James Bond ‘Resurrected’

Jason Wiese | Lindenlink Reporter

“This is the end.” Grammy winner Adele sings those haunting words in the Academy Award-nominated title song for the latest James Bond film, Skyfall. Having had the pleasure of seeing this movie last Tuesday night at Young Hall Auditorium, I desperately hope that those lyrics are not taken seriously for the fate of the 007 series.

Skyfall, the 23rd Bond film, begins with our beloved MI6 agent, portrayed for the third time by the top-notch Daniel Craig, on a mission to retrieve a stolen disc containing the top secret identities of many agents of the MI6. When the mission goes awry, Bond is killed. This tragic scene transcends into one of the most mesmerizing opening sequences in the history of the 007 franchise.

When the story continues, we witness an attack on MI6: an explosion resulting in the loss of several agents prompting Bond’s “resurrection.” Apparently, he was not dead, only in hiding. (Oh, did you not see that coming? Come on, you know that 007 cannot die.)

Bond meets odds with his most psychotic enemy yet, Silva, brought to life brilliantly by Academy Award-winner Javier Bardem, who, with this performance, seems to be establishing a trademark for playing characters with odd haircuts (see No Country for Old Men). Bond soon learns that he has more in common with his enemy than a taste for fine scotch.

Skyfall, while keeping most of the traditions of classic Bond films alive, is made as an origin story. Along the way, we see Bond’s first meeting with his “gadget” supplier, Q, a hint at how he likes his martinis, and a big reveal into Bond’s mysterious past.

Director Sam Mendes, who also has an Oscar under his belt, brings his gifts for imagery, grit, and style to the film by making each forthcoming scene more unforgettable than the last. Mendes makes even the quietest moments in the film, such as the image of Bond gazing into the abyss or a conversation with his enemy, just as exciting as every action sequence.

Of Skyfall’s five Oscar nominations this year, I am surprised that a Best Picture nomination is not included. However, giving the Best Original Song statuette to Adele, with writing partner Paul Epworth, this Sunday night will suffice. Not only do I believe that this is the best Bond since the Sean Connery era, I also believe that it is one of the most beautifully shot, perfectly paced, and wonderfully acted action movies of the year. I am happy to say that, as the caption that appears before the closing credits reads, “Bond will return again.”