It's iterated often in Skyfall
that the old fashioned ways are sometimes the best. It's a persistent
theme that permeates both the literal narrative and the conceptual
approach to the 23rd entry in the storied James Bond
franchise. While the story debates the virtue of antiquity in a
modern world, the film adheres to Bond tradition as seen through a
filter of contemporary dramatic substance for present-day audiences
to appreciate. The Bond is old-school (rustically so at times), but
the treatment he gets is fresh.
With the theatrically-minded Sam Mendes
at the helm, Skyfall indulges
us in a sense of detail to character that is uncommon to Bond films.
None of the previous 22 have dared plumb the depths of 007's
traumatic past and haunted present that this one attempts to – with
some success, as well. Nor have any of them explored the practically
maternal relationship between Bond (Daniel Craig's third outing) and
his MI6 shot-caller M (reprised once again here by Judi Dench).
Skyfall puts their
connection front and centre as one of the main driving forces of the
plot.
M is under attack by an embittered
ex-agent named Silva (Javier Bardem) who seeks revenge for past
wrongs. Bond, while convalescing in secret after an exhausting
opening mission involving an excavator on a moving train, feels
compelled to end his alcohol-fueled siesta and return for duty. Bond
is definitely older and feeling less invincible than the
indestructible incarnations from decades prior, but even though the
signs indicate he should retire, M knows this old dog still has some
tricks.
While not every thematic bullet that
Skyfall fires satisfactorily hits the paper target, it's more
than enough to keep Bond-weary cinephiles who don't much care for the
series engaged nevertheless. The strength of the character arcs
elevate it out of standard Bond ruts and into the realm of
intelligent actioners in the vein of the Bourne movies or
Christopher Nolan's Dark Knight trilogy. Stalwart Bond fans
need not fear a total overhaul though, because Mendes and his writers
not only respect, but revel in most of the classic Bond idioms. The
formula remains intact, with some sly in-jokes referencing staples
from older Bond films, be it his unmistakable Aston Martin from
Goldfinger or his relatively obscure pen grenade from
Goldeneye.
Probably the biggest deviation Skyfall
makes from most Bond adventures is the staggering pedigree of its
crew. You could be forgiven for thinking it was an Oscar bait movie
just by its credit list. Roger Deakins delivers a jaw-dropping
showcase of some of his most invigorating work to date, proving that
the master cinematographer hasn't lost a step in his transition from
traditional celluloid lensing to the brave new world of digital. You
can chalk this up right now as yet another Oscar that he deserves to
win but will likely lose. Production designer Dennis Gassner comes up
with impeccably detailed environs for the film's memorable set
pieces. Sound editors Karen Baker and Per Hallberg head up the
rough-and-tumble sound effects, smoothly mixed by Scott Millan and
Greg P. Russell, who also had Thomas Newman's slick score to figure
in. Chris Corbould astonishes with his practical in-shot effects,
while the amazing stunt team surely deserves the SAG's award for
their daredevilry.
***1/2 out of ****
