Skyfall (Sam Mendes, 2012)

"Take the bloody shot!"

 

Introduction

The possibility of Skyfall achieving acknowledgement at the Academy Awards is not without merit. An outstanding cast, Oscar-nominated composers and cinematographers with, for the first time ever, an Oscar-winning director, clearly establishes Skyfall as a film which has broken the rules regarding James Bond filmmaking. Despite this, Skyfall additionally manages to respect the series with the usual tropes of 007 by seamlessly advertising tourist hot-spots including Shanghai, Istanbul and – in the year of the 2012 Olympics – London. It includes exceptionally attractive ‘Bond Girls’ including Naomie Harris and Bérénice Marlohe, but it is Judi Dench’s ‘M’ who is the central female character. We witness the re-arrival of Q (Ben Whishaw), offering a clear attempt at re-aligning all the facets which make James Bond so engaging. This film took "the bloody shot" and is a game-changer – and makes no attempt at hiding its influences.

 

“Storm’s Coming” 

 

It is interesting that, in a year whereby Christopher Nolan’s The Dark Knight Rises advertised the term ‘a storm is coming’ as Bruce Wayne harked back to his roots, the James Bond film delves deeper than any other James Bond film since On Her Majesty’s Secret Service in exploring where 007 emerged from – and additionally uses the line “storm’s coming” to precede the final act. The film begins as 007 is shot during a mission in Turkey attempting to retrieve a list of undercover-agents, which has managed to get into the wrong hands. The plot is similar to the McGuffin in Mission: Impossible and the infamous ‘Noc’ list. Unlike DePalma’s thriller, Skyfall continues initially under the assumption that Bond is dead – whilst M is held accountable for the loss of the agent and the missing list. Suffice to say, due to a terrorist-attack on MI5, 007 returns to England. But he is a broken-man and has to re-establish himself as the skilled-spy that he truly is.

Producers Michael G. Wilson and Barbara Broccoli have tried to change the Bond series for decades. Licence to Kill changed the formulae as Felix Leiter became a victim to Robert Davi’s ‘Sanchez’ (and his sharks), whilst Bond in true Dirty Harry form, “went rogue” to avenge his best friend’s death. Goldeneye became self-aware as the villain was alternate-agent 006 (Sean Bean), mocking the characteristics of Bond which we love. The World is not Enough saw ‘M’ become a victim as Sophie Marceau’s ‘Elektra King’ double-crossed the whole of MI5 and even Die Another Day pre-dated Daniel Craig as Brosnan’s Bond was tortured by scorpions during the opening sequence. Until Casino Royale all these attempts simply failed under the pressures of the expectations of the Bond series – so Die Another Day jarringly blended the torture at the start with a diamond-laser finale.

In 2006, Martin Campbell and Daniel Craig proved that James Bond can be so much more - and in Skyfall, all these elements come together to create a 007 adventure that truly represents James Bond in the modern era. No more token-gestures at change – Skyfall truly, and literally, destroys the “House that Broccoli-and-Saltzman built", in favour of a series built on firmer foundations. Scott Mendelson writes how these elements are what weaken Skyfall, stating the we are "drudging along recycled territory" whilst the filmmakers themselves offer only mere "periodic pandering" to fans of the series. I would disagree - after 23 films, this is what we have all wanted. It is simply a shame that they have tried (and failed) so regularly since Brosnan was cast to change the formulae without losing what we all love about the series.
 

Influences Further Afield

What separates Skyfall further from the franchise is the incredible direction of Mendes behind the camera. Rather than merely turning to action-films to inspire him, Mendes turns to films as diverse as Apocalypse Now, The Usual Suspects and Chris Nolan’s The Dark Knight to create mood and depict scenes. Marc Forster failed to evoke the action depicted in The Bourne Trilogy in Quantum of Solace, but it seems that Mendes knew that this direction was the wrong tone for James Bond. Whilst Jason Bourne was rough, off-the-radar and uncontrollable – James Bond can be clean cut, exemplifies extreme class and style and his attitude borders on blatant arrogance. His snarky quips representing his personal, supreme confidence in his skill. Jason Bourne would be unlikely to discuss his sexual-experiences with an enemy when tied to a chair – as James Bond does with the brilliant villain Silva (Javiar Bardem). It is this use of character that not-only separates James Bond from the Jack Bauers and Ethan Hunts of the world, but it also separates Skyfall from all of its predecessors.

