Casino Royale (Martin Campbell, 2006) is where Bond ascends from global pop-culture phenomenon into the annals of mainstream art cinema. It is a full-blown action blockbuster, disguised as a complex character study. From the opening frame to the final iconic line, the film achieves new heights in the series, delivering the strongest stand-alone entry which, retrospectively, elevates the entire franchise. The first film under the tenure of Daniel Craig, the best actor to ever take on the role, it builds on the spirit of On Her Majesty’s Secret Service to create an emotional narrative that looks at the man behind the mythos.
In this sense, Casino Royale is both reboot and continuation. It breathes new life into the series by playing with the entire spectrum of conventions and cliches the franchise has established. Nowhere is this more palpable than in the opening pre-title sequence. Photographed in sumptuous black-and-white colors, mixed with grainy, washed-out combat footage, it depicts Bond’s transformation into a 00 agent. The baroque cross-cutting style signals an aesthetic shift which continues to inform the Craig era. Contemporary Bond is more ambitious in its mise-en-scene, and in its storytelling. This becomes especially apparent when the end of the sequence seamlessly transitions into the iconic gun barrel shot. Casino Royale sets out to show has history is made, and it arguably exceeds any form of imagination. Continue reading “Postscript: Casino Royale (2006)” »
James Bond had already returned to Earth in On Her Majesty’s Secret Service (Peter Hunt, 1969) and For Your Eyes Only (John Glen, 1981) following fantastical adventures in You Only Live Twice (Lewis Gilbert, 1967) and Moonraker (Lewis Gilbert, 1967), respectively. Thus, it seemed inevitable that history would repeat itself after the financially successful but creatively bankrupt Die Another Day (Lee Tamahori). The years 2003-2006 represented a turning point in the Bond franchise and my own life. While the series transitioned from Pierce Brosnan to Daniel Craig as 007, I found my first serious girlfriend and entered college. During the four-year gap after Die Another Day, I still played the Bond video games and read the first of the Young Bond novels – Charlie Higson’s SilverFin (2005) – but I seemed to have gotten over my Bond fandom. However, with the release of Casino Royale (Martin Campbell, 2006), I rediscovered it and, over the years, I’ve grown to think that this represents the best film in the series. Continue reading “Blog 022: Casino Royale (2006)” »
Die Another Day (Lee Tamahori, 2002) is a pastiche work. The 20th Bond film, it is an homage to everything that came before and it derives much of its appeal from references to previous films. At the same time, while celebrating the tradition of the franchise, the film embarks upon a new direction stylistically. Many of the action sequences in Die Another Day involve computer-generated imagery (CGI). While mainstream film action films have come to rely more heavily on digital special effects work, one of the key characteristics of the Bond series is its commitment to physical stuntwork. Much of the criticism of Die Another Day revolved around its look, style, and feel – it was seen as inorganic and highly artificial, modeled on timely action films.
Yet, Die Another Day also brought innovation to the franchise. For the first time, the opening title sequence is a narrative that utilizes footage from the actual film, depicting Bond being tortured over the course of several weeks. While the use of a Madonna song may not work for everyone, the aesthetic approach is bold and laudable. Bond is captured at a moment of weakness and is rendered powerless as MI6 denies knowledge of his existence. It is an emotional high point for the series. Continue reading “Postscript: Die Another Day (2002)” »
To paraphrase Roger Ebert, I have always hated, hated, hated this movie.
Die Another Day (Lee Tamohori, 2002) starts with some promise, but the inclusion of a digital bullet during the gunbarrel opening serves as a foreboding warning of what’s in store. After a cool stunt of 007 (Pierce Brosnan) surfing onto a North Korean beach, the film – like so many before it – attempts to replicate its predecessor, with a hovercraft chase substituting for the boat chase from The World Is Not Enough (Michael Apted, 2002). Unlike that excellent scene, however, this one takes place in a very drab location and the music (from the usually reliable David Arnold) is distracting and chaotic. Continue reading “Blog 021: Die Another Day (2002)” »
The World is not Enough (Michael Apted, 1999) is a Bond drama. Iit is an ambitious attempt to amplify the dramatic nature of the Bond franchise and play to the strengths of Pierce Brosnan. Bond’s relationship with Elektra King, played with mystery and elegance by Sophie Marceau, is the foundation of the film. Brosnan and Marceau have strong on-screen chemistry which is effectively complemented by the melancholic villain Renard and his physical inability to feel. Director Michael Apted infuses the series with a complex narrative of the heart, reminiscent of On Her Majesty’s Secret Service.
At the same time, however, the film overindulges in conventional stereotypes, most notably the character of nuclear physicist Dr. Christmas Jones (Denise Richards). This is a genre mix that is difficult to sustain even though Brosnan is assured enough to play both ends of the spectrum. Many of the supposedly comedic scenes undercut the impact of the drama between the two main characters. Continue reading “Postscript: The World is not Enough (1999)” »
Although The World Is Not Enough (Michael Apted, 1999) is a very mediocre James Bond film, some of my fondest movie-going memories are associated with it. It was the first 007 movie whose production I followed online (doing my best to avoid spoilers), and I couldn’t have been more excited for its release in November 1999. I had been vacationing in Florida with my parents and sisters at the time, and – being twelve-years-old and at the height of my Bond fandom – somehow convinced my family to take me to see it in what was then the largest cinema screen in the state. Back then I had loved the film, but the passage of time has allowed me a greater degree of objectivity. Continue reading “Blog 020: The World is not Enough (1999)” »