Screen Vistas: BONDATHON: SKYFALL

In a strange way Goldfinger ruined James Bond. That 3rd entry in the series is a great film unto itself, but it also codified a rigid formula that the series has been slavish to ever since, rendering many of the subsequent films dull and repetitive. It seems that the best Bond's since then, paricularly Danial Craig's debut Casino Royale, have worked by getting away from the formula. But now comes Skyfall, a film that feels like the best of both worlds. Conscious of the present, respectful of the past, the film treats the format not as a crutch or something to be avoided, but as a springboard to tell a more resonant, ambitious story than the franchise has ever attempted, let alone pulled off.

At the center of the film is a question of loyalty. Why be loyal to a country that isn't loyal to you? This is brought up in the film's opening action sequence, where Bond and his partner Eve (Naomie Harris) pursue a high value target through Istanbul. At the end of the chase, Bond finds himself being used as a human shield. M (Judi Dench) makes a tough choice and orders Eve to take them both down. But it goes wrong. The target gets away and it appears that Bond is dead.

The consequences of that failed op become painfully public. The target is working for a man named Silva (Javier Bardem), a cyber-terrorist with a personal vendetta against M that leads him to blow up MI6 and reveal the identity of foreign agents. M survives the attack, but now faces public hearings as to her ability to protect the country.

So what of Bond? Obviously he isn't dead, but he's reluctant to return. He's not sure if he can trust M or if the service has anything left to offer him. When he does come back, it's clear that not all of him has survived. He still looks great in his Tom Ford suits, but he's more haggard. Bullet fragments in his shoulder make it hard for him to shoot straight and years of alcoholism have taken their toll on 007 (yes, this film acknowledges that Bond is a functioning alcoholic). It's clear that Bond isn't ready for the field when he goes after Silva. It's a safe bet that he'll survive, but it's possible that there will be even less of him left by the end.

That's not to say that the film is all gloom, doom and meditations. As unorthodox as the film feels, it's still a Bond movie. There are chases through exotic lands, ridiculous stunts, casinos with deadly Komodo dragons and a series of pretty women for Bond to seduce. Then there is the villain. It's hard to discuss Silva without spoiling things (this is the rare Bond film that can be spoiled), but he's one of the most entertaining Bond villains we've ever had. Bardem's smart performance reminds us of the "evil laugh" baddies from 60's Bond without ever falling too far into camp or seeming derivative.

All of this is directed with great skill by Sam Mendes (American Beauty, Road to Perdition). Mendes isn't the first prestigious director to be given the keys to the franchise, but its never paid off quite like this. The Oscar winner pulls nuanced performances out of everyone. Bond and M have never felt more like real people, and Ben Whinshaw is great as a much younger, slightly Doctor Who-ish version of Q.

Mendes also shows off his skill as an image-maker. He and legendary cinematographer Roger Deakins (Fargo, No Country For Old Men) have created not only one of the prettiest films of the year, but one of the best looking films ever to be shot digitally. There are probably huge plot holes that I didn't see because I was just staring at the amazing visuals and production design. Of particular beauty, are the film's neon bathed Shanghai sequence and the final showdown with Silva on the foggy moors of Scotland.

That ending is very interesting. Throughout the film, there is this constant balancing act between old and new, both with the plot and with the characters. So not only is there this playfulness with the formula, but we get Bond and Co. dealing with how the world has changed. With the ending, the old vs. new balance turns decidedly retro as Mendes has Bond seemingly retreating into the past for a Straw Dogs like sequence that might as well take place in 1962.

In many ways Skyfall feels like the film the franchise has been working towards for the last 50 years, a natural evolution that learns from past pitfalls. Proof that in the right hands, this formula can be used artistically. Like Goldfinger before it, Skyfall feels like a definitive dissertation on what it means to be Bond, James Bond. Obviously this won't be the last Bond, but I'd be perfectly fine if it were. It strikes a high and somber note that seems perfectly appropriate for a farewell. At any rate, I don't see them topping this anytime soon.

Grade: A

If I get enough requests I might put together a best/worst list for people looking to dive into the franchise, but barring that, this marks the end of the Bondathon. Thanks to all the viewers out there who made the series such a rousing success. I'll be doing more series like this in the relatively near future. Until then, I'll be working to bring you theatrical reviews of the years remaining Oscar bait, and major redesign of the site (no more bland beige!). If you like, you can find us on Facebook and feel free to check out other Bondathon entries:

Dr. No

From Russia With Love

Goldfinger

Thunderball / Never Say Never Again