Although, with only two datum points to analyse, could you call it a trend?
Anyway. "From Russia With Love" is closer to the original book than most later Bond films (with the exception of "On Her Majesty's Secret Service", as always with any generic statement about trends in Bond Films), but, at the same time, shows more of the sorts of things that would continue to shape further films.:
While there are gadgets in the film (Robert Shaw's thuggee watch, Bond's despatch case and shoes, even the clunky black shoes with which Rosa Kleb attempts to make a pointed rejoinder...) they are, for the most part, pretty much as described in the text of the book
We see the beginning of the later films' elaborately-choreographed action sequences in the helicopter and boat chase sequences. We see the trend away from real-world menaces and toward fantasy ones in the substitution of SPECTRE for the original novel's SMERSH (a real Soviet counter-espionage organisation), though the plan in the film is the same as in the book, and SPECTRE in fact recruits at least some players by masquerading as SMERSH.
We also see the beginning of occasional appearances by people one might not expect to find in an escapist spy film in the person of the late Lotte Lenya (widow of composer Kurt Weill, and a star of the original "Threepenny Opera") as Rosa Kleb, the lady with the pointy shoes.
We also see the beginnings of the use of things that are simply impossible (or so nearly so as to make no difference) in Bond's use of a disassemblable sniper rifle...
An excellent successor to "Dr No", and an eminently-watchable bridge to the form that the series would have when it hit its stride -- a form that the next film, "Goldfinger" would even-more-closely approach.
((Former "Mad" magazine stalwarts Harvey Kurtzman and William Elder neatly parodied this film in their "Little Annie Fannie" strip in "Playboy"...))
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