Throughout his fifty year reign, Bond’s been accused many
times of being influenced by movie obsessions of the time. Whether in ‘Quantum
of Solace’, he did attempt to mould himself into a British Jason Bourne. Or
whether ‘Moonraker’ did take advantage of the 70s Sci-Fi obsession, this can
only be argued. But a clear argument that can be made about ‘Skyfall’ is that it’s
adopted the style of ‘The Dark Knight’ franchise. Both share the values of a
hero who’s given up after the loss of a loved one. Yet, they are left battling against
an eccentric psychopath who holds no intention but to destroy the social hierarchy
which exists. But if this is the case, please
can every Bond director re-watch Nolan’s film before going into production? As ‘Skyfall’
along with ‘Casino Royale’ is the most favoured addition to the Bond franchise
since the likes of ‘Goldfinger’.
Javier Bardem’s look of a Bond villain is half way between Enrique
Inglesias and Jimmy Savile. But he portrays this eccentric character to
brilliance. One of the key similarities that the film shares with ‘The Dark
Knight’ is creating a villain determined to destruct with no prospect of
achievement. Silva and the Joker’s shared ambition to destroy both seem to stem
from feeling let down by a patriarchal figure. Whilst in Nolan’s ‘masterpiece’,
the joker re-tells an anecdote of being abused by a parent. For Silva in ‘Skyfall’,
it’s something much more psychological. Like Bond in many ways, Silva relied on
‘M’ as a mother figure. Yet his trust is seen to have been misplaced, as the
film documents Silva attempting to capture the much loved OAP and avenge his
years of grievance.
'Skyfall' may not be a feminist’s dream of what a Bond flick
should be. But, if your pleasure is
driven by women with names like ‘Pussy Galore’, you will be sorely disappointed
with ‘Skyfall’. Yet, arguably the sexist attitudes of recent Bond films have
been toned down since the era of Roger Moore. Eva Green playing an intelligent
and scheming femme fatale in ‘Casino Royale’ exposes this. With the exception
of an intense shower scene during the rising action, the only Bond girl is ‘M’.
In a certain way, this has repeatedly been the case in the recent history of
Bond. ‘M’ is the only Bond girl that James always comes crawling back to. Yet
this is handled with in an increasingly tender manner in ‘Skyfall’ with the majority
of the film being seen through Dench’s perspective. The relationship between
Bond and ‘M’ is beautifully played out with a tingle of eroticism but ultimately
it’s about Bond’s craving for a mother.
Rightfully in its fiftieth year, 'Skyfall' is arguably a nostalgic
look at a lifestyle before Steve Jobs appeared on the scene. If it’s seeing it
through Don Draper or George Smiley; the fifties and sixties with its
romanticised and now corrupt view on life has become increasingly popular. Maybe society just wants to remember a time
before David Cameron had his way? This is used perfectly in ‘Skyfall’ through
holding no technology younger than fifty years old.
Bond drives an Aston Martin DB5, and Naomie Harris’ polished portrayal
of Moneypenny makes it seem like it’s a Bond picture from the days of Sean
Connery.
Some may say otherwise but James Bond has never been acclaimed
for creating films that will be influential and historic. They have been remembered
for their iconic action sequences. If it’s the Lotus going underwater in ‘The
Spy Who Loved Me’ or the opening sequence of ‘Casino Royale’. But in ‘Skyfall’ it’s different; through the scenes
concentrating on emotion over the tired convention of accelerated action pieces.
The audience meet a Bond who holds vulnerability and exposes some of the tenderest
moment of the franchise, showing the hero that is Bond even undergo a psychological
examination. Skyfall is also the first Bond film to bother looking at his
childhood. The reason behind replacing action with emotion is down to Sam Mendes
being in the driver’s seat. Throughout his career, his films have focused upon middle
aged men who’ve lost ambition and seem to have given up on life. A key example
is him adapting Richard Yates’ story of a broken marriage through ‘Revolutionary
Road’ in 2008. But whoever thought that we’d see James Bond experiencing the
same troubles as Lester Burnham in ‘American Beauty’? ‘Skyfall’ is very much a
combination of a Mendes film with some ingredients of a Bond flick. A scene of
Bond and M driving through the countryside could even be mistaken as a deleted
scene from ‘Road to Perdition’.
Conclusion - 6/10
I recommend wholeheartedly seeing ‘Skyfall’, whilst it’s
still at the cinema. In an age where ‘Taken 2’ and ‘Fast and Furious’ is the
most we can expect from an action film. ‘Skyfall’ manages to add emotion and
depth to a tired genre, aswell as taking the audience back to an era when an ‘action
thriller’ promised intrigue and suspense.
The best way to describe ‘Skyfall’ is as a catalyst of ‘American
Beauty’ and ‘The Dark Knight’.
The truth is in my eyes is
that their re-invention is just a brilliant marketing trick by the band or
Domino. A change of image earns themselves an American following entwined with
keeping their British fanbase. Although it’s nothing new and will be done
again. Bowie being the most obvious example with his transformation from a lad
with a clean-cut haircut to Ziggy Stardust. 
