Thoughts on and around the new 007 movie, reportedly the last one starring Daniel Craig.
Is Spectre worth watching? On one level, absolutely. Consider the mind-boggling pre-credits sequence in which a building explodes and the aftershock prises loose a portion of a roof across the road, which angles downwards and comes to rest, rather nonchalantly, over a rubble-strewn couch in a floor below. A little later, a helicopter takes off over a piazza, its flight patterns clearly modelled after a sparrow that has run into a hurricane after drinking twice its body weight in liquor. These are the “situations” into which 007 is thrust – and you wonder what this section of the screenplay looks like. Does it just say “Bond battles villains in a series of hair-raising stunts” and leave the rest to the action choreographers, who then decide the exact nature of those stunts? (“Let’s blow up a building…” “Let’s have a runaway helicopter…”) Or do the writers sit down with the action team and thrash everything out on paper first? Either way, you come away thinking: Institute an Oscar category for these guys, already.
If there’s a downside to this stretch of action, it’s that it isn’t as thrilling as it is fun. For white-knuckle thrills, we need to feel that the crowds of innocents in those buildings, in that piazza, are in danger. But with the great exception of On Her Majesty’s Secret Service, there isn’t much collateral damage when Bond is around – we’re talking billions of moviegoers here, and they don’t want blood on their popcorn. And until Daniel Craig came along, it appeared that they did not want their Bond movies to be very different either. But Casino Royale knocked the living daylights out of the franchise. For the first time, we saw Bond as a character – the dangerous spy created by Ian Fleming, not the well-equipped (and well-quipped) superhero created by the films, the man with the golden pun. And for the first time, we sensed the investiture of myth – the film ticked off everything from Bond’s first cold-blooded kill to his first brush with the specifics of a vodka martini. In consonance with a movie culture increasingly in thrall to origin stories, we witnessed the birth of Bond.
Craig’s second outing, Quantum of Solace, could be called “Bond: The Growing-up Years.” The film continued to develop Bond as a character, a tortured soul trying to pretend that his lover’s death (in the earlier film) didn’t mean anything. And Bond, instead of treating the Bond girl as just something to be shaken and stirred between the sheets, becomes some sort of mentor, imparting to her some hard-honed wisdom about loss and retribution. At times, the quiet ambition in Quantum of Solace reminds you of The Godfather: Part II. As with Michael Corleone, Bond, due to his immersion in a blood-soaked career, alienates or loses the ones closest to him. The villain smirks, “Everything he touches withers and dies” – prophetic words, considering the following film, Skyfall. M dies. Bond’s ancestral home is annihilated. Bond himself dies. (At least, we’re meant to think he does.) And yet, the film ends with images of birth – the birth of the Bond universe as we knew it before Craig. M is a man again. Ms. Moneypenny is back. As is the hat rack.
And Spectre is the first Craig film to slip into the relaxed silliness of those older adventures. In Skyfall, when Bond met Q – the ritual that’s the espionage world’s equivalent of a child hopping onto Santa’s lap – he got the Bond world’s equivalent of socks. “A gun and a radio. Not exactly Christmas, is it?” he complained. Q replied, barely suppressing a sneer, “You were expecting an exploding pen?” But here’s Spectre, with an exploding watch – in a torture-chamber scene reminiscent of the one in Goldfinger where a laser beam, positioned between Bond’s legs, almost divested him of his double-ohs. The film abounds with homage, right from that pre-credits helicopter sequence, recalling the pre-credits helicopter sequence in For Your Eyes Only. It’s as if they decided to appease fans who bemoaned the serious turn Bond had taken, with a license to kill every spark of campy enjoyment.
