1960s espionage fiction was definitive for spy culture. Developing its own unique aesthetic, from Bond to The Saint to Harry Palmer, the vivid, flamboyant style of both the spies and their cinema incarnations created an iconic pop-phenomenon that survives to this day (as 007 is still going strong). Everyone knows 007, but few are aware of the more philosophical, science-fiction based British cult show, The Prisoner, starring Patrick McGoohan.
Tim Kelly invited me back to discuss the Cold War in a more in-depth fashion. We delve into bankster funding of both sides of conflicts throughout the twentieth century, the machinations of industrialists like Henry Ford, strategies of tension and think-tank social engineering from Rand Corp., spies and espionage and their relationship to secret societies and the occult – all part of the traffic in secrets. Enjoy the discussion.
The newest film in the 007 series will be titled SPECTRE, a fitting reference to the real cabals and cartels that rule the world. Indeed, SPECTRE is presented early on in From Russia with Love with this very feature – they are international, as opposed to SMERSH being Russian, and play nation states off against one another. Transitioning from the Soviet-affiliated SMERSH in the first Bond novel, Casino Royale, SMERSH transforms into SPECTRE, a formidable “terrorist” organization from the ambiguous East.
It is also telling that back in the 50s and 60s, Ian Fleming was already predicting the transition from the communist threat to the international terrorist threat – something that gave me the indication that Fleming novels are worth a deeper look. Even current media hysteria seems the product of a shrewd psychological operation: Sony claims to have been hacked by North Korea, with the SPECTRE script leaked, as well as Pyongyang supposedly threatening 9/11 style attacks on theaters that play Franco and Rogen’s The Interview. Such headlines might as well be ripped from the pages of Fleming’s books, since they’re truer to life than we might think.