50 Years of Mr. Kiss Kiss Bang Bang, and a review of 'Skyfall,' 2012

The release this year of the 23rd official Bond film coincides with the 50th anniversary of the release of the first film, 1962's Dr. No. Skyfall is both a triumphant Bond film that ensures at least another decade of thrills, martinis and babes, as well as a perfect celebration of this cultural icon.

Daniel Craig's tenure as 007 started off magnificently with Casino Royale, one of the best Bond pictures and a perfect reinvention of the character for modern audiences. The follow-up, Quantum of Solace , was a disappointment (in part due to chaos created by MGM's financial struggles), but Craig and Co. have recovered strongly with Skyfall.

ABOVE: Daniel Craig is the best Bond since Sean Connery.

The best Bond films have memorable, flamboyant villains. Think Auric Goldfinger, Red Grant and Rosa Klebb, Telly Savalas's rendition of Blofeld...and now add Javier Bardem's bleach-blonde maniac Raoul Silva to the pantheon. Bardem takes this role by the balls and makes Silva a wry, sadistic masterpiece of a bad guy. Honestly, Silva may be the equal to Goldfinger as far as Bond villains go. He is that good, that memorable, and absolutely chews up every scene he is in. Funny enough, he is what Christopher Walken should have been in A View To a Kill, but wasn't.

It says something about the quality of this film that the most memorable scene is not one of the very impressive action sequences or a seductive tryst with a beautiful woman, but a six minute conversation between Bond and Silva. It is safe to say that Bond had never previously been confronted by such a, shall we say, ambiguous villain who makes Bond (and the audience) so genuinely uncomfortable. The best Bond villains have a sadistic streak in them and are the less cartoonish ones, and Bardem brings all of that to the table.

ABOVE: Javier Bardem's Silva checks Bond out and (possibly) likes what he sees

In fact, this is probably the most impressive cast and production team ever brought to a Bond film. Craig has finally made the role entirely his own, Bardem steals every scene with relish, Judi Dench's M has a larger role than in any previous Bond film (she is basically a co-star with Bond she gets so much screen time), and God bless Ralph Fiennes, whose meddling beaurocrat Mallory, who in his own way is as much a threat to MI6 and Bond as Silva, is set up for a fantastic recurring role in Bond films to come.

ABOVE: Ralph Fiennes' Mallory feels that changes need to be made at MI6

Director Sam Mendes brings a higher craft here than your typical Bond flick. Bond's background is explored and revealed more than ever before, and he is confronted by an emotional blow that is rare in Bond films, only approached in the underrated On Her Majesty's Secret Service.

Mendes is a fan too. It being the 50th anniversary, Skyfall lovingly plants references to Bond's history throughout the film, from the obvious like the classic Bond theme and a fun reappearance of the beloved Auston Martin from Goldfinger (complete with machine guns and ejector seat) to more subtle references like M's padded office door. But while honoring the past, this Bond is setting up for the future, showing that Casino Royale and Quantum of Solace were only the precursors. Skyfall finally brings classic elements into the new Bond universe, such as a new Q and Moneypenny (I like that they waited for the third film of Craig's tenure to bring in some of the Bond familiars, as opposed to throwing them all in at once). In a great scene between Bond and the new Q (played with perfect nerdy arrogance by the youthful Ben Whishaw), Mendes reaches for his own brand of humor in the naturally antagonistic relationship between the Quartermaster who lovingly invents state-of-the-art espionage equipment, and Bond, who mistreats these wonderful gadgets in the field. When Bond expresses disappointment in his new batch of equipment ("It's hardly Christmas"), Q retorts "what did you expect, an exploding pen? We don't do those anymore."

The Craig era has done almost everything right in setting Bond up for the modern era. I think that now they can (and should) be even more bold in defying the formula in the future.

