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The countdown concludes: Skyfall

Only a fool fights in a burning house.

Well… was it worth the wait?

I can’t speak for you of course, I can only offer my own opinion.  And if you haven’t seen it yet, I’d encourage you to bookmark this, close the window and come back later.  Skyfall is a movie loaded with surprises, and it would be a shame to spoil any of them for you.  Go on then, go check it out.  I’ll be here when you get back.

When MGM was forced to file for bankruptcy in 2010, it looked for Bond fans as though we might be in for a repeat of the long dark night of the early 90’s.  Those whose appetites were left wanting by Quantum of Solace were forced to grapple with the notion that it could possibly be the last one for a long time.  But as has happened before, events for 007 had a way of working themselves out, and this case, very much for the better.  The most inspired stroke was the hiring of director Sam Mendes, a veteran of the British theatre whose first movie American Beauty had secured Academy Awards for Best Picture, actor Kevin Spacey, screenwriter Alan Ball and of course himself as Best Director.  Mendes had followed up on this achievement with the visually captivating Road to Perdition, which featured in its star-studded cast an up-and-comer at the time named Daniel Craig.  Mendes’ name got the A-list to sit up and take notice, and so for Skyfall, instead of the usual roster of capable if mostly unknown performers, we have the most pedigreed assemblage of genuine movie stars to ever take part in a Bond adventure; actors who would likely have turned up their noses in decades past.  And Mendes gets everyone to give their absolute all – there is no phoning it in, no dodgy line delivery, no short-shorted twenty-year-olds trying to explain nuclear physics phonetically.  It’s critical because Skyfall is a story, like the best of the stage, that depends on great acting.  It is not a battle for the fate of the world – it’s a struggle for the life of one very important person.

As the movie opens, Bond and junior field agent Eve (Naomie Harris) are struggling to clean up an operation gone bad in Istanbul, where a gun-for-hire named Patrice (Ola Rapace) has murdered several British agents and made off with a hard drive that contains a list of every embedded NATO agent in every terrorist cell across the entire world.  The mission goes truly awry when on orders from M (Judi Dench), Eve shoots and appears to accidentally kill Bond.  Patrice escapes, and M is hauled on the carpet by Gareth Mallory (Ralph Fiennes), the bureaucratic chairman of the British intelligence service.  His government is convinced that the kind of human intelligence that MI6 represents is no longer needed in the absence of clearly defined enemies like those of the Cold War.  Returning to the office, M receives a mysterious transmission telling her to “think on your sins” and watches helplessly as MI6’s London headquarters explodes, killing several of her operatives.  A very much alive Bond, who has used his presumed death to disappear to a remote part of the world and has become addicted to painkillers and drink, finds out about the attack and decides to return to service, although he is a worn out shell of the specimen he once was.  Despite failing his physical and mental readiness tests, Bond is sent by M to Shanghai to follow up on the location of Patrice.  It’s there that Bond meets the beautiful yet emotionally scarred Sévérine (Bérénice Marlohe), who reluctantly leads him to her employer – Raoul Silva (Javier Bardem), a former MI6 agent (and former “favourite” of M) who was abandoned to torture after his identity was compromised, now living only for vengeance against “mommy.”  Although he cannot save Sévérine, Bond is successful in capturing Silva and returning him to London, thanks to a revolutionary gadget supplied by the young Q (Ben Whishaw) called a “radio.”  However, the capture of Silva seems to be a component of the villain’s master plan, which sees him promptly escape custody and go after M as she is attending a government hearing on her competency as head of MI6.  Bond realizes he needs a home field advantage, and so absconds with M to Skyfall Lodge, his empty childhood home in cold, rural Scotland, which is still being tended by gruff but lovable gamekeeper Kincade (Albert Finney).  Armed with only a handful of hunting rifles, Bond’s Aston Martin DB5 and a good helping of ingenuity, Bond, M and Kincade stand off against Silva and his men in a final brutal showdown which sees everything Bond believes in tested one final time, and his world changed forever – ironically bringing him back after a three-movie arc to where James Bond 007 as we know him truly begins.

In reviewing the preceding 24 Bond films over the last month, the trend that has emerged most strongly for me is the struggle to maintain balance between spectacle and substance; to ensure that along with the dessert goes a healthy but not too plodding serving of meat and potatoes.  The problem is that the eye candy is diverting, but we need a compelling reason to care about what’s going on in front of us, apart from just thinking that James Bond is cool and we don’t want him to die.  In Skyfall, as befits the CV of Sam Mendes, the stakes have never been more personal or more emotional for James Bond – you know going in you’re not going to get the downright stupid antics of A View to a Kill or even the mind-numbing kill-a-thon of Tomorrow Never Dies.  And the story is crafted by screenwriters Neal Purvis & Robert Wade (their 007 swan song, apparently) and John Logan (Gladiator, The Aviator, Star Trek Nemesis) to move away from mechanics and big machines – the villain as a mere extension of evil technology – to hinging on the consequences of personal choices.  In fact, the McGuffin of the stolen hard drive is more or less forgotten about by the middle of the second act, but by that point we realize it doesn’t matter in the larger scheme, because we care more about the people than the plot.

My own Bond girl observed to me that she was most impressed by the calibre of acting this time around, that there isn’t a weak performance in the bunch, and she’s correct.  Fiennes gets to dial it down a notch after finally escaping from Voldemort purgatory to portray a public servant struggling with the demands of accountability to a public (and a government) that sees the world in black and white and his recognition of the world of shadows within which M and MI6 operate.  Finney, with whom working was apparently an unfulfilled lifelong ambition of the late Albert R. “Cubby” Broccoli, is wonderful as the cranky old Scotsman who raised Bond after the death of his parents, and his chemistry with Judi Dench provides a gentle human contrast to the pyrotechnics of the final act.  Harris is a flirty and fun companion to Bond, and their relationship, which consists largely of verbal sparring (and one close shave) is clearly never going to progress to Vesper Lynd levels, but the reason why makes perfect sense as the movie draws to a close.  I don’t have the words to capture even a fragment of Bérénice Marlohe’s exotic, soul-shattering looks, but her Sévérine is a classic tragic Bond girl in the tradition of the Ian Fleming novels, her inner wounds elevating her from vampy, dragon-manicured femme fatale to a richly rounded human being, whose only failing is she isn’t on screen long enough for my liking – although perhaps that’s just my hormones talking.  The competing spy series XXX tried to introduce the idea of a young gadget-master in the vein of Q, but wound up with an unfunny scenery-chewing hack; Whishaw shows how to do it right, with low-key self-awareness that never veers into the smug smartassed techno-geekery that would make you want to punch him.  He is, like the other supporting players, the perfect foil for 007.

But Skyfall is the trifecta of performances that form its sad emotional core – the mother and her two sons.  Raoul Silva is perhaps the most unique Bond villain in decades; a former agent, once dedicated to the cause, who has suffered tremendously and is now driven and remorseless – his own kind of blunt instrument.  Yet Silva is also flamboyant and colourful in a way that none of 007’s foes have been in recent memory, prone to fits of tortured laughter as he struggles to hold himself against the insanity that boils beneath the surface, the inner physicality ravaged by a failed cyanide capsule, keeping himself together long enough to complete his mission of vengeance against M, a woman for whom he once held tremendous feelings of loyalty and the love one would have for a mother.  Particularly telling is his final confrontation with her, when he notices that she is wounded and still finds it within himself to care about her pain – seeking, at the end, to free them both from it.  As the audience we too feel sympathy for Silva despite his acts of terrorism; we cannot fully condemn the path he has chosen, as much as we don’t want to see him win.  With his complex and layered performance here, by turns charming and skin-crawlingly creepy, Javier Bardem has set a bar for James Bond villains as high as that achieved by Heath Ledger as the Joker in The Dark Knight, and one does not envy the task awaiting the next actor or actress who must don this imposing mantle.

When Judi Dench was first cast as M for Goldeneye, it was a novelty – here was the world’s most famously sexist spy taking orders from a woman for a change.  The filmmakers quickly wised to the capabilities of the actress they had enlisted for this previously inconsequential role and beefed up M’s contributions from film to film.  The World is Not Enough was the first real attempt to expand the role of M, but like the rats so frequently mentioned by Silva in this movie, it only scratched very tenuously at her surface.  Casino Royale and Quantum of Solace recognized the maternal aspect of M and began to subtly play up this new angle, but in Skyfall that metaphor is the crux of the movie:  M is the leading lady this time.  It is Bond’s loyalty to her that brings him back to her side over the cynicism and disillusionment he feels, inasmuch as it is Silva’s loyalty to her that lies at the heart of his feelings of betrayal.  However, M’s loyalty has always been to the mission – the greater good of queen and country – and Bond’s and Silva’s inability to comprehend that the devotion shown to them is not personal leads both men to choose radically different paths; only one on the side of the angels.  Dench is magnificent as this most inscrutable of mothers, who clearly cares about the agents whose careers she has nurtured but fights to keep that sentimentality under control, and is filled with regret for the decisions she’s had to make that have gone against the mother’s instinct to protect her children.  Does M’s gender make her a better intelligence chief or a lesser one?  Skyfall seems to suggest that despite the predictable harsh consequences to a woman’s soul, it favours the former – M’s final confession to Bond being the proof.

