Talking Movies

November 15, 2018

From the Archives: Casino Royale

A deep dive into the pre-Talking Movies archives brings up a review of the film that brought Bond back from the dead.

 

I hate 007. It’s important to clarify this at the beginning so you will understand that it is through extremely gritted teeth I have inform you that not only is Casino Royale brilliant, but it is brilliant in all the specific areas where a Bond film has no right to be even half-decent. Specifically a strong female character, an element of realism, a coherent plot, a lack of cheesiness, a believable torture scene and Bond displaying human emotions.

The screenplay is credited to three people. The writing partnership of Neal Purvis and Robert Wade who wrote the last three execrable Bond films drafted the script, which was then completely rewritten by one Paul Haggis. I am not a fan of Haggis. I had a mean gag lined up about him being renowned in Hollywood by which I would mean not his back-to-back Screenplay Oscars for Crash and Million Dollar Baby but rather his ability to make Oliver Stone look subtle. It is with seething fury then that I have to tell you his contributions to this film are masterful. He locates Bond firmly in the real world of post 9/11 intelligence, complete with MI6 cleaners to get rid of dead bodies. We meet 007 assassinating crooked agents and investigating two bomb plots, all with thrilling believability, before he finally discovers who is financing these terrorist activities: a private banker named Le Chiffre (Mads Mikkelsen).

Bond must defeat Le Chiffre at a high stakes poker game at the Casino Royale where his buy-in is supplied by Treasury official Vesper Lynd. Their first meeting on the train to Montenegro is delicious. Over dinner the pair verbally dissect each other’s characters based on their first impressions of each other. Bond is cruel but Vesper hurts him back with interest. Eva Green plays the first Bond girl who really is his equal. Furthermore in his relationship with Vesper we actually see James Bond displaying human emotions! There is a scene with Vesper slumped in the shower trying to wash blood off her hands after helping James in a gruesome murder which is jaw dropping: Bond makes no gags and does not try to take sexual advantage but actually just sits next to, and comforts, her.

The much touted castration torture scene meanwhile is gruellingly tense, blackly comic and utterly believable. This film has no Bond jokes. The funniest gags in the film are funny simply because they are unexpected unlike the double entendres of yore. David Arnold refrains from using the Bond theme for the entire film making its entrance incredibly impressive. Indeed the film’s final Get Carter style image confirms that Daniel Craig’s gritty Bond is in debt to Michael Caine’s unglamorous 1960s spy Harry Palmer. What’s more this scene makes us as impatient for a sequel as the promise of The Joker which ends Batman Begins. Damn…

4/5

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November 5, 2018

From the Archives: Quantum of Solace

Another dive into the pre-Talking Movies archives pulls up from the depths Daniel Craig’s pointlessly reviled outing; whose problems derive from the strike everybody knew about but affected not to.

Daniel Craig returns as James Bond in Quantum of Solace, which features a lot more action than Casino Royale. It doesn’t quite measure up to its mighty predecessor, but it does offer an intriguing re-invention of Bond’s 1960s foes.

The opening establishes that this is less the talk-talk-bang-bang formula of Casino Royale and more bang-bang-bang-BANG! The opening sequence is an incredibly frantic car-chase, after which we have to put up with the godawful Jack White song and sleazy silhouettes of naked ladies, but then it’s straight into the interrogation of Mr White, the villain Bond caught in the final scene of the last film. This scene features a shock so good it took me 20 minutes to get over it. 20 minutes of action as Bond travels to the Caribbean for a vicious Bourne style fist fight in a bathroom and a boat-chase. It really is surprising just how much action Marc Forster, the director best known for Stranger than Fiction and Finding Neverland, has crammed in here. He only comes unstuck with an aerial dogfight which comes perilously close to returning the franchise to Roger Moore style campiness but just avoids doing so, and only displays art-house leanings with a silent shootout in Vienna wonderfully sound-tracked only by the opera the characters have been attending.

The sheer preponderance of action over meaty drama though makes this film feel like a victim of the writers’ strike. Paul Haggis’ rewrite of the script was infamously delivered mere minutes before the strike began last year and it could have used more character beats, even though there are great unexpected moments throughout. There is an absolutely priceless gag involving Bond’s distaste for cheap accommodation amid many other quotable lines. The CIA is depicted as morally bankrupt, willing to turn a blind eye to any right-wing dictatorship’s human rights abuses if there’s a plentiful supply of cheap oil to be had, while a high-ranking member of the British Government is revealed as a member of Quantum, Haggis’ reinvention of super-villain organisation Spectre. The rights to Spectre are owned by Irish writer/producer Kevin McClory so Haggis has re-imagined Bond’s 1960s foe as a network of ex-spooks and shady businessmen and politicians. This film pays further homage to the 1960s with the death of a major character, a score which evokes the softer, and more sinister, moments of John Barry’s scores, and a desert lair in Bolivia which is pure Ken Adam in its set design.

