The Best Bond Ever, 007
While at first a reasonable subject about which to gossip, it soon grew rather tiresome reading article after article speculating over whether or not Bond 24 would be the last time audiences, for better or worse, observed Daniel Craig's interpretation of the most well-known icon on the British silver screen. Such a question, surely, could never hope to be answered until both critics and fans actually watched Spectre in order to draw more informed conclusions. And yet, finally being able to indulge in another mission filled with carefully planted references to the 007 classics, through delightful motifs, dialogue that once again captures that perfect and uniquely Bond balance of comedy and drama of the darker sort, as well as beautifully shot sequences celebrating the globe-trotting privilege of a secret agent, one is left ultimately no closer to the truth when the mission's accomplished. Regardless, that very mystery has been exploited from the beginning in order to a achieve an intelligent advertising campaign that in turn allows Bond to succeed in global domination at the box office. Moreover, that same mystery, so easily shattered by just one carelessly spilled secret, remains prevalent throughout the movie in order instil a sense of relief in the audience once they realize one thing - the Bond that they fell in love with, after a journey filled with joy and sorrow both on and off-screen during the course of what is now four productions to date, is back. Thus, a desperate attempt to deny and be rid of what was perceived to be Craig's permanently Bourne-like or Mission Impossible flavoured British spy has become a celebration of one of the finest character developments in a movie series. As a consequence, there may now be a great number of hardcore and casual fans hoping in equal measure that, in spite of a final Spectre scene providing satisfactory closure and at the same time leaving behind a noteworthy number of opportunities for curious afterthoughts, Craig may yet be at the forefront of Bond 25 and beyond.
The clearest indication that the world's latest Bond representative has now been clearly initiated into the ranks of the classic 00 knights comes to light when one remembers to link each of Craig's movies together. As Spectre links them all in superb fashion, audiences taking note of just about every little detail will delight when they realize that each outing has seen Craig progress further in developing that distinctly Bond attitude to life. Observe the "Vodka Martini, shaken, no stirred" request forever associated with Bond. Learning the hard way has highlighted that if one asks for this in real life settings, even in the appropriate ones like luxury bars, one is likely to receive a nice enough-looking beverage, but not before a very awkward look and wait. The drink, as far as the world's collective psyche is concerned, remains exclusively Bond's. Craig in Casino Royale, in a moment at once hilarious and then shocking to 00 nerds, effectively throws that iconic drink off a roof by stating in frustration to the inevitable but nonetheless anticipated request, "Do I look like I give a damn?" Quantum of Solace features an equally rebellious but now mournful Bond pondering over where he's headed with life. In a moment of rest, he is offered a drink. This drink, he discovers, is actually quite nice. He asks the barman what it is and is met with a response that at that point in the movie sends most to sleep. It's a long explanation of how the classic drink is made but all one really needs to do, like Bond, is go for the key words, "shaken well" to realize what's being referred to. After wondering if there will ever be another Bond movie again, finally Skyfall comes along and obliterates British box office records, while also accomplishing the mission of making Bond officially Oscar-worthy. Director Sam Mendes employs his theatrical film-making techniques, which at times make one feel as if one is part of a painting in motion, through use of rich colours and tirelessly choreographed character actions, in order to portray the mixing of the classic drink as if it was one of the greatest art forms known in hospitality. No words need to be spoken by Bond in this instance to suggest that he is happy to be returning to this drink again. Finally, when Bond has a brief moment breathe in Spectre, a mission that even at its slowest pace maintains a chilling tension that will make one feel as if not even the person sitting beside them in the cinema can be trusted, he specifically asks for that classic drink. His specifications couldn't be clearer. Yet on this occasion the demand cannot be met. Fear not, since the sequence referred to is truly funny and immensely satisfying in the grand scheme of Bond's character development. The Vodka Martini, shaken not stirred, is now once again Bond's number one choice at the bar. And so, Bond really is, as the latest film suggests, just getting started.
Even after the immense success enjoyed by Skyfall, the cast and crew, both old and new, ensured that all of the beauty of the last instalment reached even greater heights, while all of the criticisms, big and small, were examined and addressed. For instance, many found it odd that the central antagonist of Skyfall didn't show his face for well over and hour into the movie. This time around, the villain gracefully enters the frame much sooner. Furthermore, the screenwriters have worked to ensure that plot-mines are crossed much less frequently as they put Bond up against threats unique to our rapidly shifting modern civilisation. However, positive points from the previous mission, like the variety of environments depicted, are also improved further, since the shots selected for each of the locations toured by Bond are oozing with life and contrast, courtesy of the careful employment of light with shadow. One revels in the possibilities of how the unique facets of other countries could be celebrated if a strong enough case was made for going there. Will the 21st century Bond ever set foot in a country like South Africa or Canada for example? The answer, like it or not, is this - whatever is best for the story, and maybe the budget, too.
The reaction to Spectre's theme song. "Writing's on the Wall", by Sam Smith, will likely repeat itself once the film is viewed. Those who dislike the song have tended to suggest that it is not a classic but good enough. Such an opinion may be the result of expectations that are too rigid and do not allow for a mix between old and new to the extent where the traditional elements employed are overlooked. The song cannot be dismissed simply because the the film's title is not part of the lyrics. Listening carefully to the tune will result in an appreciation of the classic elements, such as the use of orchestral instruments or lyrics relating to Bond's character development in the story, which more than compensate for noteworthy changes. It is said that one will grow to like any music if that music is listened to enough. The same could be said for Craig's Bond interpretation.
Love or hate Spectre, the world and especially Great Britain continues to rely on a James Bond movie like a drug. Increasingly such a film is a reminder of notions like impossibly evil villains, unbelievably beautiful and yet equally strong women, the hint of victory against depression-inducing odds, and, in particular, Great Britain's 'special' connection to just about every other country on earth. With these thoughts in mind, Spectre has succeeded and will rightly become one of the most successful films in cinema history. Until next time, 007, great job!
VERDICT: 10/10
