around 1960. In 1961 Fleming published the Thunderball novel featuring SPECTRE as Bond’s foe, and EON introduced the organization to the world on the big screen in 1962. There is no question that SPECTRE’s roots are planted in the mid-century-specifically the early 1960s. Exactly two years later, Blofeld and SPECTRE returned to the world of motion pictures.
Spectre cyndicate license#
It wasn’t until November 2013, seven years after the death of Kevin McClory, that his estate returned the SPECTRE license to Danjaq, LLC, the parent company of EON. Long story short… EON, the film producers of the majority of the Bond films, only possessed a license to use the SPECTRE organization and its operatives for six films, from 1962 until 1971. Buried within the T hunderball script lay a villainous treasurer named SPECTRE ( SPecial Executive for Counter-intelligence, Terrorism, Revenge and Extortion)-a fictional crime syndicate with a modern, corporate structure. Lawsuits exploded and even though copyrights were awarded in 1963 the battle over Thunderball raged on for years. Needless to say, McClory and Whittingham were not happy.
![spectre cyndicate spectre cyndicate](https://www.bernon.fr/uploads/2nde2018/21-spectres_conclusion.jpg)
The result… Thunderball was published as a novel in 1961 with only one author credited: Ian Fleming. Without McClory or Whittingham’s knowledge or consent, Fleming sent a draft copy to his agent. However, as McClory and Whittingham attempted to wrap up the failing screenplay, Fleming boldly went rogue. Jack Whittingham, a British screenwriter, joined the team, and between 19 the three men struggled to craft a script with a working title of Thunderball. Their mission: to produce the first James Bond film. In 1958 Bond novelist Ian Fleming approached Kevin McClory-a screenwriter, producer, and director-for a collaboration. In this post I’ll continue to write it as an acronym, because I’m a vintage chick, and it will always be SPECTRE in my heart.) (Although, because of the above mentioned license agreements issues, SPECTRE must now be written as “Spectre”. Perhaps more compelling-yet equally difficult to believe-is the narrative of the real life evolution of the fictitious SPECTRE, from its intellectual infancy to its current day title as a feature film. This scenario is a bit challenging for Bond aficionados to swallow. In the recently released Bond film- Spectre-Blofeld gleefully takes the wrap for many of the major tragedies of Bond’s life since his childhood. Evil, villain in Austin Powers spoofing Ernst Stavro Blofeldīy the same token, Ernst Blofeld-SPECTRE’s number one operative-didn’t spend fifty years tied up in lawsuits and reverting license agreements to be called “the reason for nearly every problem and devastation James Bond faced over his life.” “I didn’t spend six years in Evil Medical School to be called Mister.”