But Sam Mendes is still a Very Serious Director. He isn’t the first Very Serious Director to take a shot at Bond. There was Michael Apted, for instance, who landed on the sets of The World Is Not Enough after Oscar-nominated dramas like Gorillas in the Mist and Nell. But Mendes is the first director whose Bond movies feel like Oscar-nominated dramas. M isn’t just a boss. She’s Mother. The villain isn’t just a villain. He’s Bond’s brother figure (for the second time; this was the case in Skyfall as well.) Bond doesn’t just have a conversation with someone who possesses information he needs. The conversation is staged around a chessboard – because, you know, they’re making moves, trying to outwit each other. At times, Mendes appears to be nudging the casual spy thriller into the realm of Shakespearean drama. All the world’s a stage, and all the men and women merely slayers.
Again, we’re reminded of the Godfather movies – in a mission that, in its staging, echoes Vito Corleone’s killing of Don Fanucci; in a carefully lit, burnished-sepia boardroom sequence that echoes the Meeting of the Five Families. (Hoyte van Hoytema’s cinematography is staggeringly gorgeous.) And even amidst the revelry, death is never far away – the film opens with the Day of the Dead parade in Mexico City, with a virile Bond outfitted in a skeleton costume. (Does this mean he’s perennially poised between life and death? Twenty points.) I came out of Spectre asking the same questions I asked after Skyfall. Should major artists (or artists with major ambitions) handle minor movies? Or put differently, should minor entertainment be aggrandised with major themes? Of course, you might say – rightly – that it’s the handling that determines whether a movie is “major” or “minor.” After all, until The Godfather came along, no one thought a pulpy, romantic gangster saga could be Great Art.
Mendes’s Bond films are like Christopher Nolan’s Batman movies – they’re interesting on many levels, but they hover in a twilight zone, neither the pop spectacles they could be nor the great dramas they strive to be. Spectre has more Bond-isms than the other Craig movies, but some of them don’t survive Mendes’s funereal staging – like the mysterious woman played by Monica Bellucci. She’s not fun enough to be a Bond girl, but neither is the character weighty enough to justify the tragic overtones. And what about the titular organisation itself? The acronym blows up to Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion – and what do we see in the film? Something as abstract, as thoroughly un-cinematic as government surveillance. At least give us the scene where Bond races to retrieve recordings of the White House bedrooms, circa Clinton. For my money, the Bourne movies have come closest to marrying thrills and tragedy the way the new Bond films so desperately want to. On the other hand, I say axe the angst and give us something like The Man from U.N.C.L.E., directed by Guy Ritchie’s inner ballerina – so lithe was this supremely entertaining spy story. It’ll be interesting to see where Bond goes next, now that Craig has pressed the ejector-seat button on his Aston Martin. Or has he? Never say never again.
An edited version of this piece can be found here. Copyright ©2015 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Raj Balakrishnan
November 28, 2015
Hi BR, was waiting for this piece. Thanks. Completely agree on your thoughts on these Bond films vis a vis the Bourne movies. I thought, the Bourne movies were also much more real, interesting and believable. Enjoyed UNCLE too. Also, don’t you think the MI films (at least 4 and 5) have taken over from the earlier earlier lighter Bond films.
In Spectre, Christoph Waltz was wasted, wasn’t he. I was expecting another Inglorious Bastards, but Waltz barely gets couple of scenes. I thought Javier Bardem was menacing and very effective in Skyfall. The best Bond villain in a long time. But as Blofeld character was not killed, hope we have more of him in the next installment.
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Shankar
November 28, 2015
Daniel Craig is under contract to act in one more per the original agreement… so we shall see if he decides to not honor that. For my money, I’d bet that he does one more.
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vijay
November 28, 2015
To me the only redeeming feature of this entire Daniel Craig-as-Bond films has been Adele’s rendition of Skyfall. Rest of it is eminently forgettable. Daniel Craig looks more suited to play a Russian villian in a Bond film than Bond. And like I mentioned before, between Mission impossible and Bourne films, the Bond franchise looks completely redundant
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brangan
November 28, 2015
Raj Balakrishnan: Yeah, I felt Waltz was wasted — but also that he wasn’t nearly “mythic” enough as Blofeld.
vijay: You know, I’d never have put you down for an Adele fan 🙂
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tonks
November 29, 2015
That was thunderball writing. The man with the golden pun surpasses himself with his goldfinger.