Famous actors who have allegedly turned down the role of James Bond have described him by turns as boring, frivolous or simply immoral.  I would argue that Bond is in fact one of the deepest, most fascinatingly ambiguous characters on the silver screen, and with Skyfall, Daniel Craig has finally nailed him.  If in Casino Royale he was figuring himself out, and if in Quantum of Solace he was simply angry, Craig is confident enough here to play Bond torn apart – almost literally by bullets – and reassembled piece by shattered piece, emerging at the end as James Bond in all his classic glory and ready for new adventures bold.  Craig asked for more humour in the script this time, and Bond is much quicker with his wit than he has been for a while, with Craig surprisingly deft with a clever, well-written wisecrack after having seemingly cemented himself as the brooding man’s James Bond.  His Bond is also refreshingly less than superhuman, his strength failing and his marksmanship suffering, with sheer determination and adrenaline making up for what his skills lack.  The “old ways” which come so sharply into focus in the finale are in fact the only way to defeat a techno-genius like Silva, much as one needs a Daniel Craig in comfortable, fighting form to share the screen with a performer like Javier Bardem and not be completely blown off it.  If any doubts yet remained, Daniel Craig is James Bond for our generation, and the last two or three people left in the world who don’t agree can frankly suck it.

Skyfall is such a sumptuous feast of a 007 movie that I could probably go on for paragraphs more in dissecting its every precious component and why it is such a triumph, but rather than risking the old tl;dr, I have to make at least a brief mention of the cinematography of Roger Deakins, which is the most polished and gorgeous photographic work seen in a Bond movie likely ever.  Whether it’s in the neon flash of the lights of Shanghai, the bleak moors of Scotland or simply making Bérénice Marlohe look like a goddess made flesh, Deakins crafts a sublime palette for the story to unfold upon.  It’s been suggested that he should receive an Oscar nomination for his work here and I heartily agree.  I also want to note the welcome return of Daniel Kleinman to the position of main titles designer after the boring one-off that was MK12’s contribution to Quantum of Solace – Kleinman has always treated the titles as a chance to advance the story through abstract, artful imagery instead of just a “commercial break” with random silhouetted women gyrating in shadows, and he backs Adele’s haunting theme song with a sequence that plays almost like a graphic journey into the depth of Bond’s soul.  And last but not least, everlasting gratitude to Sam Mendes and second unit director Alexander Witt for holding the camera still.  My eyeballs thank you, and my stomach thanks you.

So that’s it, and after a month of journeying through the highs and lows of 50 years of movies I’m saying goodbye to James Bond for now.  I may have further reflections at a future time, once the memory of Skyfall has firmly entrenched itself in my brain and whether my opinion evolves upon further viewings.  Since we started this voyage back in the middle of October, the world has tumbled onward and given me plenty of new things to write about, and it’s time to get on with that.  As the new M tells Bond at the end of the movie, there’s plenty of work to do, and as Bond replies in turn, it’s my pleasure.

Cue the explosive horns and electric guitar of the James Bond theme.  Over and out.

Skyfall Countdown Day 1: Quantum of Solace

Daniel Craig aiming at the 185235th person to complain about the movie’s title.

Those who prefer their film franchises with rock-solid continuity are best steering clear of James Bond.  It is impossible to square the various circles that arise each time a new movie is released, even with the occasional tip of the hat to Bond’s past that might be included.  Roger Moore’s seemed to be if you consider the opening of For Your Eyes Only, but is Timothy Dalton’s James Bond meant to be the same man who married and then lost Tracy di Vicenzo?  How are we to believe that Blofeld could not recognize Bond in On Her Majesty’s Secret Service when they just met in You Only Live Twice – and what happened to his scar?  Is Felix Leiter a short old guy with a dorky hat or is he Christian Shephard from Lost or McGarrett from Hawaii 5-0?  Is Judi Dench’s M the same person who managed Pierce Brosnan’s veteran James Bond for four adventures and then promoted Daniel Craig’s James Bond to 00-status?  The mind wants to see logical connections, and will grasp at the flimsiest rationale to justify them.  But James Bond never cooperates.  It’s best – to preserve one’s sanity – to approach each movie as its own, individual entity.  Of course that doesn’t work when considering Quantum of Solace, the first direct Bond sequel.  Taking its title but nothing else from the Ian Fleming short story about James Bond attending a boring dinner party, it picks up literally five minutes after Casino Royale ended and sees Bond criss-crossing the world in pursuit of the shadowy terrorist organization that robbed him of his love Vesper Lynd.

Delivering the wounded Mr. White (Jesper Christensen) to an MI6 safe house in Italy, Bond and M are shocked when M’s personal bodyguard turns out to be in league with White and allows the mysterious bagman to escape.  A clue among the bodyguard’s possessions leads an angry but determined Bond to Haiti, where he encounters Camille Montes (Olga Kurylenko), a Bolivian secret service agent in pursuit of the exiled General Medrano (Joaquin Cosio), the former dictator of Bolivia who was responsible for the murder of her father and rape of her mother and sister.  Medrano is being aided in an imminent coup d’etat in his former nation by environmentalist Dominic Greene (Mathieu Amalric), whose organization is arranging Medrano’s return to power in exchange for a supposedly worthless tract of Bolivian desert.  Eager for this coup to go forward are the CIA’s South American station chief Gregg Beam (David Harbour) and his deputy Felix Leiter (Jeffrey Wright, reprising the role), in exchange for a share of the oil bounty rumoured to exist beneath the desert.  Following Greene to Austria, Bond snoops on a meeting Greene attends at a lavish lakeside production of Tosca – whose other participants are global power players and members of the secret organization to which Mr. White belongs, including a senior advisor to the British Prime Minister.  When Bond blows their cover and is blamed for the death of the advisor’s security man, M cuts off all 007’s financial support and forces him to seek the aid of former ally René Mathis (Giancarlo Giannini).  The two journey to Bolivia, where it turns out that talk of oil is smoke and mirrors to fool the superpowers into looking the other way:  Greene is after Bolivia’s water supply, which he intends to sell back to Medrano for twice the current price after installing him as President of Bolivia.  However, Greene’s people are deeply entrenched – Mathis and fellow agent Strawberry Fields (Gemma Arterton) are murdered, Bond is held responsible and the CIA is closing in.  Tipped off by the ever-reliable Leiter, and with little but Camille’s help and the lingering trust of M, Bond pursues Greene to an explosive showdown in the middle of the desert, where he must stop the coup, allow Camille to have her vengeance, and find out just who is masterminding this secret terrorist organization, called Quantum.  A coda in Russia sees Bond confronting Vesper’s former boyfriend, also a Quantum operative, who is being used as a honey trap to seduce highly placed female agents into giving up valuable classified information.  Bond finishes his adventure alone once again, leaving Vesper’s necklace behind in the snow before the famous gunbarrel roars across the screen to close this second chapter of James Bond 2.0.

Deleted scenes on a DVD are a fascinating glimpse into the filmmaking process, but it’s readily apparent why they were lopped out of the movie – they weren’t necessary to advance the story.  In much the same way, Quantum of Solace feels like the deleted scenes of Casino Royale.  Bond himself has taken a step backwards from where he found himself at the end of the first movie, as Vesper had proven, even in death – by giving up Mr. White – that her love for Bond was genuine, as was her remorse for betraying him.  But here Bond seems to have forgotten all of that; it’s as though the last twenty minutes of Casino didn’t happen, and he is still furious with her and unable to forgive.  And quite frankly, James Bond is not really a pleasant person in this movie.  He is cold, distant and often silent, a blunt, charmless instrument.  I suppose these traits are appropriate given Bond’s presumed state of mind, but the movie doesn’t take the time to address them.  Director Marc Forster has said he wanted the movie to be tight and fast, and true enough, Quantum is lean and mean at 107 minutes versus Casino’s 145, but part of the joy of watching a Bond movie is taking the time to appreciate the locations, the characters and the atmosphere.  Quantum of Solace feels a bit like the film projector is running too fast, it’s in such a hurry to get to the end.  Part of the issue as well was that the movie laboured under the Writers’ Guild strike of 2008, and scenes were being rewritten minutes before being shot, with Daniel Craig confessing that with the writers on the picket line, the task was left largely to him and Forster.  Even though Paul Haggis receives official writing credit (along with the apparently tenured Neal Purvis and Robert Wade again) what dialogue there is feels clunky and disjointed and has none of the zip and panache that accompanied the exchanges of Casino Royale.  Characters contradict each other, forget things they’ve just learned and offer witticisms that make no sense.  (There is really only one good line in the movie, and it’s in Spanish – when Bond explains how “teachers on sabbatical” can supposedly afford to stay at La Paz’s most palatial hotel.)

