When reading this book it is best to clear your head of any preconceptions over the plot that may come from the film of the same name. The plot of the book is far superior. It contains many of the things that one would expect of a Bond book (a beautiful woman, a spectacular chase sequence, sadistic bad guys) but is written in such a fashion as to make all of this seem plausible rather than conjuring up images of Austin Powers style campery. For a start the characterisation is brilliant the Bond here is distinctly human rather than some kind of superman, he gets beaten, bloodied and almost killed. In Tiffany Case Fleming also gives us a fully rounded person rather than the forgettable cyphers that featured in the many of the films. The bad guys are also well drawn in the form of the eccentric and thuggish Serrafimo brothers and hooded killers Kidd and Wint (a million miles away from their clownish portrayl in the film).

The book also showcases Flemings skill as a travel writer with a depiction of mafia dominated 1950's Vegas that conjures up the sound and smells of that bizarre town with all its gaudiness and the desperation of punters chasing the "easy" money. Through the middle strides Bond tough, but by no means immortal, constantly suprised by the ingenuity and cruelty of the mafia men he goes toe to toe with and even periodically afflicted by self doubt and agonising between love and the life of the secret agent.

This debut feature from Shane Meadows is not only a good film in its own right but also a great piece of english cinema. The film itself boasts terrific performances from Bob Hoskins in the central role of Darcy but also of all the young guys who play the aspiring boxers. Meadows' protrayl of the east Midlands will ring true to anyone who has grown up there. Towns on the edge of cities with no jobs and nothing to do for the young people growing up there. The group of young men the film centres around are drifting towards a life of pointless petty criminality when Darcy (Hoskins) persuades them to form of boxing club in order to at least give them some direction in life and escape from the drudgery of life. The films strength is in its realism and comes from a similar angle to Loach's portrayls of working class life, most recently sweet sixteen. The style differs however as Meadows leaves overt politics out of the it and instead allows for the audience to draw out their own conclusions from the story he tells and also contains much more grim humour than Loach. Meadows later work in A Room For Romeo Brass and recently Dead Mans shows evidently draws from the milieu he portrayed for the first time here.

Also be sure the watch the short fim Three Tears for Jimmy Prophet. Those familiar with Paddy Considine brilliant work in Dead Man's shows will not be surprised as he turns in a similarly compelling performance as a man who has lost everything as a result of split second loss of control.