Indeed, supporting cast members Judi Dench and Naomie Harris manage to provide a scope to the film that the lone-wolf in Casino Royale and Quantum of Solace lacked. Harris’ ‘Eve’ is much more than a token ‘Bond-girl’, whilst M manages to garner more screen-time than any other actor other than Bond himself. The fact that Oscar-winner Judi Dench holds the role assures you of the quality of her depiction of ‘M’ in her seventh-outing as 007’s superior. In this film particularly, her role is one to be commended and celebrated. Indeed, she is as conflicted about the morality of her role in MI5, leading men into battle, as James Bond is about his espionage work on the front-line. Therefore, it is simply poetic that Silva is a character (not unlike Alec Trevelyan in GoldenEye and Scaramanga in TheMan with the Golden Gun) who is physically and mentally 007’s reflected-rival, adding a further dimension to the Mother-Child relationship between Bond and M.
 

The Destruction of the Past

As a fan of the series, the final-act is what is noticeably different to previous outings. Even Casino Royale and Quantum of Solace had an almost-cliché finale as huge, exotic locations – Venice and the Atacama Desert in Chile respectively – set the scene for an explosive ending that would-not be out of place in any other Connery or Moore adventure. Skyfall sets the scene in the highlands of Scotland. The misty moors and dusty chandeliers are hardly the expensive ‘quality’ we are used to seeing in the series. But it is Roger Deakins that turns the location into a ghost-town that accurately represents the story which Purvis, Wade and Logan are telling. Again, this is not your usual James Bond film and the end of this film is like no-other. Sam Mendes has peeled back the layers of the character to reveal his history and his past – something that many may see as sacrilege. But Deakins cinematography is simply glorious; capturing the mood and emotion attached to the moment. After Vesper (Eva Green) ‘stripped away his armour’ in Casino Royale - only for him to bury it deep within his soul after her betrayal; Skyfall destroys every other human characteristic James Bond had, and the final act represents how much has been taken away to make 007 a lethal man with a licence to kill.

Fans of the series will leave the film with a similar crooked smile on their face. We will think to ourselves “Now he is James Bond!” the same thing we thought when the sniper-rifle hit Mr White at the end of Casino Royale. In that respect, a niggle of frustration may creep through as it has almost been three films now of ‘understanding’ James Bond. Can’t we simply have a James Bond adventure? Can’t we see a story contained unto a single film without a self-referential collective ‘aah’ when he says the same “You must be joking” line we have heard too many times in the series? Maybe. In fairness, this is what Quantum of Solace should’ve been. This is what the 20^th film, Die Another Day, dreamt it could’ve been. But it is 50 years since Dr No, and this film is a way that truly celebrates that success. No other franchise has such longevity and, therefore, captures 50 years of stylistic changes and cultural shifts over the period of its release. This film will remain a special film for many reasons – the use of James Bond’s home town, London; the political and personal relevance to the nature of terrorism in the 21^st century; the dramatic finale. It is only fitting that the film ends where it all began, almost daring younger and new-fans of the series to pick up the box set and go back to the start. Because behind all the Oscar-nominees and Oscar-winners; behind the cast and crew; behind the two producers who have managed to maintain the series since GoldenEye are fans of the series – like we are. And we only want what is best for Bond – and this could be the very best of the entire series.

Goldfinger (Guy Hamilton, 1964)

"Do you expect me to talk?"/"No Mr. Bond - I expect you to die!"

 

Introduction

 

Sandwiched between Joseph Losey's The Servant and Kenneth Anger’s Scorpio Rising sits, awkwardly, Goldfinger. The 1001 Movies To See Before You Die only lists one James Bond adventure: Goldfinger. Kim Newman finishes his brief article on the film by stating that “Ever since, the series has been recycling”. Maybe so, but what a formulae they created! Guy Hamilton, directing his first film in the series, managed to combine the cool of From Russia with Love with new, innovative elements. Gadgets that were more than a briefcase, and an introduction that was simply unforgettable. Is it a duck? No, it’s James Bond. He is wearing a tuxedo underneath his wet-suit. Is this impossible? Not for 007.
 