Without a solid script this time, Forster has to focus on what he can do with the action and the visuals.  Despite an unfortunate borrowing of technique from the Bourne movies and their damnable shaky cameras, for the most part the action scenes are well-executed, if routine and lacking somewhat in innovation.  Forster uses an interesting approach in that each of the movie’s four major action beats are based on a classical element of nature – the opening foot chase (earth), the Haiti boat pursuit (water), the battle in the skies above Bolivia (air) and the final explosive showdown (fire).  But Forster’s best work is to be found in the Tosca sequence, with villains hiding in plain sight as the brutal imagery of Puccini’s famous drama plays itself out in front of them, and the striking chase and gunfire exchange that follows with no sound but that of operatic voices singing their lament.  Here, Quantum of Solace nears the realm of exceptional cinema, even if the rest of the movie doesn’t quite live up to the promise.

The actors try their best despite the underwritten material, but the only real standout this time is Judi Dench, as the motherly M who both frets over and grows frustrated with her prodigal “son.”  The angle of a villain character pretending to care about the environment to hide the destructive nature of his true ambition is worth much more exploration than it receives here – while he is an excellent actor, Amalric doesn’t have much opportunity to develop his sinister power broker, and the only moment in which Greene reveals anything about his background is interrupted.  The filmmakers also missed their chance, given the South American setting, to feature the first Latina Bond girl, casting Ukrainian-born Olga Kurylenko with a spray tan and wobbly accent as Camille instead (and explaining it with a throwaway line about her Bolivian father having a “beautiful Russian wife… a dancer.”)  The characters of Bond and Camille seem to be in two different movies – indeed, they have two different missions – and their physical interaction is limited to one little kiss after the quest has ended and they are about to part company forever.  Camille herself has little personality; the more exuberant of the standard two Bond girls is Arterton as Fields, who unfortunately isn’t on screen very long.  Nor is Italian film legend Giannini, returning as Mathis only long enough to be killed off by Greene’s thugs (in a glaring continuity error that smacks of deleted scenes, Mathis turns up battered and bruised in the trunk of Bond’s car only about two minutes after we see him alive and well at Greene’s party – that was one quick beating!)  The remainder of the cast is unmemorable – particularly pointless is Anatole Taubman as Greene’s henchman Elvis, who has a silly bowl cut hairdo, follows Greene around in silent awkwardness while trying to look menacing and gets blown up before he even gets the chance to fight Bond.

What is most frustrating about Quantum of Solace is that one can see the seeds of a better movie scattered throughout, and a few alternate creative choices might have made for a more robust experience.  Had the story not been tied so irrevocably to Casino Royale, had the pace slowed and given the characters more time to flesh themselves out, and most importantly, had Bond himself had a different journey instead of the too-familiar path of vengeance, it’s very possible that Quantum could have met or even exceeded the expectations left in its parent movie’s wake.  As it stands, Quantum of Solace is like how many viewed the last half hour of The Lord of the Rings: The Return of the King, keeping an old story going on and on long after the audience has arrived at a satisfactory emotional conclusion, and diminishing the impact of Casino Royale.  Even at the end, Mr. White is still missing and there are lingering questions of how far Quantum’s reach stretches inside the British government, suggesting that there is still more to tell, long after our interest has waned.  I’m encouraged that Skyfall is its own stand-alone story, with this movie’s ghosts put to rest for the time being.

Speaking of which – John Lennon says life is what happens when you’re making other plans, and as much as I was looking forward to seeing Skyfall tonight, because of other personal commitments it won’t be happening.  So you’ll have to wait till the beginning of the week for my take on it.  Sorry about that, folks, but I figure if you’ve been with me up until now, you don’t mind waiting a few more days.  In the meantime, thanks for coming with me on this retrospective, which hopefully has been as fun to read as it was to write, and if you are heading out to Skyfall tonight, I hope I’ve helped get you a little in the mood.  Stay shaken, not stirred.

Skyfall Countdown Day 2: Casino Royale (2006)

Making his mark.

No zealot like a convert, goes the old saying.  I was one of those people utterly perplexed by the decision to thank Pierce Brosnan, the “billion-dollar Bond,” for his service, and move ahead instead with an actor whose most prominent role to date had been as Angelina Jolie’s bland American love interest in Lara Croft: Tomb Raider.  And back in the mid-2000’s, there were a lot of us, not the least of which was Pierce Brosnan himself.  He seemed pretty keen on reprising the role; if you listen to his commentary on the DVD of Die Another Day he talks several times about what he’d like to do “in the next one.”  That “next one” would end up being a videogame, as 2004 saw the release of Everything or Nothing, featuring Brosnan as a digital Bond as well as Judi Dench and John Cleese back as M and Q respectively.  But on the big screen, producers Michael G. Wilson and Barbara Broccoli wanted to go another way.  They wanted to go back.

And this is where, quite unexpectedly, Peter Parker comes into play.  Behind the movie screen, there had been a great deal of legal wrangling going on – Sony had come to own the rights to Casino Royale and was threatening to launch a competing series of Bond films (rumours at the time suggested that Independence Day filmmakers Roland Emmerich and Dean Devlin were Sony’s preferred creative team for 007).  But they also wanted to make Spider-Man, a portion of whose rights happened to be the property of MGM.  A deal was agreed to by which the two were exchanged.  Casino Royale came home, and Sony got to sling webs with Tobey Maguire.  Making a proper version of Ian Fleming’s first James Bond novel had long been an aspiration of Michael G. Wilson – something that would give the story its due and sponge away the memory of the embarrassing 1967 Peter Sellers version.  But although Brosnan was keen to continue, it didn’t really make sense to try and do a Bond origin story with an actor who’d be ten years older than he was the first time he’d played 007.  Negotiations with Brosnan were abandoned, and although a wide casting net was thrown out, with the press happily offering dozens of flavour-of-the-month names into the mix, Barbara Broccoli had her heart set on someone she’d seen as a charismatic gangster in a 2004 British movie called Layer Cake.  Some time in 2005, Daniel Craig received a phone call from Broccoli telling him merely, “Over to you, kiddo.”

In a very subdued, John le Carré-like black-and-white prologue, James Bond is promoted to 00-status after completing two kills:  a corrupt MI6 section chief and his underling, the latter of which shows us the origins of the famous gunbarrel scene.  The story proper begins in Africa, where terrorist banker Le Chiffre (Mads Mikkelsen) accepts an investment of $100 million from rebel army leader Steven Obanno (Isaach de Bankole) under the supervision of the enigmatic Mr. White (Jesper Christensen), and Bond is chasing down a nimble bombmaker, whose cellphone reveals a mysterious text message.  After Bond nearly causes an international incident by shooting the bombmaker inside an embassy, an embarrassed M (Judi Dench) tells him to go stick his head in the sand – in the sunny climes of Nassau, where the text message originated on the phone of arms dealer Dimitrios (Simon Abkarian).  After winning Dimitrios’ Aston Martin DB5 in a game of poker, and seducing Dimitrios’ wife Solange (Caterina Murino), Bond pursues the arms dealer to Florida, where a gun-for-hire is planning to destroy Skyfleet Industries’ massive new airliner at Miami International Airport.  Bond saves the plane and kills the terrorist, and ruins the plans of Le Chiffre, who had invested Obanno’s money in a stock-shorting scheme he intended to cash in on when Skyfleet would presumably be bankrupted by the loss of their prototype.  Desperate to win back the squandered funds, Le Chiffre stages a $150 million winner-take-all poker tournament in Montenegro, and Bond is staked in the game by Her Majesty’s Treasury, as represented by the beautiful and intriguing Vesper Lynd (Eva Green).  If Bond can bankrupt Le Chiffre, the villain will have no choice but to turn himself over to the authorities for protection, revealing all the secrets of this mysterious terrorist network in the process.  After several nights of cards, failed attempts on his life, one disastrously played hand and a timely bailout by Felix Leiter (Jeffrey Wright), Bond wins the pot, and victory is sweet – until Vesper is abducted and Bond is captured while trying to rescue her.  After enduring savage torture at the hands of Le Chiffre in a squirm-worthy scene torn right from Fleming’s pages, Bond is freed by Mr. White, who punishes Le Chiffre’s financial misdealings with a bullet to the skull.  All seems resolved, and Bond is free to resign from MI6 and travel the world with his new love, until one final betrayal leads to a climax in a sinking Venice tower where Bond fails to save the treacherous Vesper from a watery fate.  In an atypical downbeat ending, the money is gone, “the bitch is dead,” and Bond is embittered, until a final message from Vesper leads him to Italy and the villa of Mr. White, to whom he introduces himself – after shooting the terrorist leader in the kneecap – with “The name’s Bond, James Bond.”

In retrospect it’s quite difficult to reconcile how Daniel Craig is perceived now with how much scorn greeted his announcement as the sixth James Bond.  Pierce Brosnan devotees couldn’t understand why their guy had been seemingly tossed aside after four record-breaking smash hits.  An angry fan site, whose name I won’t list because they frankly don’t deserve any more publicity, published screeds on how Craig wasn’t good-looking enough, wasn’t refined enough and didn’t even have the right hair color to be 007.  The entertainment press, who’d been hoping for Clive Owen or Rupert Everett, even heaped derision on Craig for wearing a life jacket in the speedboat that brought him to the press conference that introduced him to the world.  The hints of reassurance offered by the filmmakers to “wait for the movie” didn’t do much to quell the fierce tide.  But we all should have listened – because the movie is, for lack of a better word, terrific.  It’s arguably truer to the spirit of the Ian Fleming book than any of the other films that preceded it, because it focuses so sharply on the character of James Bond.  Who is this man and how did he become the archetype of the womanizing, martini-guzzling crusader for justice – the hard-living St. George forever pitted against the dragon?  We see Bond bruised, we see him broken, we see him struggling to contain the rage that forever simmers inside him.