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A
November 29, 2015
” I was expecting another Inglorious Bastards, but Waltz barely gets couple of scenes. “
Watlz in IB. Once enough. More than enough. The character belonged only to that movie. His shenanigans in the next one, clearly molded with shades of his role in IB, was simply insufferable. QT’s movie with Leonardo D, about slavery. Forget the name.
@Rangan: “minor entertainment”
Minor entertainment is also necessary entertainment. One needs these movies as much as the ‘major’ ones, if not more.
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apala
November 29, 2015
BRangan-sir,
Really wonderful to read the piece. Brilliantly written piece – I completely enjoyed and agreed with the analysis.
Casino Royale is the most favorite Bond film of mine – There I saw first time that Bond can hurt and feel pain (literally and emotionally!). Bourne films were excellently handled by Paul G. Maybe he can put some emotional connect on Bond films which they are striving so hard for.
Spectre was so tiring – never thought that would happen with Bond films (except Timothy D’s Bond films)…
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PN
November 29, 2015
Brangan. I can’t deal with this anymore! Been refreshing your page three times a day in anticipation of your Tamasha review! Can you please, just… do it!?
I don’t appreciate being made to feel like a teenager waiting next to a phone 😛
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Gradwolf
November 29, 2015
Craig did say this will be his last Bond film.
For Casino Royale and Skyfall alone, very thankful for the Craig run. After the Brosnan debacles – that began with one of the best ever in Goldeneye – Craig’s run and reinventions were superb to watch. They went horribly wrong with Spectre though aiming too high and like you said, the whole Bond in despair plot went too far. Still I’d rank this the best run since Connery for those two greatest of films.
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MANK
November 29, 2015
Excellent article Brangan. You nailed it perfectly what is the problem with the Sam Mendes’ bonds. Not fun enough and nor serious enough. Yeah the last thing i want to see Monica belucci is as a grieving widow. It goes without saying that Sam Mendes is no Francis Coppola.
Hoyte van Hoytema’s cinematography is staggeringly gorgeous.
Brangan, have you seen his previous effort in tinker tailor soldier spy. That was mindblowing. I dont think his work in this film matches up to that. though the photographic style is quite different in both the films. I still believe Roger Deakins’ photography in Skyfall was the best of bond films.
I say axe the angst and give us something like The Man from U.N.C.L.E., directed by Guy Ritchie’s inner ballerina – so lithe was this supremely entertaining spy story.
Oh god yes. i loved that film, with its tale of spies, double crosses and femme fatales. It was so much fun. I was shocked that the film was not a hit. it reminded one of the good old bond films of the 60s. If james bond is rebooted in the same vein of those 60s films then Guy ritchie is a strong candidate for director’s job.
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Raj Balakrishnan
November 29, 2015
@A, what you didn’t like Waltz in Django Unchained. I thought he was outstanding. Leanordo too, deserved a nomination.
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the BRangan fan
November 29, 2015
sir, whom do you think in bollywood/kollywood is suitable to play bond/bond villain?
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jithu
November 29, 2015
Guy Ritchie’s inner ballerina was the producer’s inner dappanguthu 😀
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Pravin J Kalyan
November 30, 2015
The Challenge for the film makers of this franchise is whether to retain Daniel Craig (bit mellowed) or bring in someone new for this. But being a Daniel Craig as James Bond fan it is going to be tough to convert the audience now. In local saying “We are Waiting”.
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brangan
November 30, 2015
A: Minor entertainment is also necessary entertainment.
Of course it is, and the piece doesn’t say otherwise 🙂
Gradwolf: Skyfall? “greatest of films”? (cough, cough)
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Deepak
November 30, 2015
I loved that opening scene made out to seem as if it was all done in a single, unbroken take, and most of the action scenes were just great. I also loved the odes to earlier Bond movies like the train fight scene as an ode to From Russia With Love, the therapy center at the top the alps a la OHMSS (my favorite Bond), the opening credits, etc. but Craig was just phoning it in, even the fat paycheck at the end didn’t seem to excite him. The cringe-worthy dialogue at times also was at odds with the tone set by Sam “I’m always serious” Mendes. All told, it was a pretty ordinary outing for the “The Spy Who Loved Only Himself”
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Gradwolf
November 30, 2015
Hahaha. I know you got tired of the multiple attempts at reboot but it worked for me big time. It actually gets better with repeated viewings (likr ARR cough). Try sometime. Sony Pix keeps playing it every new moon day.
