Skyfall is the most ‘Bond’ of Daniel Craig’s three efforts. Gone are the rookie vulnerabilities of Casino Royale and its continuation Quantum of Solace, and re-instated is the assured old hand of espionage. Making its way towards a conclusion that establishes a new continuity of sorts, but bound in the old, Skyfall attempts to reset the franchise at a position where Daniel Craig can directly carry on from Sean Connery – Aston Martin DB5, Scottish Highlands and all – with all the flippancy of Moore and Brosnan forgotten.
The reinvigoration of Q as a youthful tech acts to show both how much and how little has changed in this reimagining of the 50-year-old series. By supplying Bond with a gadget that’s obviously going to come handy later yet undercutting it with a dismissal of exploding pens, Ben Wishaw’s Q informs us that nostalgia can (and will) be acted upon here, but only within reason. Nostalgia indeed runs throughout the film, and references to the past work in much the same way that they did in JJ Abrams’ Star Trek reboot – with a sly wink.
Javier Bardem delights as deliciously theatrical villain Silva. His opening scene is one of the best in the history of Bond villains: a conversation with Bond that plays out like a histrionic re-hash of The Dark Knight’s Batman-Joker centrepiece. His monologue, full of twisted logic and amusing inflections is immediately satisfying.
Sam Mendes’ effort as Bond director in fact channels Christopher Nolan’s films at times; Iconography (crumbling abandoned island, oriental casino, Shanghai cityscapes) and themes (returning because the world needs him, struggling through physical and mental pain, an enemy who is the flip side of himself) are familiar from The Dark Knight, Inception, and The Dark Knight Rises. But Skyfall lacks the depth of Nolan’s usually thoughtful characterisation and allegory. All great genre films have the potential to tell an interesting or relevant story within their confines, but Skyfall doesn’t really reach beyond the surface.
There are standout moments though, and that surface is certainly a shiny one. Bardem’s first couple of scenes are very memorable, an opening motorcycle chase is exhilarating, and a beautifully choreographed fist fight between Bond and an assassin – shot in silhouette against a luminous neon Shanghai backdrop – is simply superb. Coen brothers alumni and Mendes’ recurring cinematographer Roger Deakins makes as big a contribution as any of the cast. His cinematography is exciting throughout, particularly when it comes to his understanding of lighting and colour. Meanwhile Thomas Newman’s score is fresh, integrating chord progressions from the famous theme where necessary but avoiding the bombast of David Arnold’s previous Bond efforts.
So, while Skyfall isn’t a masterpiece there’s still plenty to like.
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