A rarity for a Bond movie, Craig gets to act and complete a genuine character arc, and he does it so well that his became the first performance as James Bond to be nominated for a BAFTA (the British equivalent of the Oscar).  A lot of credit too must go to the screenplay, by veterans Neal Purvis and Robert Wade with a final polish by Oscar winner Paul Haggis, whose pen lends the dialogue a sparkle and complexity so very refreshing after years of groan-worthy puns passed off as clever.  The exchanges between Bond and Vesper simply crackle, loaded with meaning and consequence, and their growing relationship is always compelling.  Eva Green, whose unusual goth girl beauty has led to her frequent casting as witches in her subsequent career, shows how sass and confidence can live comfortably alongside heart-wrenching vulnerability to create a character who resonates beyond the end credits and can be held up, plausibly, as the “ultimate Bond girl” – the singular figure to whom Bond would compare all his many conquests to follow.  The always reliable Dench begins to grow M as a kind of mother figure for James Bond, the only woman in the world who does not view him sexually, and the writers of the follow-up films would continue to expand on this aspect of her character.  Jeffrey Wright is a subdued but quirky Leiter, and Mikkelsen’s villain, while perhaps a bit less snarly than Bond baddies of the past, still makes for a believable foe and one whose motivations are rooted for once not in global destruction but simply desperation and survival – the most dangerous kind of animal.

Director Martin Campbell, who had helped to relaunch the franchise with Goldeneye, was again tasked to introduce the world to a new James Bond.  He takes on some of the complaints about the excesses of Die Another Day by cutting the number of explosions in the movie to just one (with a second happening offscreen as Bond smirks).  There is no fantasy in Casino Royale – this is gritty, real-world action.  People get hurt.  They bleed.  Bad guys don’t fall down after one convenient hit.  Bond himself spends time in hospital after being tortured by Le Chiffre.  The parkour chase that opens the movie, with free runner Sébastian Foucan seemingly able to defy gravity – while Bond merely smashes through walls as a good blunt instrument should – is a remarkably exciting sequence, as is the extended chase and battle between Bond and his terrorist quarry at Miami airport, both featuring clever reverses and their fair share of surprises.  Yet when the movie slows down in its second half as the pivotal card game takes center stage, Campbell keeps the the tension high; one waits with as much breathless anticipation as the river follows the turn follows the flop as one does watching Bond struggle to stop an out-of-control fuel truck from crashing into a plane as David Arnold’s driving music races to its conclusion.  Casino Royale is long (it’s the longest Bond movie, in point of fact) but it is never slow, and that it can retain its pace and level of interest without resorting to laser beams and stuff blowing up is a testament to the strength of the story and of Campbell’s ability to tell it.

But in the end it’s Daniel Craig’s movie, and he defies the naysayers to entrench himself firmly in James Bond’s shoes; with nary a frayed nerve showing, Craig commands the screen with the kind of self-assuredness that endeared Sean Connery to audiences almost forty-five years earlier, and wows his female fans with his sculpted physique rising out of the water in homage to Ursula Andress.  When he announces “Bond, James Bond,” at the very end, we’re completely sold, and the famous James Bond theme, only hinted at sparsely throughout the score, blasts out triumphant to cement the victory, the becoming of our hero in his familiar form.  Casino Royale was one of the best-reviewed movies of 2006, out-grossing Die Another Day and assuring Bond’s ongoing berth among the increasingly crowded multiplexes.  Back to the beginning – back to Fleming – proved to be once more the key to keeping Bond fresh and relevant, along with making sure the right guy, despite boisterous public opposition, filled out the tuxedo.

Tomorrow:  Our countdown concludes with a sophomore stumble.

Skyfall Countdown Day 4: The World is Not Enough

The new face of evil.

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.”

Tomorrow:  Leave Die Another Day alone!!!

Skyfall Countdown Day 5: Tomorrow Never Dies

“Back off, Mr. Bond, or I’ll have Bill O’Reilly and Sean Hannity do a special on you.”

Happy Monday!  5 days to go and we’re in the home stretch.  Hope you’re getting as excited for Skyfall as I am.

When it comes to dreaming up the new Bond movie, one of the largest stumbling blocks must be conjuring new villains for the hero to fight.  After all, how many variations on megalomaniacs bent on world domination are there – particularly ones whose motivations can be believable to a modern audience increasingly regarding such characters as laughable clones of Dr. Evil?  The concept at the heart of Tomorrow Never Dies tackled this problem head-on.  The game would indeed be world domination, not of territory, but rather of thought and opinion; the very ability to manipulate millions into skewing the course of history.  Even in the mid-90’s the phenomenon of the media baron who could bring down governments with a mere flicker of one of his many-tentacled interests was ripe for discussion, especially in Britain, where winning election to national office seemed to require bending knee to Rupert Murdoch and his chain of newspapers.  The medium was the message indeed, and it did not take a great leap of imagination to suggest that said message could be manipulated for nefarious ends.

A British naval vessel, the H.M.S. Devonshire, is manipulated into straying into Chinese territorial waters, where it is sunk by mercenaries working for media supermogul Elliot Carver (Jonathan Pryce), whose empire reaches every country on earth except China.  After his men massacre the survivors of the wreck, Carver runs a story in his worldwide newspaper Tomorrow accusing the Chinese air force of murdering the British sailors.  James Bond, who has a prior relationship with Carver’s wife Paris (Teri Hatcher) is sent to Carver Media Group headquarters in Hamburg, Germany to try and prove Carver’s involvement to an unconvinced British government, with only 48 hours until the British fleet reaches China for potential retaliation.  When Bond rekindles the romance with his old flame, leading him to discover the digital encoder that allowed the Devonshire’s course to be misdirected, Carver has Paris murdered and attempts to frame Bond for it.  Escaping Carver’s thugs, Bond travels to the coast of Vietnam, where he discovers that a cruise missile has been stolen from the Devonshire’s wreck.  Captured by Carver’s men, Bond gains a reluctant partner in Chinese agent Wai Lin (Michelle Yeoh), and following a harrowing escape from his Saigon office tower, the two find that Carver has a stealth boat, undetectable by radar, in the South China Sea that he’s been using as a base to manipulate the two countries towards war.  Carver intends to launch the stolen missile from the Devonshire into the heart of Beijing, giving his fellow conspirator, Chinese General Chang, the opportunity to seize control of the government and negotiate a truce to the engineered war, in exchange for which the Carver Media Group will receive exclusive broadcasting rights in China for 100 years.

The premise is solid; the execution, not so much, and many of the more complex moral questions that characterized Goldeneye’s screenplay have been tossed aside here in favour of balls-out action.  Pierce Brosnan is clearly more comfortable, looking much broader in the shoulders and more able to handle himself in fights.  But he oddly seems a bit bored as well – the nerves he had carrying his first major motion picture are behind him and with them has gone a great deal of energy as well.  To the question of Bond’s emotional journey in this film, it’s regrettable that Brosnan and Teri Hatcher have no chemistry whatsoever; it’s not believable that this woman could have gotten under Bond’s skin as he admits.  Hatcher, who was cast at the studio’s request for a recognizable American name in the credits, tries her best but is completely wrong for the part – the role demands a more tragic, resigned European sensibility, and Teri Hatcher is more effective at sunny, optimistic characters like Lois Lane.  (There’s a rumour that a then-unknown Monica Bellucci was considered for the part but was rejected by the aforementioned studio – she would have been ideal, and totally believable as a woman who could have enraptured James Bond.)  Notwithstanding the weaknesses in the performance, the dynamic of the movie shifts when Paris is killed, and any character development for Bond goes with it, abandoned in favour of elaborate action setpieces.  A trend I have not been fond of in the recent Bond movies, and it will come more into focus when we deal with The World is Not Enough tomorrow, is the seeming requirement to have at least two love interests in each film – I would rather see a focus on one rather than shoving in another for the sake of additional eye candy, with the result being less screen time available to develop the main relationship properly.

But I digress.  For her part, Yeoh is terrific and handles herself in action better than any other Bond girl to date, or since, for that matter.  But character-wise, she’s hardly anything new, yet another “Bond’s equal” female agent.  Pryce, perhaps best known as the meek clerk Sam Lowry in Terry Gilliam’s Brazil and a slew of other roles where he plays a bit of a wuss, has fun devouring the scenery and establishing himself as a formidable intellectual foe for James Bond, with an ego the size of the planet itself.  Unfortunately the remainder of the supporting players aren’t nearly as colourful – Gotz Otto has one scowling note as Carver’s German muscleman Stamper, and magician/actor Ricky Jay is forgettable as technogeek Henry Gupta (Gupta was originally to be an expert at flinging playing cards, as is Jay in real life, but this element of his character was edited out).  A pure delight in the movie however is Vincent Schiavelli as the “outstanding pistol marksman” and torture expert Dr. Kaufman, who has all the movie’s best lines in one tragically brief five-minute scene.  Fans of 300 will want to look quickly at the beginning of the movie for Gerard Butler who has one line as a crewman aboard the doomed Devonshire (his Scots accent is hard to miss).

