Contains Spoilers.
Bond has been rejuvenated, yet again and soon enough to rinse away the rancid aftertaste of Marc Forster’s shambling Quantum of Solace. With Forster busy making a shambles of the buggered production World War Z (he’ll be back to making small personal films in his shed in no time), all-purpose auteur Sam Mendes has put the upstart Forster in his place. Taking the reins and steering Bond back on course with a lean, sly and effective machine of a movie. Continuing the grounded trappings of the Daniel Craig series whilst reintroducing key franchise hallmarks (gadgets, machine gun mounted Aston Martins, and death by Komodo Dragon) and in true post-modern fashion, dismissing old ones (“what did you expect, an exploding pen?” Ben Whisaw’s Q snarkily/apologetically quips).
Naturally with a helmsman of the pedigree of Mendes it was natural to assume that he was bound to bring his auteur baggage onboard. Thankfully, his inclusions serve to add seasoning to the broth without ladling in any indulgent slop. Skyfall at times resembles the later Harry Potter instalments; a previously upbeat series devolving into murky waters. Mendes no-bullsh*t approach keeps the pace rocketing along and investment high, although this certainly never equals the stakes and danger achieved by Casino Royale, this is without a doubt the most stylish 007 outing yet. Made more impressive by Roger Deakins trusty camera as silhouettes highlight the brutality, key characters leap in and out of hotspots of light and warm golden hues bathe the obligatory (if typically vanilla) sex scenes. Aside from the Walther PPK, light is Skyfall’s weapon of choice.
Its trump card is Javier Bardem’s effeminate, Roy Batty-esque sociopath Silva. Roger Ebert warned of making brash statements in reviews (as such, ‘Hakuna Matata’ has yet to enter everyday parlance) but it may be apt to state that Bardem has delivered the most memorable Bond villain since Xenia Onatopp (yes, it has been THAT long). Silva, a private school manchild with a devilish grin that belies a particularly nasty dental issue (recalling Richard Kiel) that make Le Chiffre’s ‘deranged’ weeping tear duct look as inconsequential as a sneeze. He cements himself in our minds as an adversary cunning and boyishly tragic in equal measure. At times, comparison with Heath Ledger’s Joker is inevitable, as this gaunt psycho weaves his way in and out in of disguise changes and predetermined schemes so forensically precise they verge on absurdity, highlighting the classic tropes this series has promised the 21st century to shake off. It’s a shame then that the supporting cast lacks as much magnetism. Aside from a witty Ben Whisaw, the inclusion of Naomi Harris and Ralph Fiennes sees them required to ‘bring water to the mill’ and do little more than to pad out the ranks. Even a disinterested Judi Dench seems grateful that this episode hangs a question mark over M’s MI6 longevity.
Whilst Skyfall safely delivers beyond satisfaction, it is of course not without flaws. Bond’s palm-identified handgun is now not much more than a stripped down version of Judge Dredd’s lawgiver. The theme song is only made identifiable by the fact that it has the title in the lyrics (Adele has neither Shirley Bassey’s bravura or Tina Turner’s catty hutzpah, and seems content simply to belting out notes) and surely at this point it’s possible to create a photorealistic CG helicopter in a $200 million Bond movie, surely? Additionally, the new Bond’s recent attempts to imbue heartbreak or jerk tears are largely futile. With a series spearheaded by a detached, non-committal government stooge, the audience is now largely in the same league. At best we’ll grin in delight at his debonair antics or scowl at the nefarious schemes, but we’ve not been conditioned to weep and we probably never will.
What then is Skyfall’s key achievement? By bringing back increments of camp to complement the grit, this is Bond taking shape again. He’s back, he’s cool and he’s never looked better. Although, even after 50 years, 007 needn’t be under so much pressure to grow up so fast.
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