Iconic

 

This is the most iconic James Bond adventure – and the one film which, even at the time, critics began to realise represented more than simply ‘kiss, kiss, bang bang’. I don't believe any other 007 film has established itself with such status as Goldfinger. Indeed, Dr No started the ball-rolling, From Russia with Love, though superior to both films, is more of an homage to Alfred Hitchcock than a rule-breaker film. If the films followed in the vein of the first two films than it surely wouldn't have lasted 50 years - it would've struggled to reach the 1970's. Goldfinger has attributes that ensured Roger Moore's 8-film canon could rely heavily on comedy to pull it through - combined with stunning locations and quirky villains/henchmen. Though Red Grant (Robert Shaw) in From Russia with Love was the first 'true' henchman in the series, it was Oddjob (Harold Sakata) that paved the way for legends including Jaws, Vargas and Nic-Nac. The exceptional lengths which Goldfinger (Gerte Frobe) plans to go to corrupt the world economy isn't too far from the established SPECTRE game-plan, but in terms of the future, Goldfinger works alongside China, not the infamous Blofeld troupe.

Ian Fleming’s book openly acknowledges the lesbianism of Tilly Masterson and Pussy Galore, but the film only hints at Pussy (Honor Blackman) as homosexual. Like Tilly (Tania Mallet), in the film, she is ultimately swayed by Connery’s charm. Fleming connected Goldfinger with SMERSH (the villains which became SPECTRE in the film series), but the film detaches him and, even ignoring the Cold War element, connects him with China and the atomic bomb. Coincidentally, it was China who detonated their first atomic bomb in October 1964. Writers Richard Maibaum and Paul Dehn even corrected Fleming’s impractical end-goal of stealing gold bullion from Fort Knox and openly acknowledged it in the film – as Goldfinger reveals his ‘true’ plan of setting an atomic bomb off inside Fort Knox, contaminating the bullion itself. Talk about capturing the zeitgeist.
 

Cultural Context

 

James Chapman writes in his brilliant book, Licence to Thrill: A Cultural History of the James Bond Films, how Goldfinger even gained parallels to Godard as Penelope Houston, writing for Sight & Sound stated “… that we know the clichés and can have a little fun with them” akin to the French New Wave. This is the core of the series, as throughout the previous five decades, the James Bond series has managed to create a style and formulae that alters to suit the new generations. Though the first five films – Dr No through to You Only Live Twice, they all feel innovative and unique, until the films become almost a parody of the mood ‘of the times’. Diamonds are forever imitating The French Connection. Live and Let Die cashing in on the success of the Blaxploitation genre. But it is the formulae established here that ensured their continuing success.

The film itself remains incredible as a product of its time, including a huge dollop of sexist bravado. Connery and Leiter (Cec Linder) in the initial Miami scene smacks a girls bum – “man-talk”. But the women are much stronger than the previous films – Tilly is avenging her sister’s death, Pussy initially argues she is ‘immune’ to his charm. It may be a long way off from Barbara Bach’s Agent XXX in The Spy Who Loved Me and Sophie Marceau in The World is not Enough, but it was a start. On the other side of things, when you truly rip apart the narrative, you realise that James Bond himself is incredibly problematic in the film. He doesn’t escape Switzerland, leading to the laser in-between-the-legs. He doesn’t manage to get word to Leiter about his whereabouts – leading to the death of Solo (Martin Benson). And he doesn’t escape the jail cell, despite his efforts. It is Pussy who saves him and switches sides. The final action sequence within the terrific Fort Knox (designed by iconic set-designer Ken Adams) only concludes as a specialist defuses the bomb – not 007. Despite what the numbers on the dial tell us.

A New Market

 

This was a film which was made to draw in the international market – after capturing the European market in From Russia with Love. The budget was more than the previous two films combined and you can tell. The scale of this film is jaw-dropping – the aerial shots alone of Fort Knox, as hundreds of soldiers faint, is bigger than anything we have seen in the series so far.

This is where it truly began and we have the careful refinement by Broccoli and Saltzman to thank. We have the genius of Ken Adams and the screenplay by Richard Maibaum. Even the direction is rougher than before – handheld camerawork that Paul Greengrass must’ve seen before developing his own style that, in turn, influenced the James Bond series in 2006. After Goldfinger, everything was set in stone – but nothing would be the same, ever again. Not recycled – refined and truly outstanding.

Who Score's on 007 Skyfall?

Germain Lussier writes for /Film about the replacement of David Arnold on the 23rd Bond film Skyfall:

"To be honest, I couldn’t pick one of Arnold’s Bond scores from the other (I’m more of fan of his Roland Emmerich collaborations) and, usually, most of the Bond music news is attached to the pop star who sings the opening credits song. Arnold’s a fine composer, but it almost feels lazy that he kept getting asked back when each director is so radically different."