In writing about A View to a Kill, I commented on the tendency of the filmmakers to lose the character of Bond when he is plugged as a prop into action scenes that either don’t flow organically from the story or have no consequence other than mere survival.  In Tomorrow Never Dies, the action scenes have great setup and play out effectively, but they still seem rather uninspired, as though there is simply a perceived need to have some running and shooting and fast music for a few minutes.  There is little excitement, or originality, for that matter, in watching James Bond walk around casually machine-gunning anonymous bad guys as he does in the finale; we’ll leave those kinds of scenes to Arnold Schwarzenegger and his ilk, thank you very much.  That, I guess is my core issue with Tomorrow Never Dies and the reason why I can recall sitting in the theatre in 1997 feeling the excitement drain out of me as the minutes ticked by – it’s really just a generic action picture that happens to feature James Bond, and feels even in hindsight like a franchise going through the motions rather than attempting to push the envelope.  It’s a funny phenomenon that plagues sequels sometimes, where so much money is riding on repeating the success of the first movie that there is great reluctance to do anything differently in round two; and inasmuch as this movie could be seen as the sequel to Goldeneye in the new 007 era, the play-it-safe approach is obvious and disappointing, particularly when so much thought has been put in to crafting a believable antagonist.

Tomorrow Never Dies was the first James Bond movie made without any participation from longtime 007 producer Albert R. “Cubby” Broccoli, who passed away a few months after the release of Goldeneye, and the film is dedicated to his memory.  I have visited Broccoli’s grave in Los Angeles, and I’ll just say that it certainly fits the spirit of showmanship that characterized the big man’s love of bringing entertainment to the masses.  He was a man, who, as Bond puts it in this movie, certainly knew how to “give the people what they want,” and to whom every fan of James Bond owes a lifelong debt.

Tomorrow:  Equal opportunity villainy.

Skyfall Countdown Day 6: Goldeneye

Desmond Llewelyn, checking out the new guy.

The years following Licence to Kill were depressing for James Bond fans.  Legal wrangling surrounding the ownership of parent studio MGM/UA, rumours that the rights were being sold to insert-hack-Hollywood-producer’s-name-here, and a general ebbing of talk of James Bond from the zeitgeist seemed to indicate that 007 was finished, finally gone the way of Derek Flint, Matt Helm and all the second-rate imitators he’d managed to spawn in his nearly 30-year screen career.  But then, as the tide of the recession of the early 1990’s receded, promising hints began to spring up like the fabled green shoots from the blanket of winter snow.  The lawsuits were settled, and Albert R. Broccoli’s Eon Productions remained firmly in charge.  A screenwriter, Michael France, had been hired to write a new Bond movie.  Questions then naturally arose about Timothy Dalton.  It had been five years since Licence to Kill – would audiences still want to see him as Bond?  Dalton ended the discussion by announcing in April of 1994 that he would not be coming back, and informal polls suggested there was one actor at the top of every fan’s list to take his place.  On June 7, 1994, eight years after his first brush with 007, the world’s press was introduced to the new James Bond:  Pierce Brosnan.

With their new star locked, the biggest challenge for the filmmakers was how to re-introduce James Bond to a world that had seen tumultuous changes since his last outing.  The Soviet Union, the Iron Curtain and the Cold War that had birthed Bond in the first place were all gone, and some critics were suggesting that 007 should disappear with them.  But rather than making a period piece, or wallowing in anachronistic nostalgia, it was decided to embrace this new climate with the following mantra:  “The world has changed; James Bond has not.”  Bond would always be Bond, but now this “sexist, misogynist dinosaur” would find himself confronting the new world with its new threats.  To that end a complete creative shakeup was required, both in front of and behind the camera – director John Glen, who had handled the previous five films, was not asked to return, and the reins were instead handed to Martin Campbell, the first real “outsider” Bond director who hadn’t come up through the Eon system.  And the story would see Bond’s world turned completely on its head, thrust into a realm of shadows as old adversaries became awkward allies and trusted friends, bitter enemies.

In the prologue, set during the height of the Cold War, Bond and Alec Trevelyan, 006 (Sean Bean) are assigned to infiltrate and destroy a Soviet chemical weapons facility.  The mission goes awry, 006 is killed and Bond makes a spectacular if implausible escape by diving after a falling plane, climbing on board and pulling it out of its dive.  Following the stylish opening credits in which silhouetted beauties smash apart Communist iconography (a sequence which apparently greatly upset several still-active Communist parties throughout the world) the story picks up nine years later where Russia is a shambles struggling to adopt capitalism and Bond is considered a relic by the new, female M (Judi Dench).  But he’s thrust back into the fray when an experimental helicopter that can withstand electromagnetic pulse damage is stolen and used to facilitate the theft of an old Soviet space-based weapon called Goldeneye, which, when detonated, will destroy everything that contains an electronic circuit.  Bond travels to Russia, where retired KGB agent Valentin Zukovsky (Robbie Coltrane) points him in the direction of the mysterious arms dealer known as Janus, who turns out to be none other than Bond’s old friend Trevelyan, who faked his death in order to abscond to the other side and carry out a long-simmering scheme of revenge against the United Kingdom for its betrayal of his family.  With the help of Goldeneye computer programmer Natalya Simonova (Izabella Scorupco) and CIA agent Jack Wade (Joe Don Baker), and while dodging the lethal advances of femme fatale Xenia Onatopp (Famke Janssen), Bond must chase down his former ally and stop him from unleashing the Goldeneye against London and igniting a worldwide financial collapse.

The filmmakers knew they were down to their last chance, that failure would mean the end of James Bond as a viable cinematic property.  With the screenplay they smartly chose to add depth to the basic machinations of the plot, pulling apart Bond’s character and using the movie itself to ask if Bond was still relevant in the modern world, as well as confronting some of the more absurd elements of Bond’s character directly.  Bond is belittled, first by his immediate superior, and ultimately by Trevelyan, who chastises him with the screenplay’s finest lines:  “One might as well ask if all the vodka martinis silence the screams of all the men you’ve killed, or if you find forgiveness in the arms of all those willing women, for all the dead ones you failed to protect.”  Is being James Bond good for the soul?  Alec Trevelyan by contrast, is James Bond pushed over the narrow divide, and the inspired casting of Sean Bean, who at one point was rumoured as a potential Bond himself, gives us an example of how destructive Bond’s lifestyle can be to a man’s moral center.  The rich cinematography by Phil Meheux provides a striking palette of shadows and darkness, in contrast to the brightly and somewhat flat-lit adventures of Bond’s past, to emphasize this murky uncertainty lingering over every action that Bond takes.

As well as Bean’s compelling “anti-Bond,” the cast boasts a solid bench of supporting performers who round out this new world with a wealth of memorable characters – the singular Dench, although underused here with only two brief scenes, establishes a new kind of relationship between Bond and his hitherto remote boss that hints at a deeper exploration to come.  Robbie Coltrane is an energetic delight, Boris Badenov accent and all, channelling Sydney Greenstreet as Valentin Zukovsky.  Joe Don Baker gets to have much more fun here as the nickname-happy Jack Wade than he did as his previous character Whitaker in The Living Daylights.  Izabella Scorupco is a perfect companion for Bond – she is spirited, competent, brave and unafraid to challenge Bond on his failings.  Famke Janssen has her over-the-top moments as the assassin who kills men by crushing them with her thighs, but she is clearly enjoying the hell out of her part.  Even Alan Cumming makes an impression as hapless wannabe supervillain computer nerd Boris.  Filling the roles with strong actors, rather than the cheaper bit players one would have seen in previous films, forces the lead to up his game.

Pierce Brosnan has since admitted that he thought he probably would have been too young in 1987 to play James Bond convincingly.  The years between then and this movie have filled in his face with more character, that slight world-weariness that 007 should always possess, even in his lighter moments.  His Bond is less outwardly morose than Dalton’s, but one gets the sense that the veneer of playfulness radiating from him is just that, and it is only skin deep.  But no one really wants to follow a sad sack around for two hours, and Brosnan gives Bond more than enough charm to endear him to us again, even with subtle, very Bond-ian touches like patting his face with a towel after tossing a thug down a set of stairs.  If there is a single reservation about his Bond it’s that in this movie he seems a bit physically slight, which was noted by more than a few critics and seemed to inspire him to bulk up significantly for his next go-around.

How fares Goldeneye where action is concerned?  Exceptionally well given the benchmark set by movies like James Cameron’s Bond pastiche True Lies, which came out the previous year.  The movie opens with a visually stunning bungee-jump leap from a dam and only gets better.  Apart from a couple of inoffensive gags in the tank chase in the middle of the film, mercifully abandoned is the tendency of the 80’s Bonds to stage action as slapstick, replaced with true suspense and the need for Bond to be inventive in how he extricates himself from danger, rather than just relying on whatever Q has given him (a missile-equipped car presented to Bond at the beginning of the movie goes almost entirely unused).  The final fight scene atop the Arecibo telescope, doubling for Trevelyan’s Cuban satellite base, is brutal, raw and the most even-handed matchup Bond has ever had to face, made all the more emotionally consequential since this isn’t just some random evil billionaire he’s tangling with, but a man he once called friend – and Bond must decide if it’s truly “for England, James.”

