SPOILER ALERT: You might not want to read this review unless you’ve seen The Dark Knight Rises. The reasons why will become apparent soon enough.
Tomorrow Never Dies had been the usual James Bond box office success, which was of particular note on this occasion given that it opened on the exact same weekend in 1997 as Titanic. But it seemed clear to all involved that there was something lacking amidst the bluster and explosions. Pierce Brosnan himself asked for material to challenge him as an actor rather than continue to be a glorified stunt performer. The focus for the next movie then would be more on character, and to that end, producers Michael G. Wilson and Barbara Broccoli, now steering the series together after the passing of her father Albert, enlisted the services of director Michael Apted, who had made the acclaimed “Up Series” of documentaries following up on a group of British schoolchildren every seven years of their lives, and had directed Sissy Spacek to her Best Actress Oscar in Coal Miner’s Daughter. The screenplay would return to the vein of Goldeneye, with its shifting alliances and a story set amidst the wreckage of the Cold War. In a first for the Bond series, the primary villain would be a woman. Recognizing also that Judi Dench was too strong a performer to be confined to the customary briefing scene at the beinning of the movie, M would take a much greater role in the plot, with Bond forced to grapple with the consequences of her past mistakes (an element that seems to be replicated in Skyfall, but I guess we’ll see at the end of the week). The World is Not Enough would take its title from the motto of the Bond family, first revealed in On Her Majesty’s Secret Service: “Orbis non sufficit.”
After Bond becomes an unwitting accomplice in the murder of British oil tycoon Sir Robert King, he is assigned by M to protect King’s daughter Elektra (Sophie Marceau) from the terrorist Renard (Robert Carlyle) who once held her for ransom and has seemingly returned for vengeance. Bond is immediately smitten with the beautiful and damaged Elektra, who intends to continue her father’s work of building a much-needed oil pipeline across treacherous old Soviet territory, in direct competition with three Russian pipelines also under construction to the north. Following a night in Elektra’s bed, Bond pursues a lead to Kazakhstan where he discovers Renard is attempting to steal weapons-grade plutonium from Soviet nuclear warheads that are being decommissioned under the supervision of Dr. Christmas Jones (Denise Richards). Renard, a remorseless, relentless man who is unable to feel pain because of an assassin’s bullet working its way through his brain (an assassin sent by M herself, no less) seems to have an insider in Elektra’s organization, and is successful in escaping with the nuclear material. Bond believes that insider is Elektra herself, who he suggests is suffering from Stockholm Syndrome and helping Renard out of twisted devotion to her former kidnapper. But after Elektra’s pipeline is attacked, and M is taken prisoner, it turns out that things are the other way around – Renard fell in love with Elektra and has been her pawn the entire time; she has engineered her father’s murder to seize control of his company for herself. With time running out, Bond must rely on the help of his old frenemy Valentin Zukovsky (Robbie Coltrane) to rescue M and stop Renard from using his stolen plutonium in a suicide attack aboard a nuclear sub that will destroy Istanbul and contaminate the Bosphorus with radiation, rendering the competing Russian pipelines useless and making Elektra’s the sole vehicle for delivering oil to the West.
I observed in my review of On Her Majesty’s Secret Service that it was one of Christopher Nolan’s favourite movies, and whether intentionally or not, the plot of The Dark Knight Rises mirrors what happens in The World is Not Enough as well. Bane, like Renard, is a terrorist villain who appears to be the primary antagonist, only for it to be revealed that he is a mere accomplice, driven by love to carry out a suicidal nuclear attack for the true mastermind who appears at first to be the hero’s romantic partner, Miranda/Talia al Ghul and Elektra, respectively. Both men are physically stronger than average, because of an unusual tolerance to pain (Renard cannot feel any, while Bane constantly inhales an anaesthetic gas to numb his sensitivity to it.) Where the films differ is in their treatment of the terrorist. Renard, with the makeup for his bullet wound giving him a perpetually sad-eyed look, is a villain whom you almost feel sorry for – he nears the verge of tears when confronted with his inability to provide Elektra the kind of physical pleasure she has received from Bond. He loves Elektra desperately, yet cannot be the man she wants, and so, with all he has left to offer – his life – he tries to give her the world. Carlyle is excellent and understated, conveying obsession, cruelty and a resigned acceptance of his own fate; a truly complex and intriguing bad guy. Marceau is elegant as a wounded young woman attempting to round out her life with empty pleasures, although when she unveils her true nature she veers a tad hammy. Still, equal opportunity villainy (as director Michael Apted put it) gives Brosnan the chance for a brutal and singular Bond moment when he shoots her dead.
