On August 1, 2021 at 9:15 P.M. I discovered that James Bond was modeled after King Arthur, and played the Grail King in a movie. All my hard work, has paid off. I have persevered. Here is the Grail letter I sent a Monterey Judge.

The Grail Filing | Rosamond Press

With my Arthurian connection to Steinbeck and Twain, and Ian Fleming’s Grail character, I own a literary licensee to kill! I have overcome my enemies! I slew the dragon. I rescued the Fair Maiden. I own the Rose Sword.

John Presco

President: Royal Rosamond Press

US evangelical preacher should be banned from entering UK, critics say | UK news | The Guardian

I Own The Rose Grail | Rosamond Press

Bond is revealed to have a birth mother with the name De la Croix.

De la Croix translates as ‘Of the cross’ and so ties in with the idea of resurrection. This feeds neatly into the conceit of Bond regenerating every time a new actor assumes the role. It’s also a nod to Ian Fleming’s socialite mother, Evelyn Beatrice St. Croix Rose.

(41) First Knight (1995) – The Battle for Camelot Scene (9/10) | Movieclips – YouTube

First Knight – Wikipedia

King Arthur and The Sword of Roses | Rosamond Press

Steinbeck Searched For Arthur’s Grail | Rosamond Press

Holy Grail Authors | Rosamond Press

The mythical James Bond, 007 – Chris Hunneysett

Jehan of Rose Street | Rosamond Press

Monica de Mornay De La Croix Rose | Rosamond Press

The Rose Line of Victoria Bond | Rosamond Press

THE MYTHICAL JAMES BOND, 007

BOND AND KING ARTHUR

In the 23rd James Bond thriller,  Skyfall, director Sam Mendes sought to elevate super spy James Bond, from mere Hollywood action star, to a heroic symbol for England.

By employing poetry, imagery and story elements of Arthurian legend, Mendes stretches an umbilical cord through time to connect Britain’s most modern fictitious national hero, Bond, with it’s most ancient and legendary, King Arthur.

In Le Morte d’Arthur (pub. 1485), Thomas Malory codified the legend of King Arthur from disparate sources and established what we now consider to be the definitive legend.

Arthur is an orphan who wields a weapon only he can command and must fight a traitor, his step-brother Modred, to save his kingdom. Arthur is betrayed by a woman, is mortally wounded in action and hidden away from the world by the lady in the lake. There he will await until his return to once again rescue his land at the hour of his country’s greatest need.

In Skyfall these events and all occur, though not in this order, and are there to subliminally underscore how mythical Bond is.

In the pre-title sequence we see Bond shot by fellow agent Eve, before falling into a river and being pulled under water by a godlike female hand. Being brought low by a woman named Eve is obviously a very Christian idea, reminding us how closely Arthurian legend deliberately echoes the story of Jesus Christ, his betrayal, death and his resurrection.

Bond undergoes a symbolic Christian death at the hands of his followers, but remains in limbo waiting to be reborn. He only returns from the dead , when England is threatened by terrorists lead by a former British agent.

In Skyfall Bond/Arthur are tasked with defending Britain from Javier Bardem’s Silva/Mordred. All are orphans raised to be warriors.

And just as Arthur and Mordred were related, so we have lots of references to Judi Dench’s M as their metaphorical mother.

Bond is revealed to have a birth mother with the name De la Croix.

De la Croix translates as ‘Of the cross’ and so ties in with the idea of resurrection. This feeds neatly into the conceit of Bond regenerating every time a new actor assumes the role.

It’s also a nod to Ian Fleming’s socialite mother, Evelyn Beatrice St. Croix Rose.

Bond’s Merlin figure of course, is Ben Whishaw’s Q. He provides Bond with a pistol registered to his unique palm print so only he can use it. It’s an updated Excalibur, the sword in the stone.

Bond sails through a dragon’s mouth prior to sleeping with his enemy’s mistress.

Compare this to how Arthur’s father Uther Pendragon has Merlin invoke the Dragon’s breath to seduce lgrayne, the wife of Duke of CornwalI. John Boorman vividly illustrates this in his excellent telling of the Arthurian legend, in 1981’s Excalibur .

We hear how following the loss of his parents, the barely  teenage Bond spent three days in a tunnel before emerging an adult. An echo of the vigil an aspiring knight had to endure before being allowed to join the chivalric order.

Poet Laureate Alfred Tennyson wrote a cycle of narrative poems concerning King Arthur called Idylls of the King (pub. 1859). This is the pertinence of Judi Dench’s M quoting Tennyson as Bond races to her rescue.

All we’re missing is a character called Mallory to appear and oops, that just happens to be the new M’s real name.

I don’t believe a director as erudite as Mendes would incorporate these details by coincidence. It would almost impossible to do so by accident.

These details in the subtext of the film echo in the subconsciousness of the viewer. They reinforce the idea of Bond as heroic saviour of the British people.

The conflation of Bond and Arthur places 007 at the centre of British literary, cinematic and Christian cultural tradition, elevating him from the contemporary to the mythical, the once and future king of the franchise.