Peter Lamont, the series’ regular production designer since Ken Adam’s departure, does a remarkable job here with a bigger budget – until now his sets had always looked somewhat artificial, as though the paint had just dried seconds before the director called action.  Goldeneye is a “used universe” where even the walls have earned their history.  And creative use of London locations and outdoor soundstages makes for a believable St. Petersburg, Russia setting despite the actors and first unit never setting foot there during filming.  Daniel Kleinman, taking over for the late Maurice Binder as main titles designer, pays homage to Binder’s traditions while incorporating the themes of the story into his canvas of beautiful naked women swirling through a surreal landscape, accompanied by Tina Turner as a worthy successor to Shirley Bassey singing the theme song penned by U2’s Bono and The Edge.  One area where Goldeneye receives a lot of criticism, however, is in its musical score.  French composer Eric Serra, who works largely with synthesizers, was hired to bring a 90’s take on the usual John Barry bombast.  It was certainly different, although not, it seems, in a positive way.  After a test audience bemoaned the lack of the Bond theme, a different composer was brought in to re-score the tank chase, and this would be Serra’s only kick at Bond’s can.  The electronic sound is somewhat jarring, particularly if you’re watching Goldeneye as part of a Bond marathon, but it works in context, particularly when conveying the coldness of the Russian setting.  At least, it was better than Michel Legrand.

Goldeneye was a huge international smash, bringing James Bond back to the forefront of the public consciousness and proving that there would always be an appetite for more, so long as it was done right.  In addition, it showed that 007 could compete against the Die Hards and the Speeds of the world that had attempted to fill the gap he’d left open for six long years.  As Goldeneye’s end credits rolled and “JAMES BOND WILL RETURN” drifted by, fans could catch their breath and be assured this time that he would, in increasingly spectacular style.

Tomorrow:  James Bond vs. Rupert Murdoch.

Skyfall Countdown Day 7: Licence to Kill

Carey Lowell about to exact vengeance on Wayne Newton for his Vegas act.

Throughout the James Bond series, Bond’s biggest challenge has not been any of the seemingly endless ranks of supervillains he’s come up against, or even the bevy of beautiful women who’ve sought to tame him.  Rather, it has been that most complicated of adversaries, the United States of America.  Bond’s relationship with America has been one of push and pull, give and take, with America always wanting more, it seems, than Bond’s willing to give.  Many of Ian Fleming’s 007 novels take place in America, or feature American characters.  American audiences have embraced this English hero and propelled him to unimagined heights.  It was an American President, John F. Kennedy, who first brought Fleming’s novels into the national spotlight.  Yet America’s more crass, tentacled, Borg-ifying side that seeks to remake the entirety of global culture in her commercialized image has always been a wolf nipping at James Bond’s door.  American studio executives push hard for more American content in 007; American actors have tested for the role of Bond, and American performers have been forced into Bond casts to ensure American audiences won’t be put off by too many foreign accents.  Ironically, Bond’s quintessential Britishness has been protected from these attempts by the American producers who continue to shepherd his legacy.  But if there is a single Bond movie that feels the most American, it would have to be Licence to Kill.  (The ironies continue to abound given that the movie’s working title, License Revoked, was abandoned when test marketing suggested American audiences would think the movie was about a teenager losing his driver’s license.)  That the movie is an effectively told tale but at some gut level just feels wrong speaks to this concept that a little America in Bond goes a very long way.

When Bond’s longtime friend Felix Leiter (David Hedison, reprising the role from Live and Let Die) is maimed and his wife murdered by seemingly untouchable South American drug lord Franz Sanchez (Robert Davi), Bond defies an unsympathetic M, resigns his commission and goes rogue to pursue vengeance.  Succeeding first in stealing $5 million from Sanchez’s cohort Milton Krest (Anthony Zerbe), Bond travels to Sanchez’s home country, and, with the assistance of CIA pilot Pam Bouvier (Carey Lowell), Sanchez’s mistress Lupe (Talisa Soto) and a helpful Q (Desmond Llewelyn), infiltrates Sanchez’s world.  The stakes are raised when it turns out Sanchez is purchasing shoulder-mounted missiles he intends to use against American passenger airliners if the American Drug Enforcement Agency doesn’t leave him alone.  By sowing seeds of mistrust, Bond leads Sanchez to dismantle his own kingdom, the villain himself killing off his associates in ever more brutal fashion – before Bond’s true nature is revealed and he squares off against the object of his quest in a final, gasoline-soaked showdown.  Vengeance is never a picturesque road, and Licence to Kill was the most violent Bond film to date, with character after character meeting grisly end, either in shark tanks, decompression chambers, pillars of flame, or simply in a hail of machine gun bullets.  Bond himself is embittered, cynical and remorseless as he winds his way through his elaborate plan of retribution.  The trouble was, particularly in the summer of 1989, there were already plenty of antiheroes crowding the box office, and a gentleman English spy couldn’t compete on that level – not only that, audiences didn’t really want him to.  Bond had, in effect, become too American for the Americans who loved him.

Numerous subtle factors contribute to the over-American sense of this movie.  Filming in England proved too expensive this time around, and so the entirety of the production relocated to Mexico, with the opening scenes shot in and around Key West, Florida.  American accents abound – casting took place out mainly of the States and the supporting players are a roster of familiar if lesser known TV actors, people like Hedison, Zerbe, Frank McRae, Priscilla Barnes, Grand L. Bush, Everett McGill, Don Stroud and Anthony Starke.  In fact, leading lady Lowell’s most prominent role since this movie has been on Law & Order.  Given that a portion of the design budget had to go towards refurbishing the Mexican studio first, the resulting sets lack the polish and finish of the Ken Adam creations of old, looking very much like locations thrown together on a much leaner American TV budget.  Michael Kamen’s score evokes his previous work on Die Hard and the Lethal Weapon series.  And then of course there’s the presence of Mr. Vegas himself, Wayne Newton.  There is something to be said for the exercise of taking a character out of his comfort zone and plopping him down in an unfamiliar environment – the old “fish out of water” trope – but watching James Bond order a Budweiser in a redneck bar just before it explodes into a full-on brawl as cheesy 80’s rock wails on the jukebox just makes him seem… ordinary.  The appeal of Bond is watching him move through exotic worlds unattainable by us mere mortals, not seeing him slumming at the karaoke dive just down the street.  Anyone can do that; why do we need to go to the movies to see it?

Despite the Americanized aesthetic, there are a few standouts of note.  As Sanchez, Robert Davi delivers the most complex, multi-layered portrayal of an antagonist yet seen in a Bond movie.  Sanchez is a sadistic man, yet he has his own strong moral code which values loyalty above anything else, and betrayals merit the cruellest punishments.  Without delving even slightly into the origins of this man – no elegantly related backstory to be found here, he just explodes onto the screen as a force of nature – Davi rounds him out and gives him a degree of the elegance common to the finest Bond bad guys, and a correspondingly wicked sense of humour to boot.  And a 22-year-old Benicio Del Toro, in only his second movie, shows hints of greatness to come as Sanchez’s eccentric, hot-tempered young cohort Dario.  But in some ways, the biggest joy in the movie comes from the ever-endearing Desmond Llewelyn as Q, who is freed from his laboratory and his usual briefing scene to become a significant partner in Bond’s mission.  With more screen time here than in his last half-dozen Bond movies combined, Llewelyn gets to do some genuine character work and become a father figure to Bond in a way that the cold, bureaucratic M (Robert Brown) never did.

But it’s still Timothy Dalton’s movie, and in what would turn out to be his final performance as James Bond, he dares to give us a 007 consumed with passions and doubts that his usual veneer of sophistication cannot control.  Fuelled by animalistic anger and the desire for retribution, Bond begins to lose his way, and himself.  But he comes to realize that in order to complete his mission and bring Felix Leiter some justice, he cannot be that simple “blunt instrument” – he has to become James Bond again.  Particularly telling is the moment where Bond sits, bloodied and bruised, watching Sanchez and all that remains of his drug empire dissipating into smoke, and there is no sense of triumph to be had, only the quiet solitude of the end of the long night – an oddly European ending for such an American-feeling movie, but one that suited Timothy Dalton’s interpretation of the classic role.

In times past, if you were disappointed by a Bond movie, you could comfort yourself with the reassurance that there would be another, hopefully better one coming in only a couple of years.  One wonders how many fans walked out of Licence to Kill thinking the same thing, only to find that studio politics, lawsuits, shady financial dealings and plain old greed had vastly different plans.

Tomorrow:  Pierce Brosnan finally gets his second chance.

Occupy Gotham City?

Bane strikes at the heart of the one percent.