**** out of *****

So what is it about James Bond that still keeps us coming back after 50 years? Some things are easy to figure out. Bond is the ultimate male fantasy: dangerous, boozer who never loses control, gambler, ultimate consumer of only the finest of everything, savior and of course, seducer of beautiful women. He is decisive and competent in a way we would all love to be, but he is no superhero that is completely unreachable. In fact, in many of the films, he makes mistakes, gets bested, and often gets the crap beaten out of him. But he does triumph. He is flawed, selfish, cold and hedonistic, yet has a rock hard loyalty to crown and country. (Skyfall puts that loyalty to the test, as it is sometimes not repaid to him in kind.) As world events (be it possible nuclear holocaust during the Cold War years or the terrorist threats of today) threaten us, Bond is a powerful myth to hold on to, that one man can still come in and save us from these threats and anxieties.

Bond has become a cultural icon, a touchstone as powerful as Han Solo or Batman. So we Bond fans are forgiving, because let's face it, many of these films are terrible. But that hardly matters. For Bondphiles like me and countless others, it is the character that matters, and what he represents. We forgive cringe-worthy double entrendres (especially from the Roger Moore years) and predictable plots. We accept different actors playing our Bond (six so far). For a great analysis of the Bond phenomenon, read Roger Ebert's famous write-up on Goldfinger.

Here's a quick Bond film guide, with one or two sentences only for each:

Dr. No (1962): Sean Connery bursts on the scene as the definitive Bond. Fun in that all of the formula had not been set yet.
Rating in Bond universe: **** out of *****
Real rating: ****

From Russia With Love (1963): The best Bond film, in my book. Connery absolutely owns the role here, it features one of the more interesting plots and one of Bond's most formidable foes, Robert Shaw's Soviet killer Red Grant.
Rating in Bond universe: ***** out of *****
Real rating: *****

Goldfinger (1964): For many, this is the Bond film. Goldfinger is a fantastic villain. From the brassy theme song belted by Shirley Bassey to the silent henchman with the deadly bowler hat, this is what we love about a Bond flick.
Rating in Bond universe: ***** out of *****
Real rating: *****

ABOVE: "You expect me to talk?" "No Mr. Bond, I expect you to die."



Thunderball (1965): A bit slow in parts, but overall it still deserves to be included in the truly classic period.
Rating in Bond universe: **** out of *****
Real rating: ***1/2

You Only Live Twice (1967): Connery is bored by now, and this is the first one that is ridiculous.
Rating in Bond universe: *** out of *****
Real rating: **

On Her Majesty's Secret Service (1969): George Lazenby's only outing as Bond, it was much-maligned for not being Connery. But most fans and many critics have reassessed this one and now consider it one of the best.
Rating in Bond universe: ***** out of *****
Real rating: ****

ABOVE: Telly Savalas was a great Blofeld. George Lazenby did a fine job. His main sin was that he was not Sean Connery.

Diamonds Are Forever (1971): After the commercial flop of Lazenby, the Bondmakers lure long in the tooth Connery back for one more. Terrible.
Rating in Bond universe: ** out of *****
Real rating: *

Live and Let Die (1973): Roger Moore debuts in a tricky film that tries to adapt Ian Fleming's most blatantly racist Bond novel into a blacksploitation flick.
Rating in Bond universe: *** out of *****
Real rating: **

The Man With the Golden Gun (1974): Bond fans are so conflicted on this one. It is a terrible movie, but features one of the best villains in Christopher Lee's sadistic assassin Scaramanga. Note: midgets are not menacing (Herve Villechaize).
Rating in Bond universe: ** out of *****
Real rating: *

ABOVE: Too bad such a great villain (Christopher Lee's Scaramanga) was wasted in one of the worst Bond films.

