Skyfall, the latest Bond, all the pretentious chore
Daniel Craig was able to be convincing in Casino Royale, where he played a British spy with a human face, with a past, feelings and pretend thickness in the suit. The purpose of Skyfall Sam Mendes seems to persevere in this rereading both more physical and credible imagery of James Bond. This is the paradox to the fashion to boost the image of the hero of cinema, it is first necessary to darken. Sam Mendes has decided that James Bond was a hero of the shadow, in the manner of Batman Christopher Nolan.
Following a James Bond mission during which the identity of several undercover agents is found proved, MI6 is attacked by mysterious terrorist hackers. The target is none other than M, challenged by both terrorists and political authorities of his own country. At a hearing where she responds to his minister, his actions and decisions, it develops a long tirade about the role of the secret services in the chaos of the modern world. Contrary to what one might think, she said, our time is that the opacity of transparency: in order to be effective, there must be characters from the shadows. This pattern of darkness - and this game opacity and transparency - a recurring theme in the film, in the mouth of M but also in the development stage. The face of James Bond goes on to draw in the dark: there is often a shadowy form, in a hallway or in the dining room of Mr.
One scene is particularly significant this character processing: Night, James Bond follows a tower in Shanghai preparing a terrorist assassination. Impossible to hide in the castle of glass, yet the spy plays his silhouette and multiple reflections created by the windows to finally overcome his enemy.
Skyfall, the latest Bond, all the pretentious chore
There is, admittedly, a certain virtuosity in this scene that turns surreptitiously transparency opacity, makes the glass screen. The sleight of hand pretty much evokes the treatment operated on our character James Bond character was superficial, perfectly legible and transparent - we know exactly what to expect when going to see a James Bond - he'll have to start from scratch to make a character inside, who suffers and has a mysterious past involving a mansion, northern mists and underpasses. The problem is that Sam Mendes simply ask these few items without going further and merely watch the new figure he has invented, structured as a sequence of concepts.
For, we have to face facts, do we really need a story and a founding discourse of origins to enjoy the somersaults of James Bond? Theoretical vision almost secret agent unfolds in Skyfall has something vain to hear rather than history, we would like to participate in the adventure of the moment, to this story. But Sam Mendes does not take us in this field. We miss several times in his Skyfall: scenes stretch, we lose time re-make James Bond, change everything so that nothing changes. The natural blend between the classroom and the bad taste, which was the English charm of James Bond, somewhat lost in this character vaguely tortured.
The frantic search of new breath to the "franchise" Bond, who does not date from yesterday, here is a dual operation of seduction from the director: he must bring the secret agent in the camp culture and of quality cinema. The filmmaker himself for the Oscar-winning American Beauty weighing, surrounded himself with Ralph Fiennes, Javier Bardem (the villain, a sort of natural child of M and Pedro Almodovar) and Ben Wishaw (the actor who played Keats in Bright Star). It expatiates with James Bond on the qualities of a painting by Turner at the National Gallery.
At another point, it is an array of Modigliani intervenes. But it is only when M starts to recite Tennyson during the hearing that Sam Mendes is said that in fact maybe a little too much. It is not as dusting cultural problem that how to treat everything as a citation, as a small note of humor seriously. The film has the same relation to the James Bond mythology to culture: it goes on to review, rehash, add, recycle. As if the director could never exceed this pretentious statement that James Bond is not enough.
Daniel Craig was able to be convincing in Casino Royale, where he played a British spy with a human face, with a past, feelings and pretend thickness in the suit. The purpose of Skyfall Sam Mendes seems to persevere in this rereading both more physical and credible imagery of James Bond. This is the paradox to the fashion to boost the image of the hero of cinema, it is first necessary to darken. Sam Mendes has decided that James Bond was a hero of the shadow, in the manner of Batman Christopher Nolan.
Following a James Bond mission during which the identity of several undercover agents is found proved, MI6 is attacked by mysterious terrorist hackers. The target is none other than M, challenged by both terrorists and political authorities of his own country. At a hearing where she responds to his minister, his actions and decisions, it develops a long tirade about the role of the secret services in the chaos of the modern world. Contrary to what one might think, she said, our time is that the opacity of transparency: in order to be effective, there must be characters from the shadows. This pattern of darkness - and this game opacity and transparency - a recurring theme in the film, in the mouth of M but also in the development stage. The face of James Bond goes on to draw in the dark: there is often a shadowy form, in a hallway or in the dining room of Mr.
One scene is particularly significant this character processing: Night, James Bond follows a tower in Shanghai preparing a terrorist assassination. Impossible to hide in the castle of glass, yet the spy plays his silhouette and multiple reflections created by the windows to finally overcome his enemy.
Skyfall, the latest Bond, all the pretentious chore
There is, admittedly, a certain virtuosity in this scene that turns surreptitiously transparency opacity, makes the glass screen. The sleight of hand pretty much evokes the treatment operated on our character James Bond character was superficial, perfectly legible and transparent - we know exactly what to expect when going to see a James Bond - he'll have to start from scratch to make a character inside, who suffers and has a mysterious past involving a mansion, northern mists and underpasses. The problem is that Sam Mendes simply ask these few items without going further and merely watch the new figure he has invented, structured as a sequence of concepts.
For, we have to face facts, do we really need a story and a founding discourse of origins to enjoy the somersaults of James Bond? Theoretical vision almost secret agent unfolds in Skyfall has something vain to hear rather than history, we would like to participate in the adventure of the moment, to this story. But Sam Mendes does not take us in this field. We miss several times in his Skyfall: scenes stretch, we lose time re-make James Bond, change everything so that nothing changes. The natural blend between the classroom and the bad taste, which was the English charm of James Bond, somewhat lost in this character vaguely tortured.
The frantic search of new breath to the "franchise" Bond, who does not date from yesterday, here is a dual operation of seduction from the director: he must bring the secret agent in the camp culture and of quality cinema. The filmmaker himself for the Oscar-winning American Beauty weighing, surrounded himself with Ralph Fiennes, Javier Bardem (the villain, a sort of natural child of M and Pedro Almodovar) and Ben Wishaw (the actor who played Keats in Bright Star). It expatiates with James Bond on the qualities of a painting by Turner at the National Gallery.
At another point, it is an array of Modigliani intervenes. But it is only when M starts to recite Tennyson during the hearing that Sam Mendes is said that in fact maybe a little too much. It is not as dusting cultural problem that how to treat everything as a citation, as a small note of humor seriously. The film has the same relation to the James Bond mythology to culture: it goes on to review, rehash, add, recycle. As if the director could never exceed this pretentious statement that James Bond is not enough.