The undisputed kings of the 2012 summer box office have both been comic book movies:  The Avengers and The Dark Knight Rises.  While The Avengers is essentially a crowd-pleasing greatest hits package that you either dig or don’t (I dig, for the record), the final entry in Christopher Nolan’s Batman trilogy is a more complex tale probing the human condition behind the capes and cowls of its characters, and as such, opens itself to a wider degree of interpretation.  One of the most interesting of the responses to the film is in how certain critics have seen it as condemning the Occupy Wall Street movement and praising the nobility of the 1%.  For his part, Nolan has denied that the film has a political slant.  I’ve seen the movie twice now, and while the tropes associated with Occupy are certainly present, I can’t get behind the notion that the movie is Ayn Rand redux.  Great art reflects our times, and it’s natural for current history to bleed through the edges of the screen.  But reducing the themes of The Dark Knight Rises to a simple political didactic for easy cable news consumption is to perform a disservice to the deeper moral questions at play here.  Nolan’s Batman movies have always operated on a more primal level, exploring the nature of fear, chaos, and the case of the final chapter, consequences, and our ability – or our duty – to accept our responsibility for them, regardless of our means.

(Author’s note:  MAJOR SPOILERS ahead.  Please don’t read this unless you’ve seen the movie; I’ll hold nothing back.)

Eight years have passed since the Joker’s reign of anarchy led to the death of Harvey Dent, Batman taking the fall for Dent’s crimes and the caped crusader’s disappearance from Gotham City.  In the aftermath, a draconian “Dent Act” has allowed police to rid the streets of organized crime once and for all.  But the illusion of peace is built on a lie, and the two heroes who have allowed it to fester are being torn apart by their demons.  One, Commissioner Jim Gordon, hides in plain sight, while the other, Bruce Wayne, has become a crippled recluse.  Both know, instinctively, that the center cannot hold; Gordon prepares to read a speech denouncing Dent and admitting his role in the cover-up but chooses at the last second to hold back, while Wayne is restless in his isolation, like Sherlock Holmes without purpose in the absence of a case.  And then, from beneath the veneer of deception and fabricated security, and literally beneath the earth, evil begins to rise, as unstoppable mercenary Bane sets his dark plan for Gotham City into motion.  Gordon is wounded and Bruce Wayne is compelled to suit up.  But they’ve waited too long, allowed their deception to endure long past its limit.  They have forgotten that the price of freedom is eternal vigilance.  Bane uses the time to outmanoeuvre the two, seizing control of Wayne’s secret armory, trapping Gotham’s entire police force underground and finally, breaking the ill-prepared and overconfident Batman.

Shades of Occupy first percolate through the narrative as Bane lays siege to Gotham, speechifying about punishing the corrupt and sending his minions to drag the wealthy and powerful from their mansions and haul them in front of a kangaroo court, in the name of “the people” of Gotham.  But despite the illusion of his rhetoric he is hardly a populist hero or a masked MLK.  Indeed, a man with a noble message doesn’t need the threat of nuclear annihilation to ensure that it’s heard – Bane’s goal is the total destruction of Gotham City, first envisioned by Ra’s al Ghul in Batman Begins.  After confining Wayne to the same prison to which he was condemned as a younger man, Bane admits that the greatest despair requires hope, and like the most accomplished sadists, he will provide the people with Gotham with hope so that they suffer more.  He wants them all to hurt.  He intends, like the American army marching into Baghdad, to present himself as a liberator, in fact using that exact word, while espousing himself as a sort of “Occupier,” because he knows this is a sensitive button that can be pushed.  Clearly Gotham is a place of great inequality, despite the false security brought on by the Dent Act, as noted when Selina Kyle tells Bruce earlier in the film over shots of the wealthy eating lobster and drinking champagne that “there’s a storm coming, Mr. Wayne. You and your friends better batten down the hatches, because when it hits, you’re all gonna wonder how you ever thought you could live so large and leave so little for the rest of us.”  But Bane has no allegiance to the Occupy philosophy and is most certainly not fighting for the people, he’s using them – as cynically as the billionaires, politicians and professional lobbyists who seized control of the Tea Party and convinced common people to protest and vote against their own best interest.  The theatricality and deception of a “people’s revolution” in Gotham is a mere smokescreen, as Selina comes to understand when the storm she predicted destroys everything it touches – not just the rich.  For its part, the Occupy movement has never claimed to want to tear the wealthy down, nor does it begrudge the acquisition of wealth; it simply believes in fairness, the enforcement of the law, and not rigging the game toward the singular interest of the haves.  Give everyone an equal chance to achieve a decent life, Occupy says, don’t purposely screw over those of us who’ve had a few bumps along the way to make it easier for the ones who already have it pretty good.  Bane’s attitude of killing them all and pillaging their treasures would hardly be welcome in the true Occupy movement – regardless of what the doofuses on Fox and Friends tell you.

To the second point raised by the critics, this movie purported to glorify the rich and the status quo of capitalism presents the rich largely as remorseless manipulators.  Bane is funded by billionaire construction entrepreneur John Daggett, who lets a terrorist wreak a trail of murder through Gotham City so he can seize control of the struggling Wayne Enterprises.  Daggett is not satisfied with his considerable wealth – like the Koch Brothers, he merely uses it to acquire more.  He cannot see his own complicity in what is to come, even at the very end, accusing Bane of being “pure evil” just before he has his neck snapped, when it was he who chose to release the genie from the bottle.  And the most accomplished and cruellest manipulator in the film turns out to be billionaire Miranda Tate, who wears the veil of a philanthropist trying to save the world, but is in fact Talia al Ghul, daughter of Ra’s, as committed to destroying Gotham as her late father.  She convinces Bruce to install her as chair of Wayne Enterprises’ board of directors and give her access to his dormant clean energy project, with the intent of using her other pawn – Bane, himself motivated by the easiest manipulation of all, his love for her – to bring her father’s wishes to fruition.  She does not care that there are innocent people in Gotham City; she scoffs at the mere mention of the word.  Her desire for retribution trumps everything – ideology, loyalty, even her own life.  Money for her is but a means to a horrible end.

Bruce Wayne, however, has never been one to let himself be defined by his wealth; it gives him no pleasure.  His flaunting of it in previous films has been a form of misdirection, convincing people that he is the worst of the stereotypes of careless moneybags; the last person who would ever want to become Batman.  However, when his wealth is taken away from him through a fraudulent stock transaction, he seems totally unconcerned about being broke.  He does not miss it, and does not care about regaining it.  He has long ago realized what Daggett never did – that more zeroes on the balance sheet don’t take the pain away.  That pain is a point of bonding between himself and the young cop John Blake, a man who has grown up poor and in and out of foster care, but has, like Bruce, channelled his anger into a sense of justice (and unlike Bane, who grew up in the worst cesspool on earth and consequently turned against humanity).  The film suggests that nobility, then, has nothing to do with wealth, and even the smallest acts of good are worth more, to invoke a cliché, than their weight in gold.  Indeed, when Bruce is reduced to his lowest, broken and lying immobile at the bottom of a prison halfway across the world, he finds the strength to rebuild himself from nothing, to escape and return to fight for his city.  These are qualities that cannot be bestowed; those who never confront desperation, loneliness and fear can never rise above them.  Those who are insulated by fortune never achieve their greatest potential.  Throughout the series, the moments that have shaped Bruce Wayne’s character for the better have come when he is separated from the life of luxury that is his birthright.  As Carmine Falcone tells him in Batman Begins, “You’ve never tasted desperate.”  Bruce Wayne may be a one-percenter, but he understands what it is like to have nothing – his empathy for the weak and powerless is part of what drives him to right Gotham City’s wrongs.  I would find it very difficult to believe that David and Charles Koch have ever had to choose between rent and food, that they have ever sat up nights wondering how they’re going to pay their heating bill, that they would deign to come within one hundred feet of a homeless man – which is why they are relentless in their funding of politicians who share their disdain for social equality and the common good.  They do not believe there are any wrongs out there, and if there are, it’s always somebody else’s fault for not trying hard enough.

The counter-argument goes, “see, Bruce Wayne pulls himself up by his bootstraps and works hard to defeat the bad guys – how is that not the attitude of the one percent?”  True, Bruce does have to rebuild himself from nothing, but what’s most important about his recovery is that he does not do it alone.  He has significant assistance along the way, from two of his fellow inmates in the prison, to Blake, Commissioner Gordon, Selina Kyle, Lucius Fox and the entire Gotham City police force.  The final act of The Dark Knight Rises is not so much the rise of a single man but of an entire city fighting for its liberation – in a sense, they are all Batman.  Perhaps the final act of heroism does belong solely to the caped crusader, but he does not get to that point without the help of his allies.  It is something of a paean to the nature of heroism when Bruce explains that Batman can be anyone – that we do not have to look to a single person to find the courage within ourselves as a society to make the kind of world we want.  The monument of Batman that is unveiled at the film’s finale is less a tribute to an individual than it is to a spirit, reflecting a time when the people rose up to take back their city from the thugs attempting to destroy it.  It is not a resumption of the status quo – it is an evolution.

