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SPECTRE: Does it meet expectations?



MAJOR SPOILERS FOR SPECTRE

After 2012’s Skyfall – a commemoration of the 50th Anniversary of the James Bond film series – any follow-up was going to have hard time hitting that height. And the series, since its 2006 reinvention with Daniel Craig, has been a solid run of films. Even the maligned Quantum of Solace really only suffers in comparison to Casino Royale and, for me, it’s a perfect sequel to Craig’s first outing.

Spectre, on the other hand, doesn’t just suffer by comparison. Its own internal logic doesn’t stack up and where it wants to tie together disperate elements from the three previous films, it makes little-to-no sense. Yes, we’re still talking about James Bond films here. A series whose low points include James Bond in space (Moonraker) and James Bond in an invisible car (Die Another Day).

It’s not that the series has ever been consistently one thing or another, let alone consistently good. Each actor brings his own quirks to the role and every time the character is re-cast, the producers rethink their own take on a spy who was invented post-World War 2.

Roger Moore leaned so far towards comedy, that his films became farcical. Timothy Dalton wanted Ian Fleming’s harder edge back. Pierce Brosnan wanted to be some combination of his predecessors and Sony never seemed to know what to do with this character in the 90s; he seemed so old-fashioned, they decided to polishes his edges away.

With Casino Royale, they transplanted Fleming’s “blunt instrument” from Fleming’s 1953 novel into the present with a film that’s as faithful to the original text as any of the first four Sean Connery films. But this is a James Bond that lives in the world where we have a big screen Jason Bourne and a small screen assortment of leading men who are hard-edged to the point where they are unlikable.

Over the first three of Daniel Craig’s films, different iconic elements were reintroduced to paint a more vivid and complicated portrait of this MI6 agent with a licence to kill. And the ending of Skyfall dropped two final pieces of the mosaic into place – a male M (and his “damnably cold grey eyes” in the form of Ralph Fiennes) and Moneypenny (a sidelined field agent). It almost promised that the next adventure we’d get would hew closer to the classic action/adventure mould of the earlier films.

I like that this series has been flexible enough to reinvent itself. I might find it hard to watch Octopussy or A View to a Kill without rolling my eyes at how old Roger Moore got in the role, but that the series continued after double-taking pigeons and Bond dressed as a clown, shows how resilient the franchise is.

Timothy Dalton wanted a tougher Bond and, for me, The Living Daylights and Licence to Kill, are two of the highlights of the pre-Craig era. But Dalton’s second outing was his last, because audiences weren’t ready for a bleak story about an agent out for revenge, his licence to kill revoked.

The Craig films seemed to take the adventure of Dalton’s last film to heart, as he’s barely taken a legitimate case since Casino Royale. Quantum of Solace, Skyfall and Spectre are all revenge films of a sort, with Craig’s Bond going rouge much of the time and MI6 feeling even less and less relevant as the series progressed. Spectre, in particular, wants to make a point here about global intelligence agencies being at the mercy of rogue elements (both agents and super villains) but the script is flaccid and facile.

I gave Skyfall a lot of latitude because Sam Mendes was never going to make anything resembling a traditional Bond film and, as I said, I like to see the franchise bent in interesting directions. As much as the Fleming novels mostly have an expected structure, some of them are surprising in the way Fleming chooses to approach the story. “From Russia With Love” doesn’t have Bond appear until the halfway point of the book. “The Spy Who Loved Me” is told from a woman’s point of view and Bond doesn’t appear until the last few chapters. And Skyfall was a celebration of fifty years and Bond was in a reflective mood. We even returned to his childhood home, echoing paragraphs from Fleming’s “You Only Live Twice” about Bond’s parents and his upbringing.

With Mendes returning to the franchise, Spectre again refuses to be anything like a classic James Bond film. Sure, it’s got the gunbarrel sequence back at the beginning (finally) and a rousing pre-credits sequence. But the film deliberately veers away from what you are expecting. There are effectively two villains, whose plans are only tangentially related. There is a scene told from Monica Belucci’s character’s point of view, until Bond enters at the last minute.

And after about a third of the way through the film, there are really no dramatic stakes. This is Mendes wanting to pull apart the James Bond character, after four films and nearly ten years and see how Daniel Craig’s James Bond ticks. But there’s no story to anchor that expectation.

When Casino Royale was released, I wrote a blog post examining the elements of the James Bond canon that might be introduced in the following films. Since we had a definitive adaptation of Fleming’s first Bond novel, might we see his series replayed in a modern context? Each successive film built on the last, but with Spectre wanting to cement all this together, the experiment almost falls apart.

The villainous group Quantum is introduced by name in Quantum of Solace, but they are clearly and obviously connected to the events of Casino Royale through the character of Mr White. They were also an obvious stand-in for the recurring villains in the original novels, S.P.E.C.T.R.E.

The rights to the S.P.E.C.T.R.E. group and its head, Ernst Stavro Blofeld, have been in legal limbo for much of the part forty years, because Ian Fleming published his novel “Thunderball” based on a treatment co-written with Kevin McClory. McClory then co-owned elements of that novel, allowing him to make his own big screen Thunderball in 1983, Never Say Never Again.

Quantum were the modern-day S.P.E.C.T.R.E. until, of course, Sony & MGM reacquired the rights and based their latest film around Spectre's reintroduction to the franchise. This fourth film should have been another definitive step in replaying the Bond mythos. But it’s a misstep in several ways.

