Maryam d'Abo: The Bond Girl Who Forged Her Own Path Beyond 007
After starring opposite Timothy Dalton in the 1987 James Bond film The Living Daylights, Maryam d'Abo initially followed the predictable trajectory of a Bond girl, riding the wave of 007 fame to Hollywood television roles throughout the late 1980s. However, the so-called 'Bond Girl Curse'—the notion that actresses struggle to land substantial roles after their Bond appearances—soon became apparent. D'Abo found herself deeply unsatisfied with the limited and often demeaning parts offered to her.
Rejecting Stereotypes for Artistic Integrity
"I felt really stuck," d'Abo recalls. "Some of the telly stuff was just so demeaning." Rather than continuing to pander to sexist Hollywood stereotypes, she made the bold decision to return to the United Kingdom. There, she deliberately built an unusually nuanced and multifaceted career that defied the typical Bond girl narrative.
In 1990, she took control by raising funds to star in and co-produce Beth Henley's play Abundance at London's Riverside Studios. The production, a deconstruction of the American dream set among mail-order brides in 1860s Wyoming, allowed her to explore complex themes of friendship and identity. Now, in a remarkable full-circle moment, d'Abo is returning to the stage for the first time in 26 years in the new play Spanish Oranges, directed by her lifelong friend Myriam Cyr.
A Feminist Reframing of the Bond Legacy
While d'Abo does not reject her Bond past, she has been instrumental in reframing its narrative through a feminist lens. In 2002, she directed the landmark documentary Bond Girls Are Forever, which traced the gradual empowerment of women within the 007 franchise. Using her journalistic skills, she convinced the reclusive Ursula Andress—the original Bond girl from Dr. No—to participate, assuring her the project would not be exploitative.
"She was the hardest one to get, but I got her in the end," d'Abo says. With support from Bond producer Barbara Broccoli, she sold the documentary to MGM, insisting on featuring Judi Dench to highlight the evolution of female roles from Bond girls to Bond's boss. "You can see in the scripts the evolution of the roles that got bigger with more and more gravitas," she notes, positioning her own role as Kara Milvoy in The Living Daylights on the cusp of this shift toward more humanized characters.
Choosing Meaningful Projects Over Commercial Fame
These days, d'Abo consciously steps away from the mainstream audition circuit. "I've done nothing to make myself be on the map," she states. Instead, she cultivates roles within her artistic community, such as Spanish Oranges, written by her friend Alba Arikha, goddaughter of Samuel Beckett. The play explores the power dynamics in a difficult marriage, with d'Abo playing novelist Fiona, whose husband faces cancellation following sexual assault allegations.
"It's very relevant to many relationships," d'Abo observes, adding that the role challenged her intellectually. She feels fortunate to be financially secure enough to select projects that speak to her personally, avoiding what she calls "ghastly" jobs with unfulfilling parts.
Disdain for Fandom and the Future of Bond
D'Abo expresses clear disdain for the commercial aspects of Bond fandom, such as paid convention appearances. "I really don't like it. It's not my thing, I find it very tiring," she admits, though she acknowledges making fans happy. She similarly criticizes the recent sale of the Bond franchise to Amazon Studios, which conflicts with her values of working with trusted collaborators like the Broccoli family.
When asked about participating in future Bond projects, she sharpens her tone: "I wouldn't want to because the Broccolis are not involved anymore. If Barbara were still involved... maybe we could come up with another idea to continue it." For now, d'Abo finds greater meaning in intimate artistic endeavors like Spanish Oranges, which opens at the Playground Theatre in Notting Hill, celebrating creativity and personal connection over blockbuster fame.