Mathieu Amalric, a god of French cinema, is slightly underwritten as Quantum villain Dominic Greene but makes his ‘environmental philanthropist’, who’s secretly plotting to seize control of the natural resources of Bolivia, a worthy foe for Bond. Olga Kurylenko, who graduated from taking her top off in French films (Le Serpent) to taking her top off in Hollywood films (Hitman), miserably fails to escape the shadow of Eva Green’s Vesper. Her character has an intriguing back-story but the parallels between her search for vengeance and Bond’s search for closure evaporate due to her inert screen presence.  The best relationship is between M and Bond who develop almost a fraught mother/son bond by the end. Craig is once again magnificent as Bond; physical, but also offering glimpses of the inconsolable grief behind his driven pursuit of Mr Greene. This is a good film and well worth seeing, and the consistently brutal action combined with some clever conceits left unresolved suggest that Craig’s next Bond film may surpass Casino Royale.

3/5

June 8, 2018

Trailer Talk: Part IV

In an entry in this sporadic series I round up the trailers for some of this autumn’s most anticipated films.

Bad Times at the El Royale

Buffy the Vampire Slayer great Drew Goddard returns to the director’s chair, and he brings his Cabin in the Woods star Chris Hemsworth with him for what looks a lot like a glorious cameo as the villain. I fear the trailer may give away a bit too much regarding the nefarious folk that hang out at the El Royale and the bad times that go down there, but Goddard has an undeniable flair for comedy and has assembled a terrific cast of newcomers and established stars. There are echoes of The Cabin in the Woods in the notion that characters who think they’re doing their own thing are being watched and manipulated by a mysterious management. It’s also hard not to wonder if Hemsworth might be playing a Charles Manson type, given the setting, and that Manson seems to be in the air in Hollywood as the 50th anniversary of the Helter Skelter massacre approaches. Let us see what mixture of comedy and gory bombastic deeds Goddard has produced.

The Girl in the Spider’s Web

Rooney Mara does not return. Claire Foy is now Lisbeth Salander. David Fincher also does not return. Fede Alvarez is now David Fincher (sic). And, stunningly, Stieg Larsson does not return. Fede Alvarez and others are now writing for him. So, 2 films in and this has turned into the James Bond juggernaut; where the creatives are easily replaceable and only the original author’s title or some riff on it survives the adaptation process. I had always wondered how they would solve the problem of the supervillain Niedermann that Larsson unwisely introduced into his later novels; a man part Hulk and part Wolverine inserted in a previously grimly realistic universe. Little did I suspect the solution would be throwing away those two novels… Alvarez and Foy are both great, but the firing of Mara and Fincher to make way for them leaves a sour taste that may be impossible to overcome; especially as the Salander as avenging angel motif is clumsily played up so astonishingly literally in this trailer.

Under the Silver Lake

And David Robert Mitchell is cutting his film, after a brutal reaction at Cannes. Nobody should ever do anything based on brutal reaction at Cannes. Nobody should do anything based on reaction at Cannes. The worst films get lauded and the best films get crucified in that unnatural atmosphere, and the world is the poorer for it when this forces changes. Let’s not forget people at Cannes booed The Neon Demon.

October 28, 2015

Spectre

Daniel Craig reunites with his Skyfall director Sam Mendes for a bloated follow-up that seems more interested in rushing the exit than whooping things up.

mexico_city

James Bond (Craig) is in Mexico City for the Day of the Dead, so more people join the ranks of the dead; to the displeasure of M (Ralph Fiennes). M is under pressure from C (Andrew Scott), a connected bureaucrat merging the intelligence services into CNS; a nightmare of Orwellian surveillance. C wants to replace the erratic 00s with drones, and M’s case is not helped by Q (Ben Whishaw) and Moneypenny (Naomie Harris) enabling Bond every step of the way as he causes chaos in Rome and Austria. Bond murdered Mr Sciarra at the posthumous behest of M (Judi Dench), and, via Sciarra’s widow (Monica Bellucci), becomes entangled in the tentacles of an organisation run by ‘dead’ foster-brother Franz Oberhauser (Christoph Waltz). Bond’s only lead is old adversary Mr White (Jesper Christensen), and White’s daughter Madeleine Swann (Lea Seydoux)…

Mission: Impossible – Rogue Nation’s opening gambit looked foolhardy in throwing away the film’s best sequence, until you reached the opera assassination, but Spectre’s cold open is its best sequence. Mendes and cinematographer Hoyte Van Hoytema produce a Wellesian flourish with a mind-blowing long-take following Bond down a street, into a hotel, out the window, and across rooftops for a hit. After that, beginning with the execrable Sam Smith song over misjudged titles, proceedings are less surefooted. Spectre is looong. 2 ½ hours that pull off the paradox of not doing enough. Tanner (Rory Kinnear) and his MI6 crew recall Henry IV: Part Two; all the collegial bonhomie and agency freedom achieved by Skyfall is vanished, and they get little of consequence to do. It is a full 65 minutes before Swann (please let that not be a Proust reference) appears, and her delayed entrance is not for effect like Skyfall’s Silva, but a consequence of Spectre’s deliberately slow pace. The grand summit of Spectre, with Oberhauser creating a frisson of fear from his shadowy chair, is less impressive than Silva’s soliloquising entrance, and this stately subtlety is thrown away anyway with the excessive grand guignol introduction of Hinx (Dave Bautista).

