Latest James Bond film delivers new character development
Sometime during the second hour of “Skyfall,” Daniel Craig states, in one of the film’s memorable one-liners, that “resurrection” is his hobby. But “resurrection” isn’t the correct word to describe director Sam Mendes’ handling of the latest James Bond film; it’s “revision.”
Most Bond films have followed a pretty standard formula: A cartoonish villain unveils an evil scheme, Bond sleeps with the latest Bond girl and the quartermaster introduces some cool gadgets. “Skyfall” features similar aspects of the usual formula, but presents something desperately lacking in the old Bond world: character insight.
Mendes doesn’t display a newly stylized version of 007, but he does present a Bond film with some substance, with its deep look into the psyches of its characters and old versus new topics.
Like the more recent Bond films “Casino Royale” and “Quantum of Solace”, the plot is more grounded in reality than most other Bond films have been. “Skyfall” opens with a rousing if implausible precredits chase sequence where Bond (Daniel Craig) and fellow agent Eve (Naomie Harris) attempt to recover a stolen hard drive containing the names of all of the embedded field agents before it can be decrypted. However, Bond is shot and believed to be dead.
While Bond is enjoying his death, a cyber-terrorist attack threatens MI6, forcing him to spring back into action. But Bond returns with a shaky trigger finger caused by a combination of a chest wound and alcoholic habits. He becomes aware that he is growing old and past his prime, leaving him unfit for duty and at a disadvantage.
The screenwriters fill the second act with foreshadowing moments of looming change. M becomes a victim of a political struggle caused by her past decisions, forcing her to step down while her overseer Gareth Mallory (Ralph Fiennes), the atypical bureaucrat, helps out where he can behind the shadows.
The movie does come with a message of how old-fashioned methods are sometimes the best solution, but the movie deserves a vodka martini for realizing that old rules need no longer apply. Yes, we get the exotic Bond girl (Berenice Marlohe), plenty of action and even the return of the Aston Martin that caused squeals of delight at my screening. But all of this takes a back seat to a refreshing story about means and ends, the burden of power and the tougher side of Judi Dench’s M.
In fact, the characterization of M gives “Skyfall” a new sense of resonance. The Bond/M trust aspect of the story gives Dench a chance to turn M into a more rounded character.
There’s plenty of mixture of the old and the new, blending all of the historical homages with modern action. A young Q (Ben Whishaw) appears as a computer genius with absolutely no interest in making explosives while agent Eve eventually finds herself in a much more familiar position.
The movie delves deep into the psychological issues behind Bond, M and the wonderfully over-the-top villain Silva (Javier Bardem). Silva isn’t another well-funded genius seeking world domination — a small island is enough for him. His goals are more personal, a revenge plot against those who have wronged him.
Mendes brings along acclaimed cinematographer Roger Deakins (“No Country for Old Men”), who makes this the most gorgeous Bond film so far. He provides some excellent camera work to accompany the action scenes, especially a beautifully handled, vertigo-inducing fight scene in Shanghai, backlit with giant video displays. The most notable shot involves a long-distance shot introducing the villain slowly moving toward a captive Bond.
Craig is really growing into the role. As a damage-prone Bond in “Skyfall,” he successfully propels a certain woundedness and soulfulness into the role. I’m not saying Craig’s portrayal is the best, but this is the best characterization of James Bond in years. We don’t get the straightforward Bond who saves the day and gets the girl; there’s actual insight to the man behind the gun, even to the point where Bond’s past finally gets some development (hint: It has to do with the title).
But bleached-blonde Bardem outshines Craig as the movie’s real star. He’s not just another sadistic lunatic; this is a man who has been morally wronged and seeks retribution. This performance easily rivals Bardem’s portrayal of Anton Chigurh from “No Country for Old Men.” Bardem presents equal parts rage-fueled machine and fake-smiley, sexually charged computer genius that creates some homoerotic tension with Bond.
With half a century of bullets, babes and blasts, there is no doubt that people still go to Bond films for the familiarity, despite the franchise’s constant tweaks. Still, it’s refreshing to see that a more grown-up approach can be taken toward the franchise — one that Mendes successfully uses to revitalize Bond.