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Rahul
December 1, 2015
“sir, whom do you think in bollywood/kollywood is suitable to play bond/bond villain?”
The late Raghuvaran would have been an excellent choice, in my opinion.
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rekha
December 2, 2015
“…the well-equipped (and well-quipped) superhero created by the films, ‘the man with the golden pun….’
You couldn’t resist? eh? 😁😂😝
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palanisamya
December 3, 2015
BR-ji and Dear Fellow Reader @ Chennai, Hope you are all safe in this terrible flood situation…. Please Stay Safe.
It pains me so much seeing such suffering, but unfortunately only we can be blamed for our own situation. But hope we learn from this and come out stronger and better.
Take care.
Anbudan,
apala
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KayKay
December 11, 2015
Oh but these are dark times! Comments on Bond are stuck at 20 while ruminations on Tamasha are at 80 and no doubt climbing?
Well, allow me to bloviate on Bond, my life long Love.
I do realize that it’s the “In-Thing” to trot out the MI or Bourne franchises as the current Gold Standard for doing these sort of Spy Style Action movies right. Or at least right for today’s climate. But I’ll wager those series’ would struggle to hit 10 movies let alone 24 (Official) entries like the Bond Saga. Look, I like those movies right? Perfectly crafted pieces of entertainment. But they’re far too associated with their Leading Men (Cruise/Damon) to survive without them. In fact The Bourne Legacy is a text book example. Sans Damon, it tanked in spite of a spirited turn from Renner, whose presence in the MI and Avengers Universe prove he’s a great Supporting Lead but hardly Leading Man material.
Bond is the Rock Star (or Vampire) Mythos writ large. A skilled operator in his field, a celebrity among his peers with an indefatigable energy, awe-inspiring sexual stamina and a score rate with women that’ll make Casanova weep. Is it any wonder it’s far more easier to imprint own’s one fantasies on Bond? In that respect, the Bond Persona is infinitely malleable, practically priming one to expect a cast change every 5 or 6 movies in. Try doing that with the dour, amnesiac Bourne (himself a Frankenstein parable) or the emo Hunt.
Far from being the touted Deconstructionist take on 007, the quartet of Craig installments has been nothing short of a thrilling Origins Tale, systematically reconstructing Bond’s world to the shape and form we know it. From the loose Hawaiian shirts of Casino Royale to a tux that fits like a second skin, from not giving a damn about how he takes his vodka martini to specifying exactly how he wants it, the elimination of Vesper and the female M (and by extension, severing Bond’s ability to form trusting relationships with women), the introduction of M in a form we’re far more familiar with, Q and Moneypenny and finally in Spectre, the reveal of Bond’s Arch Nemesis and further accoutrements like the Indestructible Henchman, gadget suffused car and the Disposable Women.
Is it perfect? Far from it. It’s at least 30 minutes too long, Monica Bellucci’s role is little more than a cameo (so much for Bond hooking up with a woman his own age. Rest assured,it’s the Young Hottie he drives off with) and the casting of Christophe Waltz a little too….obvious.
But as the culmination of a fascinating exercise in Universe Building first started in Casino Royale (practically a requirement for Successful Franchises in the 21st century), Spectre is indispensable for Bond fans endlessly fascinated with his Mythology. Those far more interested in Invisible Cars, Exploding Pens and Busty Rocket Scientists can check out the Brosnan Oeuvre.
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asmamasood
February 15, 2016
My take on Spectre: “Speaking of Bond on Valentine’s Day” By Asma Masood https://asmamasood.wordpress.com/2016/02/14/spectre-speaking-of-bond-on-valentines-day/
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