Even for a creative team that includes some of the best talent working in cinema today such as Oscar-winning director Sam Mandes and cinematographer Roger Deakins, the prospect of taking on Skyfall must have been a daunting one. No one wants to be the person who fumbles the ball and mortally wounds one of the most successful movie franchises of all time, after all. Quite apart from the whole 50th anniversary hooplah surrounding the latest instalment of the Bond series, there is the worrisome matter of having to follow on from a previous film widely regarded as a disappointment, and after a too-long hiatus caused by the latest financial strife at MGM/UA.
But even the best creative team has to start the process by asking itself: what sort of Bond movie do we want to make? Everyone has their own image of what a ‘true’ Bond film should look like and the elements it should contain but in fact the series has been consistent only in how much it has varied through the five decades, from the style-setting early Connery thrillers to the light-hearted family entertainment Moore outings. Where the series once created a whole new spy thriller genre, it later fell behind and seemed perpetually scrambling to keep up with the competition: hence the blaxploitation and science fiction outings in the 70s, or the quintessential mid-80s drug war/vendetta instalment, or more recently the feeling that the series needed to get back to realism and basics while assimilating the parkour DNA of the Bourne franchise. At times, the series seemed so busy dodging around copycats and wannabes, finding a new raison d’être for Bond after the end of the Cold War and adapting to the latest cinematic trends that it arguably lost the heart and soul of what it meant to be a Bond film altogether. For me, the successful recent run of entries in the Bond series was under Brosnan, which managed to reinvent the character and make it relevant for the end of the millennium, combined the serious thrillers with the spectacular and absurd, and did it all with a sleek new modern style that was both old-time Bond and wholly fresh.
What, then, should Mendes and his team do for a 50th anniversary film? What film in 2012 could possibly adequately pay homage to the entire history of such a multi-faceted storied franchise? Read the rest of this entry »