Review: Skyfall (2012)

Skyfall

The Bond we’ve been expecting 

Released: 26 October 2012

Director: Sam Mendes

Cast: Daniel Craig, Judi Dench, Javier Bardem, Ben Whishaw, Naomie Harris, Ralph Fiennes, Bérénice Marlohe

Plot: After a mission goes south in Istanbul and 007 is presumed dead, MI6 is attacked and M is targeted by someone from her past. Agent James Bond must track down the person responsible, which leads him down roads he never intended to revisit.

2010. Metro Goldwyn Mayer is in trouble. With a debt surpassing $3.7 billion, the then simply titled ‘Bond 23’ was strung up in development purgatory. The impact of the economic recession on MGM was becoming more and more apparent as output decreased and speculations over the lack of Bond- related news festered. 2008’s Quantum of Solace had already disappointed fans, and an eagerness for a strong follow up put pressure on MGM to deliver. Whatever the outcome, it was obvious that the studio was heavily reliant on Bond 23.

2012, and we now know 23 as a far better name – Skyfall. Sitting in the cinema and watching the endless plethora of Bond- related merchandise and loosely- associated brands is nostalgic by now. But then, Skyfall’s opening shot explodes onto screen – brass note accompaniment and all – and in a deliberately blurred shot in which Daniel Craig’s bright blue eyes become framed in a dash of sunlight, Bond is back.

And never better. Skyfall is one hell of a return for the most famous spy in the world. It is well aware of Quantum’s failings and makes up for them brilliantly. Most importantly though, it is unapologetically Bond- esque, trading

Quantum’s gritty realism for a taste of convention – because after all, it’s what we’ve come to expect from MI6’s greatest agent. In essence, Skyfall’s winning ticket is its ability to perfectly blend Casino Royale’s overhaul of the franchise whilst retaining, put simply, what makes Bond Bond.

Skyfall’s other strength lies in its narrative. Whereas James Bond’s past has been very much buried for 22 films, Skyfall allows the enigma to surface without leaving the audience hungering for anything more definitive – gladly, the film doesn’t do an X-Men Origins: Wolverine or Hannibal Rising on our nation’s most beloved movie hero – the result is more akin to a Nolan- era Bruce Wayne. Craig’s performance is consistently strong, too. Nobody can handle the Brosnan style cuff- correction or the sarcy dialogue with maximum admiration and minimum corniness like he can. It’s no wonder then, that Roger Moore, the longest running Bond so far has hailed Daniel Craig as his favourite. Craig remains solid into the final act, which is a challenge for any Bond actor in its context alone. As Skyfall guides us deeper into Bond’s past, a geographical shift, a descent in glamour and a stripping away of style leave Skyfall at the mercy of the main three – Craig, Dench and Bardem. It’s a risky move, but the three make use of a great script and input from Mendes sees Skyfall to a triumphant end.

Bardem is easily one of the most memorable and dynamic Bond villains, partly due to a wise development decision to follow the Bond baddie handbook – dodgy hair, foreign accent, and a deformity that tops the chart (hint: it’s no Scaramanga third nipple). Once he is introduced (it does take some time) Bardem very much carries the film. The return of Q is also warmly welcome, and Whishaw does a fantastic job of it too – this time on a par with 007’s snide remarks. The bond girls Eve and Sévérine (Miles and Marlohe) also energize the narrative, the former adopting a more hands-on – easy now – rough and tough role and the latter encompassing the traits we have come to expect from one of 007’s squeezes. And of course, credits go out to Dench’s M, who plays a pivotal role this time.

Skyfall doesn’t ease us into the action either – it stars at full throttle, featuring a car and bike chase, a train sequence and plenty of fisticuffs action to keep the audience engaged throughout. Throw into the mix an exotic location (which Skyfall has no shortage of) and you have your perfect bond movie. Thankfully, it is saturated with classic bond moments and nods to previous instalments – the shark pool is traded in for a pit crawling with Komodo dragons, Q remarks that if Bond expected exploding pens, they “don’t really go in for that anymore”, but most glaringly (and brilliantly) of all is the return of James Bond’s most famous car – arguably Skyfall’s most memorable moment.

 Sam Mendes breathes new life into what Quantum of Solace seemed to lose control of, and a director with remarkable experience in character- led drama is an obvious pick for Skyfall’s heavily demanding modus operandi. The film’s visual potential is this time not in establishing shots of beautiful locations that ludicrous budgets have achieved, but instead in a Shanghai high-rise fight sequence which pits 007 and an assassin’s silhouettes against one another whilst vibrant ads run up the glass building’s exterior. It makes for a colourful display of well-choreographed hand-to-hand combat, which Bond has latterly become proficient in. Cinematographically, Skyfall is the most ambitious Bond yet. All things considered, Skyfall feels like the true successor to Casino Royale, and believe the hype – it could well be the best Bond since the Connery epoch. Sherioushly.

Verdict: 007 delivers his finest film in a long time, thanks to a gracious cast and inventive, yet loyal, directing. The future is looking bright for the world’s longest running franchise – for fans, James Bond won’t return soon enough. ★★★★★