Skyfall | Film reviews, news & interviews
With Sam Mendes at the helm, the 23rd Bond movie may be the best one yet
It's Bond number 23, and if you were to suggest to me that it was the best of the lot, I might very well agree with you. This is a terrific James Bond movie, thoughtfully written, shrewdly cast and taking stock of everything that the 50-year-old franchise has come to mean. But even if it wasn't a Bond film, it would still be darn good.
In this year of the Diamond Jubilee and the London Olympics, it's also surprisingly and rather touchingly British, right down to Adele's stridently Bassey-esque theme tune. In a staggering feat of cross-marketing, they even got the Queen to appear in that celebrated early trailer. It's probably no coincidence that it has a British director, Sam Mendes, and his cast is packed with so much British thespian firepower that you can't help wondering if theatreland doyen Mendes is plotting a return to the RSC.
Alongside Craig and Judi Dench's M (pictured right), there's Ralph Fiennes as a secretive backroom spook, Naomie Harris as a saucy new-look Moneypenny, and Ben Whishaw as Q. No longer a harrumphing old martinet, Q has left exploding pens and submersible cars behind in favour of advanced computer geekhood and adorably floppy hair. In addition, there's a nimble turn from Rory Kinnear as M's assistant Tanner, Albert Finney as Kincade, the ancient retainer to the Bond family, and Helen McCrory as the haughty chairperson of a Parliamentary committee investigating the incompetence of M and the British security services.
The Daniel Craig incarnation of Bond has mercifully turned its back on the era of megalomaniacs with private armies and spacecraft trying to conquer the world from inside extensively refurbished volcanoes, though the villain in Skyfall (Javier Bardem's camp and lispy Silva) does posess a small, albeit hopelessly derelict, island somewhere in the South China Sea. Silva is an unnaturally capable antagonist bent on diabolical acts of cybercrime and mass destruction, not least blowing up the MI6 building on London's South Bank, but at its core Skyfall is concerned with human relationships and betrayals. Uniquely, the writing team (Neal Purvis, Robert Wade, John Logan) have been given licence to create some back story for James Bond, which we glean amid climactic scenes shot in glowering, wintry Scottish glens. I can exclusively reveal that his parents were named Andrew and Monique (Naomie Harris with Craig, pictured below).
Previous Bonds have made glancing references to the decline of British influence in world affairs, clandestine or otherwise, but Skyfall is drenched in lingering sadness for the passing of an age. "Emotional" isn't a word much associated with the 007 canon, but from Craig's battered, world-weary Bond (suddenly a much older-looking man than he was in 2006's Casino Royale) to Dench's autumnal performance, there's a distinct sense of a changing of the guard. It's banged home when Dench recites a chunk of Tennyson's elegiac Ulysses: "We are not now that strength which in old days/ Moved earth and heaven..." Is it coincidence that Fiennes's character is called Mallory (I'm thinking Le Morte d'Arthur here)?
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Quvenzhané Wallis shines in largely superfluous musical remake
Few festivals involve such contrasts as Dubai's, where Emirati showboating and kitsch parties accompany some important Arab cinema
Little comes as expected in Guillaume Nicloux’s wry, eccentric French comedy
Tim Burton's latest leaves you, well, wide-eyed
Hit and miss comedy sequel from the Farrelly Brothers
Sinatra and Brando ride again in classic MGM musical
An affectionate but not entirely satisfactory portrait of the artist
More surface than substance in Oscar-nominated biopic of Norway’s sea-faring adventurer
Docu-drama movingly recalls early Fifties days of Swiss gay liberation
“The 400 Blows’” anti-hero Antoine Doinel lacks charm in the long run
Peter Jackson's Tolkien pantechnicon ends with a bang
From politicians to polar bears, unexpected insights behind the scenes