Review: Skyfall (2012)

Dir: Sam Mendes

Written by: Neil Purvis & Robert Wade and John Logan

Starring: Daniel Craig, Javier Bardem, Judi Dench, Ralph Fiennes

Quantum of Solace’s release in 2008 garnered some pretty strong, and not entirely unfounded, critical reviews. Long-time Bond writing duo Neil Purvis and Robert Wade, although hitting on gold with their adaptation of Casino Royale in 2006, struggled to bring through any sense of character and plot, quite apart from the ‘Bondisms’ that we have come to know, enjoy and expect of our Bond films. Essentially, it failed to achieve what the prying public looks for in a bond film in almost every aspect; from the insipid eco-warrior villain Dominic Greene, to the frankly boring Quantum organisation itself and the film’s plotting which left much to be desired. All in all, it looked and felt somewhat of a collection of deleted scenes from the Casino Royale archive, than a fully-fledged Bond outing of its own.

Of course the blame, if it can be called as such, cannot be pinned entirely on the writers. Quantum of Solace’s Director Marc Forster made the film look more like a Swedish crime thriller than a new-age Bond epic, something that, with what seemed like considerable ease, Martin Campbell managed to achieve with Casino Royale. Campbell, having taken the reins on the debut of previous 007 incumbent Pierce Brosnan in Goldeneye, handled the project with an efficiency and splendid outlook which shone through on screen as a visually spectacular Bond for the 21^st Century (even though the film is placed before Dr. No on the Bond timeline).

If Quantum of Solace achieved one thing however, it was to cement Daniel Craig well and truly in to the role of everyone’s favourite secret agent. Long gone were the cries of “Bond can’t be blonde” as Craig portrayed a grittier and more conflicted character with a side order of sophistication, sticking closer to the character that Ian Fleming created all those years ago that certain previous films, and actors, had failed to display.

If Quantum of Solace was the foundation, Skyfall, our latest Bond adventure, sees Craig and Director Sam Mendes plonk a bloody big house on top of it. It’s been a film four years in the making, a set back with financial issues on the part of MGM meant that production had to be halted whilst the relevant funds were acquired. Production, at least in any official capacity stopped. However, in recent interviews both Craig and Mendes expressed that although the official go-ahead had not yet been given, they continued to discuss and prep their ideal film nonetheless.

Director Sam Mendes with Daniel Craig

Craig and Mendes, both of roughly the same age and background, were, if promotional interviews are to be believed, ideally suited to working together (in fact it was Craig who asked Producers to Bring Mendes on board initially). They both approached the film from the same angle, wanting to include certain features that they felt had either not been included, or not been explored in enough detail in recent films. Mendes is recently quoted as saying “I put my all into this film. Everything I wanted to put into a Bond film, I put into this.” And it shows.

The film has found the balance between a modern day action-adventure and the traditional elements of the Bond franchise that have been laid to waste in recent years; most notably the inclusion of gadgetry. The original Quartermaster Desmond Llewellyn, having appeared in more Bond films than any other actor (17) died in 1999 leaving the reigns to John Cleese to uphold the role for only one film. The producer’s decision to not include gadgets and a Q was somewhat of an inspired choice alongside a new, grittier Bond when the franchise was rebooted with Casino Royale. Skyfall however brings back arguably one of the most beloved characters from the franchise and Ben Whishaw plays it brilliantly, providing a teenage whizz-kid kind of character who introduces himself to Bond in a way that presents himself as his intellectual equal, or superior, but still in some way maintains a youthful naivety to the service that adds an additional element to this classic character. The scripting of this introductory scene goes someway to exemplifying how much this film is informed from previous adventures as when Q leaves he says to Bond “please try to return these items in one piece,” a brilliant call-back to the classic line spoken by Llewellyn on so many occasions previously.

One of the main stuttering points in Bond films of late has been the lack of a villain we, as an audience, can really sink our teeth into. I have already mentioned the lack-lustre Dominic Greene but even Piece Brosnan’s arch nemesis’ left a lot to be desired. Of the last six or so Bond films only Sean Bean and Mads Mikkelsen as Alec Trevelyan and Le Chiffre respectively made much of an impact. Here is where that changes. Anyone having seen Javier Bardem in his Oscar award winning role as the maniacal Anton Chigurh in No Country for Old Men will understand just how good he can be when applied to a villainous character. It’s no surprise then that his performance in Skyfall as the vengeful Raoul Silva left critics calling for a further Oscar-nomination. He plays it camp, he plays it cool and he plays it in every way you could possibly want from a Bond villain. Cries that he could be the best Bond villain of all time are cries that I find hard to dispute. If not the best, he’s certainly well up there.

The other notable performance is Judi Dench as M. It had been well documented that Skyfall really was Dench’s film and that much is certainly true. Delving into M’s past allows the writers to bring in a certain amount of sentimentality without over stepping the mark, much like the film as a whole. There is an air of the sentimental running throughout but it doesn’t compete for the audience’s attention alongside the big spectacular action sequences, they both allow each other to breathe. This is, again, where Mendes’ standing as a theatrical director comes into play. He has the balance just right. Dench’s performance is truly spectacular and she proves, where she hasn’t always been allowed to before, that the role of a modern M belongs to her (because everyone loves Bernard Lee). She’s strong, witty and although she’s always had an edgy sense of humour, it has been played upon more thoroughly in this script than ever before.

Judi Dench as M

The production design is beautifully modern, the locations allow the escapism of the traditional Bond film to shine through, director of photography Roger Deakins provides a spectacular array of visual images and Thomas Newman’s score provides an excellent backdrop for the scenes to breathe in. By using the bond theme carefully throughout to highlight particular moves or scenes, Newman gives the atmosphere of a proper Bond adventure proving that he was the right man to score it after he was hired in favour of David Arnold.

Skyfall then is classy, witty, funny and full of traditional Bond nostalgia, yet very aware of the time in which it is set. Before seeing it I read that Mendes was unsure as to whether he would direct another Bond film, even after the press screenings received such favourable reviews. Watching the film I can perfectly understand why he would have doubts. Skyfall screams of a film that has had its Director throw everything he wanted to do at it, and it is all the better for it. For Mendes to direct another might be a mistake; it may well be the definition of ‘quit while you’re ahead.’

After making Skyfall however, he needn’t worry for now.