Since 2006,
James Bond’s primary mission has been to reinvent himself for the 21st
Century, and each film since then has had a different approach to the task. Casino Royale went for a smoky,
stripped-down feel; Quantum of Solace
cranked up the action and drifted into Jason Bourne territory (The Bond Supremacy); and Skyfall addressed the idea of a
played-out, man-out-of-time Bond going up against the alien threat of
cyber-terrorism. With Skyfall
director Sam Mendes returning to helm Spectre,
it seemed entirely possible that the new film would simply be a re-tread of its
predecessor, but – thankfully - Spectre sets
out to establish its own unique identity.
We catch up
with Bond (Daniel Craig) in Mexico. A message left for him by the deceased M (Judi Dench) has
sent Bond to kill a criminal named Sciarra, and the subsequent funeral brings
Bond face to face with Sciarra’s shadowy employers: SPECTRE. Attempting to
uncover more about the organisation, Bond tracks down his old enemy Mr White (Jesper
Christensen), who begs Bond to protect his daughter, Dr Madeleine Swann (Lea Seydoux), from
assassination. As Bond and Madeleine are drawn closer to a showdown with
SPECTRE’s mysterious leader (Christoph Waltz), they uncover a plan to unleash a
dangerous new surveillance system that could threaten the very existence of
MI6.
SPECTRE
(Special Executive for Counter-Terrorism, Revenge and Extortion) was a fixture
of the early Bond films (it featured in six of the first seven movies), which
meant that this film was almost certain to cover some old ground. And it does; Spectre marks the return of several
well-worn Bond hallmarks, and there are several moments that subtly recall
older movies: the chase through a parade, the fight on a train, and the health
clinic perched atop an Austrian mountain, to name a few. However, rather than
seeming old hat, these are there simply to reassure us that this is indeed a Bond
film, as Spectre takes the series
down paths that none of the previous films have dared to tread.
Perhaps the
most striking thing about Spectre is
its atmosphere. Many Bond films have a certain unique feel about them, but none
come close to the downright eeriness that permeates Spectre from the very beginning, when the familiar gunbarrell
sequence fades away to reveal the words “The dead are alive” displayed on the
screen. This atmosphere is sustained throughout the entire film, assisted by
cinematographer Hoyte Van Hoytema’s muted colour palette. If I had to use one
word to describe the overall mood of Spectre,
it would be ‘funereal’.
It’s not all
doom and gloom, though, and Spectre balances
the darker elements with a keen sense of humour that has sometimes been missing
during Daniel Craig’s tenure. Craig himself seems relaxed and comfortable in
the role of Bond; it should be pointed out that this is the first time that the
character of James Bond has been allowed to develop across a series of films,
and watching Craig’s 007 go from a hot-headed, ruthlessly efficient young agent
to a softened – if slightly curmudgeonly – middle aged Bond has been a joy. I
hope he sticks around.
Elsewhere,
it should come as no surprise that Christoph Waltz is playing Bond’s arch-nemesis
Ernst Stavro Blofeld, who was last seen being dumped down an industrial chimney
in For Your Eyes Only. It could be
argued that Blofeld is most effective as an unseen presence pulling the strings
from afar, but Waltz’s assured performance – which alternates effortlessly between
charming and sinister – ensures that the character comes across as a genuine
supervillain without straying into Dr Evil territory (no sharks with lasers
attached to their heads, sadly). Lea Seydoux brings vulnerability and humanity
to the part of Madeleine, and former WWE World Heavyweight Champion Dave
Bautista is a natural fit for the role of hulking henchman Mr Hinx. Returning from
Skyfall, Ralph Fiennes (M), Naomie Harris (Moneypenny), Ben Whishaw (Q) and
Rory Kinnear (Bill Tanner) are consistently strong, while Andrew Scott (Sherlock’s Moriarty) gives an admirably restrained
performance as the shifty government official Max Denbigh.
So the Bond train
rolls on, defying its age to prove its continuing appeal to audiences. Spectre is by no means a perfect film –
it could have been shorter, and bears signs of last-minute script tinkering –
but, most importantly, it proves that the series is committed to seeking out
new ground while staying true to its core values. Old dog, new tricks.