As I mentioned earlier, Judi Dench’s role has been greatly expanded this time and we learn some history about the nameless woman who runs MI6, as she begins to show the motherly side of M that would fully manifest during Daniel Craig’s tenure. She also has a chance for an action beat of her own when performing some MacGyver-like modifications to a nuclear locator card while in captivity to allow Bond to find her. It’s also wonderful to see Robbie Coltrane back as the roguish Zukovsky, who after having his own loyalties tested becomes a full-blown if short-lived ally to 007. And the legendary John Cleese is on hand as Q’s assistant R with some witty one-liners and his talent for pratfalls. But then there is poor Denise Richards. More than enough has been written about her performance in this movie to satisfy the snarkiest Internet commenter. This seems to have been another case where she was shoved in at the behest of a studio uncomfortable with too many European names in the cast, but in Richards’ defense, I doubt Meryl Streep would have been able to do very much with the part, scripted almost as an afterthought with unsayable lines about tritium and radiation levels. Richards looks great though, which is really the only reason she’s there. Scratch that – she’s there because otherwise, with Elektra taking a bullet through her chest, Bond finishes the movie alone, and the filmmakers weren’t brave enough to try that departure from formula quite yet (especially when there are bad puns to be made from Jones’ first name).
Where The World is Not Enough is strongest, ironically, is when it does break away from the routine and venture into new territory. Bond has an emotional journey this time, his defenses peeled back as he tries to achieve justice for Sir Robert King’s death, clean up M’s old mess and grapple with his own betrayal by a young woman he was coming to care for deeply. Apart from the opening leap from an office window and the thrilling boat chase down the Thames, the rest of the rather low-key action (including a ski chase, a confrontation with razor blade-wielding helicopters and a disappointingly unengaging climax set aboard a submarine tilted on its end) suffers from being juxtaposed against character development scenes that are much more dramatically interesting – you find yourself waiting for the shooting to stop and the music to dial back so the movie can get back to its (mostly) terrific roster of actors exchanging nuanced dialogue. That’s where the real movie lies. The World is Not Enough is built on secrets and emotional revelations, not a technical mystery to be unravelled one explosion at a time. Despite critical indifference, centered largely on Denise Richards’ acting and the scaled-back nature of the story, I have a feeling that it’s one that Ian Fleming himself would have appreciated.
On a sadder note, this would be the final film for Desmond Llewelyn as Q, whose farewell as he sinks slowly out of frame after imparting some fatherly advice to 007 is deeply touching. Llewelyn, who joked that he would continue appearing in Bond movies “so long as the producers want me and the Almighty doesn’t,” passed away shortly after the film’s release in a car accident while returning from a signing event. While Llewelyn, somewhat regrettably, never earned very much from his long-running role as the irascible quartermaster, he was beloved by fans and the Eon crew alike and worked tirelessly to promote each new movie as it came out. I had the fortune of seeing him in person in Los Angeles in 1997 when he and Pierce Brosnan appeared on The Tonight Show to hype up Tomorrow Never Dies, although we didn’t get the chance to meet. The applause when he walked out onstage was louder than that which greeted anyone else that night. The spirit of dear old Desmond Llewelyn, I suspect, was indeed returned to his Almighty “in pristine condition.”
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