Read the full article here: http://www.slashfilm.com/thomas-newman-scoring-skyfall-sam-mendes/

As a huge fan of the James Bond franchise - and someone who truly enjoys the wide variety of scores to the 007 films, I couldn't diagree more!

David Arnold is the only composer who has comfortably succeeded John Barry. Many have tried - Eric Serra, Michael Kamen - but none have managed to balance new scores with traditional James Bond themes as successfully as Barry until David Arnold came along.

For example, Tomorrow Never Dies, manage to introduce a solid pace with modern electronic music without ignoring the iconic theme - Arnold even managed to get Moby involved to created his own version of the 007 theme. The World is not Enough and Die Another Day proceeded to get more electronic and technological. You simply have to compare the electronic percussion on the track 'Whiteout' for Die Another Day to the 'Hamburg Break Out' in Tomorrow Never Dies to see how, initially a contemporary use of technology then became more a excessive use of equipment.

Thank God, David Arnold completely changed his palette when working on Casino Royale and Quantum of Solace. The sound effects are no more and Arnold ensures that, in the same way as the films have 'gone back to their roots', the music has too. 'Night at the Opera' on the Quantum of Solace score harks right back to the track 'Capsule in Space' from You Only Live Twice showing the direct influence of John Barry.

More evidence? The Proms at The Royal Albert Hall this year had a performance whereby themes by Barry and Arnold were performed. You can see the direct influence and correlation between the two composers - my own post covering the Proms has a video included showing the memorable performance.

In closing, it is worth noting that I do love Thomas Newman. I often listen to his scores for American, Beauty (check out my Incredible Soundtracks post), Wall-E and Finding Nemo. And, in fairness, between From Russia with Love and John Barry's final score The Living Daylights, the odd film had a different composer, only for Barry to return to the franchise in the next film. Composers as diverse as Marvin Hamlisch on The Spy Who Loved Me, George Martin on Live and Let Die and Bill Conti on For Your Eyes Only.

I have a feeling that most composers want to "do" a James Bond film and this was Newman's chance. I doubt Barbara Broccoli and Michael G. Wilson are foolish enough to destroy their connection to David Arnold. If this Sam Mendes 'vision' doesn't wholly work, I'm sure David Arnold will be back on board for the 24th film. Or at least, I hope he is back.

 

Quantum of Solace (Marc Forster, 2008)

"This man and I have some unfinished business."

Introduction

This is a little unconventional, I appreciate that, but I think it will be a case of fillng in the blanks over the years. I have recently watched all the James Bond films and, with Quantum of Solace, I have now finished. I have written a post on Dr No - which you should really check out.

After Casino Royale, I was so excited about the film until the bad reviews arrived and then I heard the scathing attack from Mark Kermode. Before I sat down, the initial reaction was exceptionally negative and I do recall reviews even giving the film 1*. To say this upset me is putting it mildly because, for better or worse, the film does have problems and there is no point in pretending this isn't true.

The Continuation of Casino Royale

I always found it difficult to stomach the 'love' James Bond had for Vesper Lynd in Casino Royale - at least the film had amazing action sequences and incredibly tense poker matches. In Quantum of Solace this weak aspect to the story (M constantly reminding Bond about the tragedy - "It'd be a pretty cold bastard who didn't want revenge for the death of someone he loved") whereby Vesper's betrayal and 'importance' ultimately rings untrue. If it wasn't Bond's motivation, then it would be a better film - and, for better or worse, did it even have to be a motivation at all? For Gods sake - it's his job! Another problem with Quantum of Solace is the repetition of Bond 'going rogue' (another facet which provides much comedy on The Hollywood Saloon podcast) - he does this in Casino Royale, Licence to Kill and Die Another Day - 4 out of 7 films, Bond rebels against M and MI-6 and, suprisingly, is accepted back. I swear, if Bond goes rogue again, M should have him killed.

I remember when Casino Royale was released, James Bond fans were concerned that with a  reboot of the franchise, it would lead to remakes of the original James Bond films. Luckily, this does not happen - though in a similar way to From Russia with Love, whereby SPECTRE is introduced, Quantum of Solace provides a new 'group' that is undetected on MI6's radar: QUANTUM.

