Skyfall: Review

"Skyfall," put simply, is the best Bond movie yet. From the offset it provides purposeful action and exciting dialogue masterfully tempered by the humour ever present in Bond films. There are no other Bond films that can compare with "Skyfall." and only a few other big budget thrillers.

Gone are the convoluted plots of Casino Royale and Quantum of Solace; plots and action that owed more to Bourne than Bond. "Skyfall" drops gimmicks and loops for a simple plot, subsidised by development of 007's iconic character. The ageing, gaunt Bond and M face a new threat from a skilled computer hacker. That's it. Bond has gone back to his roots. "Skyfall" is a minimalist Bond; no dialogue is wasted and every line serves a purpose, whether it be to build a tension, or a character. The action is frantic and exciting, not slick and superfluous as normal, bringing a sense of realism to the now grittier, grounded world of espionage. The only thing that stops this film becoming depressing in places are deft strokes of humour carefully placed within one-liners and a few action scenes.

It is that masterful construction of this film, along with a constant contrast of old and new (shown most through the characters), that lifts the film above your normal 4-star action blockbuster. For example this theme allows the introduction of an inspired new Q. The Quartermaster is no longer a twee old-man dishing out gizmos and wearing a lab-coat but a twee fresh-faced twenty-something year old. After a quick-witted exchange of one-liners, the only gadgets that Bond receives are a pistol and radio, proving the new Q says less and gives less. However, like many things in this film, less truly does turn out to be more. The controlled dialogue, that only occasionally slips, gives Q a sense of young but mature intellect that contrasts the old cynics of MI6 beautifully. This Bond blockbuster is Bond blockbuster with a theme. Young and new set against the old and grey. An idea that's also, more subtly, added to by the juxtaposition of stunning sets ranging from the old and archaic Bazaar of Istanbul to the sleek, sophisticated skyscrapers of modern Shanghai before venturing back to a crumbling deserted island. This is Bond, a smart and subtle Bond.

It would be remiss of me, however, to point out the subtle nuance and clever fineries without pointing out the obvious: the acting is tremendous. Daniel Craig portrays 007 with his usual aplomb, using his somewhat more grounded charms to fit into the film's gritty and minimal atmosphere. Meanwhile Judi Dench continues to serve as M, head of MI6 and the one girl who isn't afraid to kick James up the backside when he needs it. However, this matriarchal and demanding figure allows "Skyfall" to create a classic villain. The combination of Javier Bardem, the skilled hacker whose deranged mind seeks revenge from M as well as her love results in what is a disturbingly brilliant performance, one reminiscent of Heath Ledger's Joker in "The Dark Knight". Again, extravagant under-water bases made of ice in a volcano are not present; it is the character that holds the staying power, not cheap gimmicks. Such skill in script and performance is why the writers Neal Purvis and John Logan, along with director Sam Mendes, should be on cue for a major award. It would be a crime if neither of them were nominated by the Academy, and certainly by the BAFTAs.

Granted, "Skyfall" still fails to drop the outdated reliance on glamorous girls. The bond girl played by Bérénice Marlohe feels more of a bolt-on and a burden than a character that significantly adds to the plot. All for the sake of a "Bond-girl" and all made stranger by the fact that Naomie Harris' confident Agent Eve makes an excellent counter-part to 007's assured nature, and thus fulfils the role adequately.

However, such a small piece of turbulence barely blemishes the flight of this magnificent film. The outdated mantra of "girls, guns and gadgets" has been taken from the core of "Skyfall" and been placed on the sidelines, being replaced by a new minimalist ideal, where the grounded substance becomes it's style, not the other way round. Rather than fall, James Bond has picked himself up and, true to his nature, is carrying on. The result is a triumphant success.

Green Eggs and Ham-let

The scene is Elsinore Castle where the young Danish king is debating a dilemma as taught to him by his tutor: Dr Seuss.

"To live or to die
Is the question I cry
To suffer green eggs and ham
Or to connive and plan
or simply fight back
against that culinary crap
Bringing the matter to attention
But putting my life in contention
To die?
To eat?
To forsake the mundane pains
and reach heavenly gains
Tis a consumation to be wished
Unlike that dreaded dish
Of green eggs and ham,
As proposed by Sam I Am.
To die?
To eat?
For who'd endure this crime?
This breakfast-like slime?
If it weren't for fear
Of losing our what's dear
In replacement for a journey
That is itself non returning
A move to an unknown place
Empty of a friend's face.
Yet the more I think upon death
The more I turn to second-guess
And that broken breakfast
Looks more steadfast
And so my dear Sam I Am
I will eat Green Eggs and Ham
because my thoughts scare me
and turn me excessively wary
Of that that path I could take.
Mine death I could make.
My sins be remembered
To you I've surrended.
My dear Sam I Am
I will eat green eggs and ham."