Ultimately, the chief reason why The Dark Knight Rises can’t be pegged as allying itself to either the Occupy movement or the one percent is because that is too easy a question to answer – it’s easy to say that the rich are all evil and that there would be a tremendous satisfaction in watching every single one of them thrown out into street.  Our world is not that simple, nor is the moral universe of the Nolan Batman trilogy.  Nolan’s aim after the cartoonish wreck of the previous four Batman movies was to treat the character with a realistic approach, one that recognized the frequent real-world ambiguity of the nature of good and evil.  There are villains, but they are not simply forces to be destroyed – they upset the moral platform of both the heroes and the audience, and challenge us to re-examine what we think about the state of our world.  The message of The Dark Knight Rises, if there is one, is that we should not put off these questions, that we cannot sleepwalk through our lives and expect that what we sweep beneath the carpet in the interest of expediency, or a temporary peace, will not someday come back to wreak havoc upon us.  But it also assures us that no matter how deep we sink, we can come back.  We have it within us.  We can rise.

In fairness, I did like The Lord of the Rings too (Part 1)

Frodo eyeing Sting for the first time, duplicating my skeptical look at the prospect of a Lord of the Rings movie.

The Huffington Post quoted me praising Star Wars in their “battle of the franchises,” in which, following preliminary rounds that have seen spirited contenders such as Harry Potter and James Bond fall by the wayside, Jedi now fight hobbits in the quest for the ultimate prize – the top rank in a meaningless, statistically-flawed survey of genre popularity.  Judging such things is a bit like trying to assign criteria to beauty – everyone has his own preference, and for infinite different reasons.  The same can be said for how I and many like me weigh Star Wars against The Lord of the Rings.  How we view them depends on who we are, what our circumstances are when we experience them for the first time, and how those experiences evolve as we grow and accrue the cynicism of wisdom to find endless fault with what once sparked only wonder.

I grew up with Star Wars, but can’t say the same for The Lord of the Rings.  I saw the Ralph Bakshi animated version at a friend’s birthday party when I was six or seven and what I recall most was the entire group of youngsters finding it tiresome and cheap and quickly shutting it off to listen to the newest Duran Duran record instead.  As I got older, it was one of those elements of popular culture that I was always aware of, but never terribly interested in exploring further (kindly recall that this would have been when the idea of sitting down with three enormous volumes of Tolkien prose would be quickly supplanted by the sight of a shapely pair of tanned legs strolling by).  And I was jaded by cinematic fantasy throughout the 80’s and 90’s:  endless chintzy, low-budget productions with lousy special effects, cruddy-looking monsters, embarrassing writing, hammy acting by D-list performers and the infuriating cliché of the “magical portal to Los Angeles.”  After all, why pit your dashing heroes against dastardly villains in a wondrous setting of visceral imagination (you know, something you’d actually have to pay somebody talented and expensive to dream up) when you can have them duke it out on Sunset Boulevard while hip-hop plays over each swing of their enchanted swords?  On television, mainstays like Hercules and Xena were amusing diversions, but drowned in smirking, anachronistic pop culture references, and characters’ ability to die and resurrect ad infinitum, what a friend once called “a day pass to the underworld,” undermined any sense of stakes when the scripts could be bothered trying to aim for it.  You got the sense that the creative sorts behind these ventures considered their target audience strictly ADD-afflicted kids.  Given little consideration was any semblance of “the big ideas” that fantasy can tackle, or any sense that these characters were remotely human.

Around the turn of the millennium I’d heard rumblings here and there that a new movie adaptation of The Lord of the Rings was underway.  Oh yeah, that crummy cartoon, I thought to myself.  The CV of director Peter Jackson was not encouraging either; the few minutes of The Frighteners I’d seen were silly.  When the appalling Dungeons & Dragons limped its way onto the screen in 2000, I thought it was a pretty accurate barometer of how the new LOTR would turn out.  Nobody could do this right, not with the kind of verisimilitude that fantasy cried out for, and this unknown New Zealander with a few weird-ass movies on his IMDb page certainly wasn’t going to be the first.

Then, in early 2001, someone sent me a Fellowship of the Ring promotional calendar.  And I was floored by what I saw – portraits of esteemed actors like Ian McKellen, Christopher Lee, Cate Blanchett and Ian Holm in richly detailed costumes as wizards, elves and hobbits.  Steven Tyler’s daughter looking simply radiant as Arwen.  North and Rudy as Frodo and Sam respectively.  The grizzly-looking guy who played Satan in The Prophecy as Aragorn, and what’s this… the MAN himself, Sean Bean as Boromir.  Okay, I thought, there might be something to this after all.  Especially since the quality of this calendar proved that some serious coin had been poured into this endeavour, it wasn’t a one-off “let’s-cut-our-losses-and-sell-the-rights-to-Taco-Bell” promotion.  Maybe, I dared to hope.  Maybe this time, they’ll get it right.  Thus, unbelieving me decided it was finally time to set about reading the books, so I could see how, despite all this incredible design work, the filmmakers would screw everything up.

Certainly a lot of Tolkien’s original work is decidedly uncinematic (not that it’s a bad thing, just some stuff fundamentally works better on the page).  Goofy Tom Bombadil seemed like a train wreck waiting to happen, and I cringed every time Sam burst into tears or characters broke into song at the drop of a wizard’s hat like they were starring in a Middle-earth revival of Guys & Dolls.  Realistically, I thought, for this to be adapted faithfully you’d have to turn it into a ten-hour musical.  But coming to it late, in the shadow of the upcoming films, I didn’t find any story beat I was particularly attached to, or dying to see realized in 35 millimeter.  I thought it could have made a great movie; I was just saddled with memories of 20 years of bad movies and could visualize the visible matte lines, crude animation and histrionic over-emoting under a synthesizer score that could have resulted.  Even as the months ticked away, trailers leaked out into the world, a traveling exhibit of the movie’s props and artwork made a stop in Toronto around my birthday, part of me tempered my excitement with a pestering reminder that after all of this promise, the inevitable letdown was soon to come.  It still could have gone so wrong.

Then, just after midnight on December 17th, 2001, the lights went down and the screen came to life…

(To Be Continued)

Aaron Sorkin takes on Steve Jobs

But can it sing “I Am the Very Model of a Modern Major-General”?

He has said he loves his Mac, so I guess it’s no shock that Aaron Sorkin has agreed to write the upcoming big-screen retelling of the life of Steve Jobs.  What can we expect from this new venture?  I can see the fateful moment of the founding of the world’s biggest corporation unfolding something like this:

INT. JOBS HOME (CRIST DRIVE) – GARAGE – NIGHT – 1977

STEVE JOBS, STEVE WOZNIAK and RONALD WAYNE are standing around their first, crudely built computer.

JOBS:  What do you think?

WAYNE:  It’s ugly.

JOBS:  What do you mean it’s ugly?

WAYNE:  It’s ugly.  As in “unpleasant or repulsive in appearance.”

JOBS:  I was thinking “ugly” as in “involving or likely to involve violence.”

WAYNE:  Violence?

JOBS:  As in what I’m going to do to you if you don’t shove that Silenian gloom and doom up your ass.

WAYNE:  Forgive me for being the only one in the room worried about aesthetics.

WOZNIAK:  It is kind of ugly.

JOBS:  Kind of ugly?  There are degrees of ugly?

WOZNIAK:  Well, yeah, I suppose… there’s “yeah, whatever” ugly and “I-am-Oedipus-gouge-your-eyes-out-to-purge-the-horrible-memory” ugly.

JOBS:  It’s not that ugly.

WAYNE:  It’s pretty ugly.

JOBS:  Pretty ugly is another degree of ugly?  Like gorgeously abhorrent or beautifully hideous?

WAYNE:  Beautifully hideous, that’s good.  That suits it.

WOZNIAK:  What are we going to call this beautifully hideous thing?

JOBS:  Somehow I don’t see “beautifully hideous” as an effective selling point.

WOZNIAK:  Depends who you’re selling to.  You’d clean up with Dadaists and deconstructionists.

JOBS:  Yes, because they’re well known for their interest in computers.

WAYNE:  I can’t think of a good name.

WOZNIAK:  Me neither.

JOBS:  Come on, guys.

WOZNIAK:  I’m very good at integral and differential calculus, not naming things.

JOBS:  We need to think this thing differently.  You know, when Gautama sat under the Bodhi tree, he vowed not to rise until achieving enlightenment.  Part of enlightenment is what Buddhists call the concept of “sati” – the awareness to see things for what they are with clear consciousness and being aware of the present reality within oneself, without any craving or aversion.  Gentlemen, we are not moving from this garage until we come up with a name for this product, and I don’t care if we sit here until we are all so old and beautifully hideous that we can’t stand the sight of one another.

WAYNE:  The tree.

JOBS:  Pardon?

WAYNE:  The Bodhi tree.  What kind of tree was it?

JOBS:  A fig tree.

WOZNIAK:  “Fig Computers”?

JOBS:  No, something more primal.  Something indicative of beginnings.  Genesis.  Garden of Eden.  The fruit… the fruit of knowledge.  Apple.

WOZNIAK:  “Apple Computers.”

JOBS:  Apple Computers.

No one speaks for a moment.

WAYNE:  It’s ugly.

WOZNIAK:  Pretty ugly.  Beautifully hideous.

JOBS:  We’ll go with that then.

Not coming to theaters anytime soon…