 

Bond Girl

 

One of the stronger aspects to Quantum of Solace is the casting of Olga Kurylenko as the girl-who-wants-revenge. Borrowing a theme we have seen before - The Spy Who Loved Me, For Your Eyes Only - she is much stronger than many characters. So strong, in fact, she does not even sleep with 007. Now that is strong - who can resist his charm. Funnily enough, having read a few books on the franchise, we have already seen this before. Timothy Dalton's James Bond was much more serious and, in The Living Daylights, he only manages to have sex with one girl - at the end. At the time, Bond fans found this a little strange - but now we can see that, as I have mentioned before, Dalton was ahead of his time. In fact, the one girl he has sex with in Quantum of Solace died in a similar manner to Jill Masterson (Shirley Eaton) in Goldfinger - rather than covered in gold, Gemma Arterton's 'Strawberry Fields' is covered in oil and found later by MI-6. This begs the question that, upon reading the script, it was clear that Bond did not seem to get the ladies and so this sexual activity was squeezed in to ensure Bond did not remain celibate for one film.

 

One thing I laughed alot at was a use of the script mentioned on 'The Hollywood Saloon' podcast, whereby Olga's 'Camille' seems to appear multiple times, in a car, and state "Get in.". I recall listening to the podcast and hearing her say this time and time again - but upon watching the film, it is clear that this is a little 'feature' of Camille - she turns up int he car the first time "Get in.", Bond says some witty remark and she simply repeats her instruction "Get in". This happens twice - the second time to remind us of that special first meeting. So, though incredibly funny when hearing it used on The Hollywood Saloon, it is not as alien and out of place Andy and Jon imply. But Camille remains strong - with a motive that is never undermined by 007.

Flawed

With these flaws, we beg the question why. Is it the script? No. I don't think Purvis, Wade and Haggis did a bad job - I'm sure it could be improved, but the story itself works. Though it wasn't neccessary, I see the purpose in continuing the story from Casino Royale. This leads to the actors who, again, were brilliant. As I mentioned Kurylenko was great whilst Mathieu Amalric as Dominic Greene was suitably sinister, with a realistic edge. Daniel Craig, Judi Dench, Giancarlo Giannini and Jeffrey Wright, reprising their roles from Casino Royale, were suitably strong and, especially Leiter, I love his cynical edge. Wright gives the impression that he knows he is on the strong 'super-power' side - and that he will probably 'win' if he wanted to - but he is held back by superiors who can't do their job. This cynicism complements Judi Dench's M, who we trust and believe in as 007's superior.

Behind the scenes though, we are missing some people. Marc Forster chooses a different production designer - Peter Lamont who has been involved with the franchise since Goldfinger, leading the production department since For Your Eyes Only is replaced by Dennis Gassner. Matt Chesse and Richard Pearson are on editing duties (Pearson having worked on The Bourne Supremacy with editing duties shared with Christopher Rouse), new to the franchise, whilst the second-unit director had been changed again (Alexander Witt on Casino Royale, Vic Armstrong the three films prior) to Dan Bradley, the second unit director on The Bourne Supremacy and The Bourne Ultimatum. It was clear now, if there was any doubt with Casino Royale, that the Bourne Franchise was the style 007 was aiming for... but it simply doesn't deliver.

I think the buck stops with Forster. His choice to have multiple sequences edited together in a way that confuses and cuts too fast is constantly a source of frustration. The opening sequence as cars chase Bond, rather than dwell on the vast space and skill of the stunt drivers, seems to cut every 2-seconds to another image from a different angle. Further to this, we have Mr White's escape juxtaposed with a horse-race for no clear reason. One sequence, that starts off effectively, suddenly drops in quality when Forster tries to make it more grandoise. Bond realises who QUANTUM are, as they all try and leave the opera they are in attendance for and, following a nervous face-off against Greene, Bond is chased out and we see an incredible gun fight. I say 'see an gun fight' because you don't hear a thing. Now we have the Opera music over the action sequence, rather than the rat-a-tat-tat of guns firing whilst we cut back and forth between the action and the opera. Thanks Forster - you mistake me for someone who cares about Opera and Horse-Racing - I watch 007 for the action and the stunts.

Finale and Fitting in the Canon

I used to despise this film, but after a second watch, I simply think it is an exceptionally weak James Bond film. Forster tried something that completely didn't work and, now it is done, Broccoli and Wilson can learn from their mistakes and hire someone who can direct action ... like Sam Mendes (wait-a-sec ... Sam Mendes? As in the director of American Beauty and Revolutionary Road ... not exactly action...). The end of Casino Royale gave the impression that Bond was back - and we could watch the next film without the 'love' and just enjoy the action. What we got was constant references to his 'love' in the previous film and action sequences that are not memorable. The biggest concern is that nothing is memorable at all - Casino Royale had the free-running, the poker-match, the macchete-fight in the stairwell to remind us of great action. This balanced out the love side to things. Quantum of Solace has all that love-stuff - "I was sorry to hear about Vesper. I think she loved you." - but action sequences I canot vividly recall because how badly they were edited - nothing flowed. Can I remember a single stunt? Not really because it was so unclear. I remember the bit when Bond fell down and swung round - with foot attached to rope - killing 'Mitchell', but I just wish it was much clearer.

