The most recent entry into the Bond canon may be the most aptly named Bond to date. Skyfall embraces the themes of “falling” from the literal fall of Mr. Bond (Daniel Craig, in his third Bond film, The Girl with the Dragon Tattoo) in the cold open, to the metaphorical fall of Raoul Silva (Javier Bardem, No Country for Old Men, Vicky Christina Barcelona) from top MI agent deranged terrorist.
The pervasive theme lingers throughout the film and dives into the richness of the character that is James Bond. While Quantum of Solace hid Bond behind ornamental and rather anemic action sequences, Skyfall strips the character bare and extracts the man behind the tux.
Like most Bond films, the plot is simple enough. James Bond is accidentally shot on duty by fellow agent Eve (Naomi Harris, Pirates of the Caribbean, 28 Days Later). When he returns to action, he finds that MI6 is under attack by internet terrorist and ex-MI6 agent Raoul Silva. In addition to his plot against the secret service, Bond must protect M (Judi Dench, My Week With Marilyn, J. Edgar) from Silva’s unresolved Norman Bates issues with her.
Unfortunately, the film falls into some Bond conventionalities. Even in 2012, the Bond franchise embraces pervasive themes of misogyny and demonization of effeminate characters. These moral missteps consistently shatter our suspended attentions and make us shake our heads. In addition, the arch of the film seems rather familiar to most other Bond films; creating an awkward tempo to allot for obligatory sex scenes and chase sequences.
While this adherence to the Bond mold certainly limits the ceiling of Skyfall, Sam Mendes’ artistry (American Beauty, Revolutionary) cannot be denied. His work with legendary cinematographer Roger Deakins (No Country for Old Men, O’ Brother Where Art Thou) renders one of the most aesthetically poetic Bond films to date. Their manipulation of illumination frames a wide range of settings from Shanghai’s sleek and noir metropolis to the cathartic and primordial climax at Skyfall, Bond’s childhood home.
What really draws you into this film in the utter deconstruction of 007. We see him fall from grace as an elite agent, to flesh out a raw vulnerability absent in the franchise. He has become expendable and a relic of a time gone by. Even further we catch glimpses of his harsh and unforgiving childhood; an upbringing which logically manifests itself in the unapologetic, gritty, and detached man we see today.
As Adele’s “Skyfall” (sure to be nominated if not win best song) alludes to, James emerges from his despair, and faces the day with a new poise and confidence; the exact attitude Skyfall takes to define Generation Y’s James Bond.
Pulp Diction 