印象最深刻的是邦德的風度，盡管他從事的是見不得人的職業(yè)，可他舉止謙恭，衣著講究，說話彬彬有禮。一改人們心目中那些間諜密探的猥瑣形象。和我們通常所見到的那些舉止粗野不修邊幅的美國人也不同。影片中，邦德從潛入的海中一露頭，全不顧周邊危機四伏，第一個動作就是反復(fù)梳理他的頭發(fā)。在匪穴里，沒有了西服可穿，也要立刻選一件唐裝穿上。更顯得英姿勃發(fā)。在和諾博士的對話中，依舊是那種綿里藏針玩世不恭的態(tài)度，大有驢倒了架子不能倒的氣勢?；蛟S是視死如歸，或許是對自己手藝的自信。打斗場面和追車場面顯得很初級，但是在六十年代時，已經(jīng)算的上是驚世駭俗了。也很適合那時人們的觀影習慣。

全片看罷，個人對全片的觀影感受如下:

1，首先這是第一部邦德電影，也是60年代初期的電影，而此片的預(yù)算也是很緊張（只有100萬美元，只有第二部《來自俄羅斯的愛情》預(yù)算的三分之一），故在各個方面都無法令人滿意，即使除去時代因素，也是這樣。動作，劇情，道具，場景均顯得生硬簡陋。尤其是和第二部《來自俄羅斯的愛情》對比來看，可以看出第一部的許多不成熟之處。劇情乏善可陳，甚至在影片中段本人一度睡著。。。。。。。

2，第一位真正意義上的邦女郎出現(xiàn)的很晚，最后才以比基尼登場，經(jīng)過一段沒啥可說且簡陋的的打斗戲后，邦德干掉反派諾博士。女主角幾乎沒有什么存在意義。

3，當時推出之后因為題材的新穎以及拍攝理念的先進，受到歡迎，但很多地方確實無法讓現(xiàn)在的觀眾看進去（同時代的《金手指》，《來自俄羅斯的愛情》本人卻無此巨大年代逾越感，并且相當喜歡），有鑒于此片的歷史意義（第一部007呀!），故在個人心目中，在全系列24部中位列倒數(shù)第二

The inaugural movie of the James Bond franchise, Terence Young’s DR. NO sets the general tone and constitution of our beloved spy thriller, from its Maurice Binder designed, polka dots adorned main title sequence, its proverbial auditory theme, classic catchphrases like “Martini, shaken not stirred”, “My name is Bond, James Bond.”, to Bond’s raffish personality and his penchant for never allowing any carnal pleasure slip through his fingers during his precarious missions, and a small handful of Bond girls whose loyalty and fate might differ, but nonetheless, are all sexy symbols who have no moral oscillation to come across in front of such a specimen of gentleman, oozed with equal quantity of danger and appeal.

As a paradigm entertainment establishing the West’s nonpareil supremacy and superiority over the rest of the world, the franchise’s first outing is set in Kingston, Jamaica, where a Chinese-German criminal scientist, the titular Dr. No (Wiseman) has built a secret base operated with radioactive matters, and whose agenda is to sabotage USA’s Project Mercury. Sent to investigate the disappearance of a MI6 chief, Bond, deferential towards his superior M (Lee), takes the mission in stride, and is capable of smelling any funny business at short notice, even when facing a pestilent tarantula, he is phlegmatic enough to bide his time to turn the tables.

The impact of the iconic scene of a bikini-clad Honey Ryder (Andress) emerging from the sea wears off considerably for its pure female exploitation and unsparing male gaze, not that Connery is too niggardly to show off his well-built physique, only the fact that Honey doesn’t contribute anything to the plot is gnawingly sexist and patriarchal, she is advised by Bond to keep silent, carted away unceremoniously when Bond and Dr. No finish their cornball small talk and start to mean business.

Not that ethnic characters are treated with sizable respect or felicity, John Kitzmiller’s local ally Quarrel is the unsung hero with equal moxie but less fortunate kismet (and who can not tell a souped-up tank from a dragon); Wiseman’s Dr. No comes rather late on the scene and whose menacing guise plummets immediately into a laughing stock in a jiffy, when all he wants to do is to recruit Bond to the vile SPECTRE organization, it is really not worth the fuss for a mastermind of his caliber.

Grandstanding a rushed but functional action-packed climax, DR. NO might be the best outcome borne out of its very modest budget, but it does strike gold by finding a strapping leading man who hasn’t yet been hardened by the cynical nature of espionages and endless treachery under the pall of the Cold War, and Connery, is the ultimate coolth of any heterosexual man’s consummate ideal, who can always have his cake and eat it too.

referential entries: Guy Hamilton’s GOLDFINGER (1964, 6.3/10); Sam Mendes’ SPECTRE (2015, 6.3/10); Terence Young’s WAIT UNTIL DARK (1967, 7.4/10).