At the very least, by mentioning 'Quantum' at the end of the film shows that, in fact, there is much more to reveal. For example, we saw many, many members of QUANTUM at the Opera and, I would like to think, this is an opportunity for many missions in the future... lets just hope that with all the many extra months of prepatory time for Bond 23, they can right-the-wrongs of Quantum of Solace...

Top 5 Best 'James Bond' Title Songs

Ultimately, there are so many good James Bond songs! I whittled out the bad songs on a previous post and now I have to choose my Top 5. First off, all the songs mentioned in this post are brilliant. None of them are specifically bad - in fact, I look at the likes of Live and Let Die by Paul McCartney and The Wings and worry that it should be higher ...  but then I look at my Top 5and can't see how it could be squeezed in. Chris Cornell's You Know My Name was incredible but is it as iconic as the Top 5 I chose? I think not. Even Matt Monroe and Tom Jones I decided against because Tom Jones i merely a male version of Shirley Bassey whilst Matt Monroe, though a great song, has very little correlation with the Bond songs that followed Goldfinger. The James Bond Theme from Dr No and the the title credits for On Her Majesty's Secret Service are both instrumentals and we have to have some rules - namely a singer-theme-song.

5. Goldeneye - Written by Bono and The Edge from U2, this again set the standard after the hiatus between Licence to Kill and Goldeneye. Tina Turner comfortably sings her way trhough, as Bassey sang many years prior. The opening credits sequence, additionally, introduces Daniel Kleinmann to the scene - taking the mantle from Maurice Binder by using Russian symbols and iconography linking with the plot itself. I was very tempted to put Tomorrow Never Dies at this very spot but thought, ultimately, Sherly Crows voice is nowhere near as strong as Tina Turners making it inferior. Though, I may be tempted to claim that Tomorrow Never Dies, as a song, is better ...  but shame about the delivery.

4. You Only Live Twice - Nancy Sinatra singing the Asian-themed tune of You Only Live Twice. A brillaint song which, in fact, was so good it was sampled by Robbie Williams for his song Millennium.

3. Goldfinger/Moonraker/Diamonds Are Forever - Yes, I have put all of Shirley Bassey's songs together because, even though Goldfinger set the standard, the songs which followed it became equally distinctive and impressive. Diamonds Are Forever sampled by Kanye West and, with Moonraker, John Barry even had a dance-version placed over the end-credits. Shirley Bassey can do no wrong.

2. Nobody Does It Better - Prior to Carly Simon's theme to The Spy Who Loved Me, other than Matt Monroe in From Russia With Love, the themes were bombastic, grand and loud ... Carly Simon sang a song that sounded personal and romantic. The side to 007 we never truly see ... 

1. A View To A Kill/The Living Daylights - by Duran Duran and Aha respectively. These two songs could be played continuously and they still have two things in common - both catchy pop songs that, even at the time, were highly successful singles. Secondly, the songs are rooted in the 80's scene - that I believe seems to give the songs a little retro edge now. If only Spandau Ballet sang Licence to Kill! I couldn't decide on which one is better, so I cracked and - again - but them both at Number 1.

Top 5 Worst 'James Bond' Title Songs

I was all prepared and ready to complete a Top 5 Title Songs blog post, but alas, there are many good songs. I had to clarify, in the first instance, the good and the bad. From doing this, inevitably, I made an entire list of all the title songs and thought, why not prepare you for the Top 5 by revealing the worst 5 first!

The near-misses are The Man with the Golden Gun (though, ultimately a bad song, there is something funky and, dare I say it, "spunky" about Lulu), Die Another Day by Madonna - I have to concede that it is a bad song, but I respect that Michael G. Wilson, Barbara Broccoli and David Arnold on signing off such a weird and electronic track.  If you are thinking of a song I haven't mentioned and it does not turn up on the list, then I deem that song to be ultimately good, but have yet to arrange where it would be placed - and whether it would even get a look-in regarding a Top 5 songs.

Lets move on though! First off, the worst James Bond Title songs...