The introduction of Spectre is lacklustre. Bond is sent on a mission by the previous M, who has conveniently left a tape with a mysterious clue on it. Bond connects that to some effects recovered from his childhood home, for some reason. He goes to a funeral, rescues the widow and is then pointed to where Spectre’s next meeting will be held. There he comes face-to-shadow with someone who knows his name... but everything is kept perfectly oblique, even though two-and-two can only really equal four.

Why does he connect M’s warning to the name Oberhauser? Why does he ask Moneypenny to check up on Oberhauser’s history both before and after his supposed death? Just because he gets the first two clues at the same time? I guess that tape and the photograph of Oberhauser were in the same box. None of it makes much sense.

We then get the reintroduction of Mr White (“The Pale King”, something Bond accidentally overheard in Mexico), who tells him that all those who were part of Quantum were also really part of Spectre. Thus wiping the slate clean; the producers seem to hate Quantum of Solace so much, we hear the name Dominic Greene (that film’s villain) but never see his face like we do Le Chiffre (Casino Royale) or Raul Silva (Skyfall). Quantum is dead; long live Spectre.

But why should we care? An evil organisation is an evil organisation. What is their nefarious end game? What are these super villains up to?

Something about terrorist attacks and infiltration of government agencies. The head of Spectre is Oberhauser, who was James Bond’s boyhood friend – a brother figure who calls himself the “author of all [Bond’s] pain”, who somehow convinced Vesper to kill herself or something. Not sure, nothing makes much sense by this point. How the plot of Skyfall figures into all this (Silva was seeking revenge on Judi Dench’s M)  is anyone’s guess.

Oh, and Hannes Oberhauser doesn’t go by that name anymore. Call him Ernst Stavro Blofeld. He’s evil, on his mother’s side.

What we have here is a reveal that has all the air taken out of it because in this version of the franchise, the name Blofeld doesn’t mean anything to anyone. It’s just like when Benedict Cumberbatch was revealed to be Khan in Star Trek Into Darkness, after a year of JJ Abrams telling everyone he wasn’t playing Khan. What does the audience gain by that? What does the story gain?

The characters don’t care. Bond has never heard the name and doesn’t know this supervillain is best remembered by fans for stroking a Persian cat in You Only Live Twice and Diamonds Are Forever. Spectre even botches that reveal by showing us the cat before Blofeld reveals his true (new) name. After a year of Sam Mendes telling everyone that Christoph Walz wasn’t playing Blofeld.

There have been memorable female characters in all of Craig’s film, but in Spectre we get Belucci’s Sciarra – who is effectively a cameo – and Lea Seydoux’s Dr Madeleine Swann, who threatens to be interesting but becomes the thinnest-drawn Bond girl in decades. At some point she loses all personality, becomes a victim of daddy issues (an old-saw from the Fleming stories) and then falls in love with James Bond, just in time to need to be rescused at the film’s climax. It’s all so rote.

Sam Mendes doesn’t want to give you the kind of Bond film you used to enjoy, so he gives you a ponderous pastiche of those films, humour and fun completely exised. The fight on the train is an admirable homage to a similar (and far better) scene in From Russia with Love. The confluence of Bond falling in “love” again, with the threat of Blofeld over his shoulder, echoes Fleming’s masterpiece “On Her Majesty Secret Service”. The film is pretty great, too – regardless of what you think of George Lazenby’s one-off 007.

In fact, OHMSS seems to be one of the key inspirations for this film. That book was published a decade after Fleming’s “Casino Royale” and features Bond falling in love for the first time since Vesper. In the film version, there are allusions to previous adventures, mostly to make sure audiences understood that Lazenby was playing the same man that Connery had played in his films.
Spectre tries a similar trick, reminding us of where this Bond has come from – through reference and allusion and homage, without really finding its own voice. Skyfall wanted it both ways and succeeded. Spectre does not.

Earlier versions of the Spectre script (revealed during the Sony hack of last year) suggest that Blofeld’s assistant Irma Bunt from OHMSS was to appear in this film. And, to add insult to various injuries, the last script line of this new film was going to be “We have all the time in the world” – a direct lift from the end of the book and film versions of On Her Majesty’s Secret Service.

Be grateful the filmmaker’s chose to cut that line or I might have done something drastic. Or, in any case, there would have been some memorable invective from my Twitter account.

It’s been a long time since the James Bond series had four good films in a row. Probably some combination of films in the 1960s, to be honest; whether it be Connery’s first four films (Dr No, From Russia With Love, Goldfinger and Thunderball) or, depending if your taste leans bigger, the final four of that decade (Goldfinger, Thunderball, You Only Live Twice and OHMSS). I was hoping Spectre might buck that trend of inconsistency in the franchise, but it met that expectation full-on.

I did expect Spectre to overshadow Quantum, the evil organisation. I kind of hoped it might. Spectre and Blofeld are to James Bond as the Joker is to Batman. It was the most significant element from the novels yet to be introduced. And now we have a Blofeld who is effectively James Bond’s “brother”, which serves no purpose to the story, either narratively or emotionally.

As ever, even after a terrible film, the James Bond series will continue. I’m hoping Mendes steps away and the next film (possibly Craig’s final film, if this one wasn’t already) is allowed to be bigger, more exciting and a little bit fun.


But how long must we wait until there’s a solid run of four good films in a row? Another half century? Given box office receipts and still (somehow) decent reviews, we might have to wait but the franchise has all the time in the world.

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