Hinx has a terrific fight scene with Bond, think Robert Shaw’s dust-up in From Russia with Love, which may end with the most oblique Jaws reference imaginable; as pointed out to me by my sometime co-writer John Healy. But it’s preceded by Swann and Bond dining on a train, which constant reminders of dead characters cue us to read like Bond and Vesper’s first meeting. Only one thing is missing: Paul Haggis. Seydoux doesn’t have the material to convince us of her importance to Bond that Eva Green had, and a literal jump-cut to romance is an admission of defeat. Haggis’ Quantum; a network of ex-spooks, shady businessmen, and politicians; was more plausible and scary than de-contextualised Spectre. Waltz’s misfiring Blofeld has a desert lair and a fluffy white cat, what he doesn’t have to go with his premature recourse to torture is psychological depth or cartoonish fun, while Bond’s outrageous marksmanship against incompetent goons is the Austin Powers fodder from which Haggis rescued the franchise. The underwhelming finale poorly replays Mission: Impossible – Rogue Nation to end with a visual choice between two lives which is absurdly literal. Spectre loses what momentum it had on hitting Morocco, and never recovers.

Spectre has more good elements than bad, but it’s hard not to be disappointed that, having placed all the pieces on the board, Mendes and Craig belatedly remembered they didn’t like chess, and sought a graceful way to bolt.

2.75/5

October 26, 2012

Skyfall

Director Sam Mendes nostalgically marks James Bond’s 50th anniversary with a typically measured piece of work that is very enjoyable  but which never quite matches the heights of Casino Royale.

The thrilling opening sequence in  Turkey sees Daniel Craig’s 007 implacably pursue a man who has stolen a  hard-drive containing the identities of NATO agents undercover in terrorist  organisations. Unfortunately the pursuit ends disastrously courtesy of the  bungled intervention of his back-up agent Eve (Naomie Harris), carrying out M’s  ruthless orders. Judi’s Dench M is being threatened with retirement by new  Security Chairman Mallory (Ralph Fiennes) over this blunder but Bond, now a  broken man (he has a beard…) and champion of a Turkish drinking game involving  scorpions, only returns when MI6 HQ explodes. Bond returns to a rattled agency,  hiding in Churchill’s old war bunker, and with a ridiculously young new  Quartermaster (Ben Whishaw), who trades barbed insults with Bond and then equips  him with the needful to get back out into the field, where there’s always  terrible wear and tear. Bond’s search for the stolen list of agents leads him to  the sultry Severine (Berenice Lim Marlohe) and her sinister employer,  super-hacker Silva (Javier Bardem)…

When reviewing the pointlessly maligned Quantum of Solace I held out the hope that the  ideas surrounding Quantum might lead to a Bond 2.0 film even better than Casino Royale. Well, sadly Quantum and Felix Leiter  are absent from this movie, but one idea from Quantum, that M and Bond have almost a fraught  mother/son bond, has been amplified and given a dramatic counterpoint to power  this film’s twisting plot. Oddly this feels at times like a Nolan Bond not a  Mendes Bond. Mendes has drafted in some regulars: Thomas Newman replaces David  Arnold but fails to make much impact; indeed dramatic strings during the Tube  sequence are uncannily like Arnold’s motif for similar sequences on Sherlock. Roger Deakins though gives the  mirrors motif of the title credits dazzling life in the Shanghai sequence which  is all reflective glass, and blue and green neon, while the night-time Macau  sequence is just gorgeously staged in warm oranges. But the crumbling city where  Silva has his lair screams Inception, a  plot twist is a familiar gambit from The Dark  Knight, and Rises echoes in the  constant references to Bond being a physical wreck, and the persistent  questioning of why this rich orphan continues to risk his life.

The deliberately measured pace of the movie is pure Mendes and he even  produces a trademark move with Silva’s entrance, a slow push-in while Silva  walks towards the camera from a distance. For the most part this approach works,  the first act feels like one of Fleming’s short stories, and the belated  entrance of Silva pays off in some wonderfully discomforting dialogue scenes and  a huge shock. Even Silva as cyber-supervillain works, mostly due to Q’s rivalry  with Silva. But then along comes the third act… Mendes throws everything at  the screen; the full Bond guitar riff, Aston Martins, references to and  borrowings from Goldfinger, Apocalypse Now, and From Russia with Love. But while it’s fascinating in  exploring Bond’s past, and ends fittingly with some in-joke references, the  climactic action just lacks the forcefulness or epic scale of Casino Royale and even Quantum.

Skyfall is a good film, which runs  out of steam somewhat, but it does seem to prove that action directors handling  sharp scripts make for the best Bond films.

3.5/5

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