Greetings again from the darkness. Celebrating 50 years on film for Ian Fleming‘s creation, we get the 23rd official James Bond movie. Many critics are hailing it as the best Bond film yet, though having seen all in the series, it is difficult to understand a proper form of comparison. The Sean Connery run varies significantly from the Roger Moore period, and though Pierce Brosnan brought a touch of seriousness back to the role, it wasn’t until Daniel Craig that the character and series took on an ultra-intense structure. Clear influences are seen in Christopher Nolan’s Batman trilogy, as well as the “Bourne” series.
This latest entry has some distinct advantages. Most importantly, Sam Mendes in the director’s chair brings a love and understanding of the Bond template, and the skills to deliver both top notch action sequences as well as realistic human drama. His background includes such fine films as American Beauty and Road To Perdition (also with Daniel Craig). Mendes brought on famed Director of Photography Roger Deakins (9 Oscar nominations) who delivers a look and feel superior to any previous Bond film. Also, the villain plays a key role in determining the strength of all Bond films. Here, Javier Bardem offers up a megalomaniac bent on revenge, and his unusual approach immediately vaults his Silva into one of the top 5 all time Bond villains.
Of course, none of that matters without a strong Bond, and it is quite clear that Daniel Craig has made the role his own. This particular script from series vets Neal Purvis, Robert Wade, and John Logan demands some real acting as Bond faces his mortality as well as his childhood roots. These issues combined with the physical demands of the action and the ability to toss in a few zingers, make Mr. Craig a nice fit for the tailored suits … and the classic Aston Martin.
It wouldn’t be Bond without the Bond “women”, and while there isn’t much familiarity of Berenice Marlohe, her Severine is interesting enough to capture our attention … even with Komodo Dragons hovering nearby. We also get Naomie Harris as Field Agent Eve, and the argument can be made that she is weakest link in the film. Surprisingly, the Bond woman central to this story is M, played once again by the great Judi Dench. Much of the story revolves around her and there is quite a bit of ageism involved. Experience does matter … unless you are speaking of the new Q, played with fascinating geekery by Ben Whishaw (Cloud Atlas). The museum scene with Q and Bond is one for the ages.
The usual global jet-setting is on full display with Istanbul, London, Macau, Shanghai and the Scottish Highlands. The traditional opening action sequence finds Bond racing across Turkish rooftops on a motorcycle, while wearing a beautifully tailored suit. These are the same rooftops on display in Taken 2, but it’s much more fun here. Then, as if motorcycles on the roof and through the Grand Bazaar of Turkey aren’t enough, we find Bond fighting atop a fast moving train … well, until M makes a business decision that quickly changes the arc of the story. By the way, the guy Bond is chasing on rooftops and fighting on the train is played by Ola Rapace, husband of Noomi from the original Girl with the Dragon Tattoo trilogy (Daniel Craig starred in the English remake).
When Bond finally meets Silva (Bardem), it is on the deserted Hashima Island. We quickly learn that Silva is no ordinary criminal and definitely not one to just sit and chat. His quest for revenge adds a personal touch. His personality and demeanor and background add elements previously missing from Bond films. It’s no surprise that the film’s best sequence involves Bond and Silva together and the tradition of the villain explaining what’s ruffled his feathers.
The climax of the film occurs on the hardscape of Scotland and forces Bond to come to terms with his past. There are also plenty of parental issues thanks to M and the caretaker played by Albert Finney. The personal forces at work in the script are more developed than in other Bond films, but we definitely don’t get cheated on explosions, gun play and hand-to-hand combat.
As always, music plays a vital role. Adele sings the opening title track and it plays over an unusual opening credits graphical sequence – somewhat bleaker than we are accustomed to, but no less dramatic. Also, Thomas Newman’s score is excellent and incorporates Monty Norman’s iconic Bond theme (though not often enough for my tastes).
This latest Bond film is a fine bounce back after the disappointing Quantum of Solace, and it may be the best made of all films. The idea of cyber-terrorism is very timely and a reminder that not all bad guys are trying to take over the world. Some just need revenge. Determining if it is the “best” Bond ever will be your call.
Just for old times’ sake:
SKIP THIS MOVIE IF: you have never bought into the James Bond mystique OR you can’t take a blonde Bond and a blonde Bond villain
watch the trailer: