SKYFALL (Sam Mendes, MGM, 2012)

With a title like SKYFALL (Sam Mendes, MGM, 2012) any Bond aficionado would immediately think back to any number of 007 narratives; foiled operations, criminal code words for plans of world domination, an MI-6 code name or even a tongue in cheek name for any of the long list of Bond girls. Had this film been done during the Sean Connery era it would be the name for a dastardly S.P.E.C.T.R.E plot, Roger Moore would have been saving the free world from a Russian missile/space program and Pierce Brosnan would be dealing with a leaked CIA project. But this isn't our parents 007 and SKYFALL is utterly different than any previous Bond film. SKYFALL deals with a part of 007 that previously had not existed, at least not before the release of CASINO ROYALE (Martin Campbell, MGM, 2006) and the film tackles not only Bond but the entire world in which Bond exists making it wholly unlike any other Bond film previously released. The first departure from previous Bond films that SKYFALL makes is in its characters and all the magnificent flaws that make them the people they are. Starting with CASINO ROYALE, James Bond (Daniel Craig) has been thrown under the psychological microscope. In CASINO ROYALE we got to see what made him the hardened womanizer he is, cold to all that make functioning in his job necessary. But in SKYFALL we get to go back deeper and farther and learn what made James so unerringly loyal to queen and country (by queen I of course mean motherly M). It doesn't stop here though. Finally we see a portrait of another member of the Bond world. M (Judi Dench) is given harsh treatment here as she has to reflect a world of tough decisions and cruel coldness. When she gives the order to "take the shot" knowing James might be the man hit you get the very real sense Dench is truly agonizing thinking Craig might be shot. Two things, credit must be given to these two fantastic actors for making us feel this connection between the two of them. And Dench also superbly represents the professional establishment and embodies the 'mum' as well. The portrayals put forth by Craig, Dench and Javier Bardem also help to make this unlike other Bond films. While good acting has indeed been a part of past Bond films it has never been at this level. Daniel Craig has transformed what we expect of Bond just as Judi Dench has staked her claim to the modern day M. But it is what Bardem accomplished as the villainous Raoul Silva which chillingly surpasses all other Bond villains. Bond villains tend to range from the campy Blofeld to the sublime yet utterly ridiculous Mr. Wint and Mr. Kidd (Diamonds Are Forever). If the villains happen to be women then they get monikers such as Pussy Galore (Goldfinger) or Xenia Onatopp (Goldeneye). Silva is disturbingly evil and his psychosis is all to familiar to us in this day and age. His madness is palpable and the introduction of homosexuality to a Bond villain makes him just perfect. As Silva undresses a tied up Craig with his mind you can sense the tension in his mind and of course the moment is capped brilliantly by Craig uttering "who says its my first time (with a guy)"? What is beyond brilliant is the cinematography brought forth by Roger Deakins. Bond films have always been flashy action packed affairs with great camera work showcasing beautiful locales and panoramic vistas. What Deakins accomplishes in this film is superlative. His cinematography is layered, textured even. The fight sequence between Bond and Patrice (Ola Rapace) which takes place high up in a darkened skyscraper is sheer genius. The lighting comes from different angles and sources yet the two fighters are deftly seen throughout the altercation. Deakins work also adds depth to the film, particularly in the sequences at Skyfall. How beautiful is the shot of the castle when we first see it? And the lighting after they have torched and blown up the castle is eerie and beautiful and fits the destruction of Bond's childhood. And of course the film will ultimately come back to 007. Since CASINO ROYALE and the introduction of Daniel Craig as Bond we have seen Bond films that delve into the psychological underpinnings of the character. We learned why he doesn't love and now with SKYFALL we get more of what motivates and drives Bond. This ongoing examination of the mental Bond is an accurate reflection of what audiences desire from their heroes now. In the last decade or so there has been a definite spike in the anti-hero and our true heroes have become more in line with these anti-heroes, more in line with us. They have faults, cracks in the veneer, destructive traits and personalities. They are real. And this is what audiences want presently, realism. One only need look as far as the last few Bond films or even Christopher Nolan's Dark Knight trilogy. Which, how amazing would it be to see Nolan direct a Bond film? Or maybe Matthew Vaughn? Let's make this happen. Many people are proclaiming SKYFALL to be the best Bond film ever. To me this is a comparison that cannot be made, much like you can't compare the skills of Barry Bonds to those of Babe Ruth. Different eras beget different pictures. Let's just leave it as it is by FAR the best Bond film starring Daniel Craig (let's just say I have one MAJOR issue with Casino Royale) and lets hope the trend towards a better and more realistic Bond continues.