5. For Your Eyes Only/Sheena Easton - too romantic and too longing ... not much Bond-like charisma. I think it is more a song for the girl in the film, not for 007...

4. Licence to Kill/Gladys Knight - I can see how Michael Kamen wanted to move back to the Bassey style of vocal, with an 80's edge, but alas, it did not work.

3. All Time High (from Octopussy)/Rita Coolidge - so dreary. It sounds like she's high on drugs singing this boring song. No no no.

2. The World Is Not Enough/Garbage - How sad that the band is called Garbage. I can't even remember the song that did make them famous. 'Ready to Go' was Republica ... 'Neighbourhood' was Space ... from a band like A-ha and Duran Duran to crap-brit-rock-band Garbage. Upsetting.

1. Another Way To Die (from Quantum of Solace)/Alicia Keys and Jack White - What on earth happened here. I think Alicia Keys is great - i have three of her albums and I have no problems in getting another. I think The White Stripes are cool, but this just doesn't work. Especially when you have the whole is-it-a-guitar-solo section ... only to find out that the juttery, incompetant guitar player was actually the solo. In its entierety.

Favourite Film Faces #16: Gerard Butler in 'Tomorrow Never Dies'

Having recently watched Tomorrow Never Dies, I was positive that some British television actors were on board the British ships. I was amazed to discover, that not only was a British cast member on board a ship - but in fact he was rumoured to be considered to be James Bond.

The thing is, too often in the James Bond productions, the actors know the 'big guns' - in Michael G. Wilson and Barbara Broccoli - before they take on the role. Take Timothy Dalton, originally considered way back in 1969, and then again, when Roger Moore was rumoured to leave following For Your Eyes Only. Then there is Pierce Brosnan - actually hired to be James Bond in 1987, but his contractual obligations on the TV-series Remington Steel, held him back! But alas, in both cases, they eventually became Bond in '87 and '95 respectively.

It would make alot of sense that, following Daniel Craig's three-film contract, they cast Gerard Butler, effectively a 'veteran' of the Bond franchise. He is currently 41 years old and, that might seem a little too old but bear in mind that Roger Moore was 46 in Live and Let Die and went on to make more James Bond films than any other actor ...

Dr No (Terence Young, 1962)

"I admire your luck, Mr...?"
"Bond, James Bond"

Introduction

I have not written an analysis of a film for months - trying to kick off the A-Z features, the Incredible Soundtracks is something I have wanted to do for many years and , to top it off, I am trying to catalogue my notes on a huge book titled A Critical Introduction to Film. The idea of analysing a film seemed so time-consuming. But, one thing I seem to have consumed greatly in the last few weeks is the James Bond franchise. I am reading Licence to Thrill: A Cultural History of the James Bond Franchise by James Chapman as I re-watch the franchise - beginning with Dr No. Whilst at the same time re-listening to The Hollywood Saloon podcasts, titled Bond Never Dies. Inevitably, I would highly recommend these books and podcasts as the vast majority of ideas and research would be credited to both these sources.

Dr No was the first James Bond feature-film at the cinema. The first Ian Fleming 007 book, Casino Royale, was made into a TV-film for a TV-series whereby they adapted classic books. The TV-film of Casino Royale had been adapted with an American 'Jimmy' Bond and was completely different to what soon became James Bond under Eon Productions. Harry Saltzman and Albert 'Cubby' Broccoli nabbed the rights and the first James Bond feature-film was in production.

Introducing the Icon

Introducing James Bond, even in Dr No was a moment that would never be forgotton. Sylvia Trench introduces herself - "Trench, Sylvia Trench ... and you are?", cure the Bond theme and Connery's impeccable delivery "Bond, James Bond.". It is worth noting that this beginning is actually incredibly fast-paced - finding out what he is expected to do, Bond (Connery) has 3-hours to get prepared and be on his flight to Jamaica - but not before Sylvia Trench lays herself at Bond's feet. In his shirt and playing golf. Women fall for James Bond but, though over the years the way this happens is changed and adapted, for the vast majority of the 60's and 70's, James Bond's charm and animalism ultimately wins over women and they give him what he wants. Dr No is no different in how women are subordinate to James Bond and, ultimately, men. This is iconic in James Bond - women are drawn to him and, though this seems quite possible with a young Sean Connery in role, the fifty-something Roger Moore in A View To A Kill requires a little bit more convincing and, to some extent fails.

