‚,I shit on the CIA. He’s my agent and I trust him.’’
James Bond. Godfather of masculinity. Weak spot and saviour of any woman in danger. M’s ultimate weapon in defence of Queen and country. An established character on home and cinema screens. Is this the modern James Bond? Suits, guns and cars? Most certainly so.
Quantum Solace is the 22nd movie of the 007 franchise. After the likes of Sean Connery and Pierce Brosnan having played the part, Daniel Craig took on the role of Her Majesty’s secret agent 007. ‘The name is Bond, James Bond.’ People assume he likes his drink shaken, not stirred, but our contemporary hero doesn’t seem to care. With Bond 24 in the pipeline, the producers of the 007 films did well on upgrading Bond’s territory.
A Bond film runs under a well balanced synergy of cinematography, soundtrack and editing. Together they form a part of the narrative. The part of the story that evokes the much longed for feeling of cinema. Passages of passionate gun fire shots or thrilling sequences of car chases, overlaid by intense orchestra scores, will evoke the familiar burning in your hands whenever you watch your Bond.
A Bond film appears to be one step ahead of reality. The technology used, the cars showcased and the equipment that our James tends to destroy are placed to leave the audience with jealous eyes. James Bond conveys prestige.
Look at the suits the man is wearing. Look at his sunnies, his watches, his jackets.
A Bond film has a mission to create art. Every opening sequence has its specially crafted title designs. Accompanied by newly written high-profile pop songs, the opening credits have become a phenomenon of their own. Jack White and Alicia Keys brought ‘Another way to die’ to the secret service. And it’s glorious. Obviously, nothing less would have been expected.
A Bond film actually does have a plot. It’s not just guns, suits, testosterone, the secret service, blood, and women’s tears. Although that might well be enough to keep us entertained. But no. In this film from 2008, we see 007 in grief over his love for Vespa, while he is in the middle of solving a puzzle involving an organisation of which M and the rest of the secret service have never heard of. Even though there is a lack of dialogue at times, the film at no point becomes boring. The triangle, or rather tangle, formed by the villain, the mysterious Bond Girl and Britain’s hero does not disappoint. Neither does the ending, an inferno in the truest sense of the word.
Bond remains Bond. Classy, slightly arrogant and not the least bit sorry for pulling the trigger.
By Jana Zacharias