The Spy Who Loved Me (1977): Roger Moore finally comes into his own as Bond in what many consider to be Moore's best outing.
Rating in Bond universe: **** out of *****
Real rating: ***

Moonraker (1979): Trying to cash in on Star Wars, Bond goes to space. The first half is actually pretty good. But the second half...
Rating in Bond universe: *** out of *****
Real rating: **

For Your Eyes Only (1981): Literally tries to bring Bond back down to earth and tone down the spectacular. Actually fairly gritty for a Moore-era Bond.
Rating in Bond universe: *** out of *****
Real rating: ***

Octopussy (1983): I've got a soft spot for this one since it was my first Bond film to see in a theater. While there is some silliness, as there always is with Roger Moore's Bond, I defend this one and think it holds up. Should have been Roger's swansong. But...
Rating in Bond universe: *** out of *****
Real rating: ***

A View To a Kill (1985): The nadir of the series. Moore looks like the grandfather of the women he beds at this point, and almost everything about this one underwhelms, even Christopher Walken's villain. Duran Duran's title song is the only highlight, that kicks ass.
Rating in Bond universe: * out of *****
Real rating: *

ABOVE: Roger Moore was too old to be chasing Christopher Walken on top of the Golden Gate Bridge

The Living Daylights (1987): Poor Timothy Dalton, he was ill-suited to play Bond. He tried to bring back some realism and the gritty character of Fleming's novels, but that is not what the filmmakers were doing.
Rating in Bond universe: *** out of *****
Real rating: **

License To Kill (1989): Diehard Bond fans kind of like this relatively brutal and straightforward entry, but it tanked at the box office and sealed Dalton's fate.
Rating in Bond universe: *** out of *****
Real rating: **

Goldeneye (1995): Bond returns after a lengthy absence in the hands of Pierce Brosnan, who looks like he was born to be Bond. This was an excellent rebirth, and held much promise for the Brosnan era. But...
Rating in Bond universe: **** out of *****
Real rating: ***1/2

Tomorrow Never Dies (1997): Pierce was a great Bond, he was just saddled with crappy writing and films.
Rating in Bond universe: ** out of *****
Real rating: **

The World Is Not Enough (1999): Like I said...
Rating in Bond universe: ** out of *****
Real rating: **

Die Another Day (2002): ...And again. Sorry Pierce, it wasn't your fault. Ice castles, invisible cars and windsurfing off icebergs.
Rating in Bond universe: ** out of *****
Real rating: **

ABOVE: Pierce, you were a great Bond. It is not your fault that most of your movies sucked.

Casino Royale (2006): Daniel Craig defies the cynics and reinvents Bond in the best Bond film since Connery's heyday.
Rating in Bond universe: ***** out of *****
Real rating: *****

Quantum of Solace (2008): A disappointment after Craig's strong debut, the film was hampered by MGM's impending bankruptcy and a weak overall plot. I did like that its story was directly connected to Casino Royale, though.
Rating in Bond universe: *** out of *****
Real rating: **1/2

Skyfall (2012): This recovery bodes well for the Craig era, with Javier Bardem's villain being one of the best of the series.
Rating in Bond universe: ***** out of *****
Real rating: ****

Bond Films Tiered (listed chronologically within tiers):

1st Tier: From Russia With Love, Goldfinger, Casino Royale

2nd Tier: Dr. No, On Her Majesty's Secret Service, Thunderball, Goldeneye, Skyfall

3rd Tier: The Spy Who Loved Me, For Your Eyes Only, Octopussy, Quantum of Solace

4th Tier: You Only Live Twice, Live and Let Die, Moonraker, The Living Daylights, License To Kill, Tomorrow Never Dies, The World Is Not Enough, Die Another Day

5th Tier: Diamonds Are Forever, The Man With the Golden Gun, A View To a Kill

Bond Theme Songs Ranked:

1. Goldfinger
2. Dr. No (the Bond theme)
3. A View To a Kill
4. You Only Live Twice
5. Live and Let Die
6. The Living Daylights
7. Thunderball
8. Diamonds Are Forever
9. On Her Majesty's Secret Service
10. From Russia With Love
11. The Spy Who Loved Me
12. Tie: Moonraker, License To Kill, Tomorrow Never Dies, The World Is Not Enough, Die Another Day, For Your Eyes Only, Octopussy, Quantum of Solace, Goldeneye, Skyfall
13. The Man With the Golden Gun


ABOVE: Shirley Bassey's brassy title song for Goldfinger. Bassey holds the record for Bond title songs. She also sings Diamonds Are Forever and Moonraker.