Though iconic moments are constantly introduced in films following Dr No, the basic set-up is established including the gun-barrell. Goodfellas ends with an explicit reference to The Great Train Robbery (1903) and, to some extent you can see the similarity between this gunbarrel sequence and what became the only way to start a James Bond film ... until Casino Royale (2006). Chapman notes how Dr No is equally steeped in colour - "from the Pop-Art title-sequence".

Racism

One thing that is apparent in the vast majority of these films is the exceptionally racist elements in casting. Other than Professer Dent, the characters which are seen as inferior to Bond and the 'good guys' are, ultimately, not caucasian. Dr No and Miss Taro are of Asian descent whilst Quarrell - though initially introduced as dangerous and violent, when we find out he is 'one of the good guys' he is clearly used as the 'henchman' for James Bond - the animalism as he holds Marguerite LeWars, Dr No's 'oriental' photographer, and even hurts her. Chapman additionally notes how James Bond himself even orders Quarrell to get his shoes - hardly on the same 'level' as Bond and Felix Leiter.

Bond as a Cold Killer

Throughout the series, we see James Bond as an exceptionally cold-killer. In Dr No his execution of Professer Dent (Anthony Dawson) is cruel and heartless - though, in fairness, Dent clearly had no problem in killing Bond. Prior to shooting Dent, as Dent clicks-empty his gun: "That's a Smith and Weston - and you've had your six".

Positive Press... and not a fan of Connery

Critics were well aware that this was the first of many James Bond films and this, to some extent, divided critics. Some praising the accepted norm of Bonds characterisation - "all in the day's work, now for the next please" noted Dilys Powell, but ironically, on the first outing Connery was not accepted whole-heartedly as the Film Monthly Bulletin notedhow "Sean Connery is such a disappointingly wooden and boorish Bond". Derek Hill claimed Connery was a "telly-commercial salesman"

Reference Points

As Chapman observed, the colour - and some film posters - were clearly influnenced by Pop-Art and the work Andy Warhol and Lichtenstein whilst the sets, designed by Ken Adam, had an almost German Expressionistic style to them - especially in Dent's phone-box room to Dr No. I personally felt that the sleek curves and simplicity evoked work from the Bauhaus too. At the time, the film was released two years after Michael Powell's Peeping Tom and even drew comparisons with the "sado-masochistic" aspects prevalent in both films - the casual sex and cold-blooded violence inevitably playing a part to this. Ironically, Chapman notes additionally how Bond is a voyeur at multiple points - think of the iconic Ursula Andress emerging from the ocean in bikini, knife on her side, shell in hand... Bond spies her, without her realising, only emerging to flirt and seduce her.

In Closing...

Despite some negative press, the film was ultimately a success. The films were edited so that the sex and volence was limited - no blood squirting from wounds when characters are shot. In many cases, there is no blood. Additionally, the sex is hinted out and we never see excessive nudity. It aims for a broad audience and manages to achieve this. Ian Fleming seemed to appreciate the film - noting how "those who've read the book are likely to be disappointed, but those who haven't will find it a wonderful movie".

Fact is, Dr No was successful in England and in parts of Europe, but it did not break the world yet. The film was perfect to begin the Bond franchise with - small scale, simple in execution,. limited - but visually tourist-like location. The next film needed to improve upon what had been established... and it did so ... 

A-Z #37: Casino Royale

You can pick up hundreds of DVD's for a round-pound each - it doesn't matter. Its never about quantity, its about quality. A-Z is my way of going through my collection, from A-Z, and understanding why I own the films ... or you can tell me why I should sell 'em

#37 - Casino Royale

Why did I buy it?

This is where this whole A-Z thing can get a bit problematic. I am a self-confessed huge 007 fan. When we reach boxsets, I can discuss in more depth where this love came from, but suffice to say, I bought Casino Royale day-of-release having watched it at the cinema in Reading.

Why do I still own it?

Funnily enough, it is actually a film that, in due course, will be sold - but only to be upgraded by that sweet Blu-Ray version. Fact is, currently this on DVD, on the shelf. It really is an incredible film and the free-running start set the bar incredibly high frm the get-go. Ironically, once everyone jumped on the Daniel Craig bandwagon, they all seemed to turn on Brosnan who, for what its worth, was the James Bond of the ninties - in the mould of action films such as Die Hard  and Speed. Daniel Craig is gritty and built in the mould of The Bourne Supremacy - which is not a bad thing.

A flawless film that deserves its place in everyone's collection. Unlike the follow-up Quantum of Solace ...

Maybe you disagree ... maybe I should get rid of it permanaently?

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