It seems not that long ago Daniel Craig first took over the mantle of playing 007 in Martin Campbell’s 2006 film adventure “Casino Royale.” Before that film came out the blond haired, flinty and stone faced British theatre regular best known for his character work in art-house films seemed like such a left field and unlikely choice. While Craig was certainly a proper actor, along the lines of then rumored favorite Clive Owen, one could argue he didn’t have the matinee idol looks, style or charm needed for the likes of a Bond. But within a few minutes of watching a sinewy and spry Craig tussle violently with an enemy agent in a brutal, stripped down black and white opening fight sequence in “Casino” it became very clear he was already on the way to redefining Ian Fleming’s suave super spy for a new generation.
Craig’s Bond debuted a more rugged, fallible and dare I say human James Bond. He was muscular and dangerous and seemingly less refined than those that came before. More importantly, his Bond made mistakes, got hurt, and was even capable of falling in love. He was more flesh and blood man than romantic cold war concept and became the ideal post 9/11 007 we deserved. Craig’s fresh take on the character along with a smart origin story and worthy love interest in Eva Green’s Vesper Lynd helped “Casino Royale” become what is now arguably the best Bond film ever made. Needless to say expectations for future installments had risen to a whole new exciting level.
Craig’s following outing (and first direct Bond sequel) with “Quantum of Solace” lacked the emotional depth and finesse of “Casino”, due possibly to the writers strike at the time. But then, director Sam Mendes of “American Beauty” fame came along and was clever enough to plumb deeper into Bond’s mythology while also reintroducing him through the lens of an all knowing and consuming digital age. Judi Dench as M was used as the ultimate Bond girl while Javier Bardem brought a silky menace to nominal baddie Raoul Silva that ended up bagging him SAG and BAFTA acting nods (award worthy acting acclaim is normally unheard of for a Bond film). Not only that but “Skyfall” ended up becoming the most lucrative Bond film of all time as well. Expectations were now at an all time high for a worthy followup.
And now Mendes and Craig are back with “Spectre”, which is reportedly the longest and most expensive Bond experience yet. And while this film does contain inspired moments of action and espionage it will ultimately go down as a disappointment when compared to the other recent Bonds. It’s merely good but far from great. Fun but not necessarily memorable. Better than “Quantum” but certainly no “Skyfall.”
And yet it started off with such promise. The opening sees Bond making his way through a crowd during a massive Day of the Dead celebration in Mexico City that’s absolutely gripping. But instead of enjoying the parade 007 has work to do and do he does. He's able to kiss a girl, blow up a building, fly a helicopter and retrieve a cryptic ring within 10 minutes of absurd but beautiful spectacle shot by cinematographer Hoyt Van Hoytema (“Interstellar”). This initial jam packed action is so stylishly shot, also paying homage to Orson Welles “A Touch of Evil”, that the florid bombast on display becomes the best set piece in the film. It even recalls a bit of a classic Bond feel from the 60s in terms of tone.
In wake of the Mexico City mayhem Bond finds himself in hot water over at MI6 and goes rogue (how many times is this now?) when ordered to take a leave of absence from M (Ralph Fiennes). Following a lead from former M (Judi Dench via email) Bond begins an investigation that takes him to Rome in which he finds himself amidst a supreme criminal organization lead by someone from his past he knows all too well. Meanwhile back in London, MI6 is now overseen and being hounded by smarmy bureaucrat Agent C (Andrew Scott of BBCs “Sherlock”) to terminate it’s 00 program thus replacing human agents with tech surveillance and drones.
An abundance of globe trotting is on order here with Bond going from Rome to Austria to the Tunisian desert and back to London. Mendes uses his gift for conjuring bold imagery to maximum effect in a few other standout scenes (a SPECTRE meeting in Rome with silhouettes speaking in the shadows is eerily magnetic and an abrupt fight scene between Bond and behemoth henchman Mr. Hinx is incredibly tense recalling the classic fight between Connery and Robert Shaw in “From Russia with Love”).
While incorporating some classic elements into the film works to a degree the sillier aspects of the story start to work more against Craig’s grounded take on the character. Mendes relies more on established formula here than before which gets in the way of what could have been a leaner more emotionally involving Bond film like “Casino”. By the time James ends up facing off against head of SPECTRE Ernst Stavro Blofeld (Christoph Waltz) toward films end the movie has devolved into a parody of former Bonds that would be more at home in an Austin Powers flick. The subplot in which Blofeld’s family took Bond in after his parents died in their climbing accident is even more ludicrous sketching an unlikely connection between our hero and all knowing vengeance seeking villain that’s simply not needed. Waltz is a terrific actor but he’s ambushed by a cloying role here and fails to seep into the truly unsettling villain he’s meant to be. Spouting off perfunctory lines like “I’m the author of all your pain” certainly doesn’t help him. In contrast, Blofeld’s silent but deadly henchman Mr. Hinx played by formidable David Bautista (“Guardians of the Galaxy”) is at least a physically imposing presence that adds a welcome steeliness to his scenes.
Craig instills his ever edgy charisma into 007 yet again and it’s fun to see him play off of the newly established MI6 including Fiennes M, Naomie Harris’s flirty but dutiful Money Penny, and the ever delightful Ben Wishaw as the most nebbishy Q of the series. Much has been made of sultry Monica Belluci’s “older” Bond girl role, she’s 51 to Craig’s 47, but she leaves the proceedings as quickly as she arrives. This leaves room for a 30 year old, significantly younger Lea Seydoux’s (“Blue is the Warmest Color”) Dr. Madeline Swann as contact turned romantic interest who knows a thing or two about loving an assassin. Seydoux is a considerable talent but much like Waltz she's given a thinly sketched role that fails to leave much of an impression. It’s a shame when you have to go back to Eva Green 10 years ago to find the last complex Bond love interest but alas it’s still the case (which the filmmakers seem to know as well considering we are subtly reminded of Vesper throughout the film. Subtly as a hammer to the skull.)
All in all there is enough spectacle and money being thrown at the screen to consider “Spectre” as a fun night out but I have grown to crave more nuance when seeing Bond nowadays. “Casino Royale” and “Skyfall” went further beneath the surface and deepened the spectrum. As a result Craig’s Bond came closer to what Fleming had in mind from the start. James Bond is dangerous, smart, resourceful and loyal. In those better films he’s also been human. Here’s to hoping his next adventure will bring that novel idea right on back.
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