I’ve
never had an alcoholic beverage in my life, so I can’t begin to
imagine why a martini should be shaken, not stirred. I’m not
even sure what’s in a martini (gin, maybe? And something else,
as well, would be necessary to qualify it as a mixed drink. Also,
maybe an olive.), but I do know that it is the drink of choice of the
world’s best known secret agent, and that he’s very
particular about the way it’s mixed.
So
if you know anything about James Bond, you already know about the
martinis. And you know about the custom-fit tuxedos, the exotic
locales, the fast cars, and the license to kill. You know he kills
bad guys with impunity and sleeps with dangerous, beautiful women
(all in the service of king and country, of course).
Since
most everybody knows most everything I just outlined, most everybody
fits into one of two categories: either you like James Bond films or
you don’t. You watch them or you don’t. Skyfall,
the latest James Bond installment, however, may give you pause. All
of the above-mentioned things are still there, but this film is
dramatically different from every other Bond installment.
Previous
incarnations of 007 have always leaned toward camp, tongue so far in
cheek that it sometimes slipped out of the mouth altogether and just
looked silly. Outrageous super-villains bent on taking over the world
and femme-fatales so rife with innuendo that you were constantly
reminded that this was some sort of grownup/schoolboy/comic
book/fantasy mash-up that was almost an action movie. Sequences were
often brightly lit, and even the fight scenes had a comically
lethargic pace, with groups of bad guys taking turns with our hero,
always allowing him just enough time to get hold of that ink
pen/laser beam or his exploding cuff links. And for some, that is
precisely what they liked about James Bond films: predictable pretend
time with grownup themes.
The
previous two Bond films with Daniel Craig had already set the stage
for this one. They were clearly committed to rebooting the franchise,
pruning the character back to his roots and starting over in Casino
Royale. Craig’s second effort, Quantum of Solace,
was hampered somewhat by a writers’ strike in Hollywood, but it
nonetheless continued in the same vein. But it was early buzz about
Skyfall that really made me realize they were serious about
changing the direction of the franchise when they announced that
Roger Deakins would be the cinematographer.
If
you’re a film geek like me, you may already know Roger Deakins,
whom many (myself included) consider the greatest living
cinematographer. Actors get all the publicity because they’re
the ones we see, the ones who entertain us in front of the camera.
Directors sometimes gain notoriety because their films gain
particular attention or win awards, or they’re very public
people who are out promoting their films and their causes and so on.
They give vision and, obviously, direction to the project. But it is
the cinematographer, they guy behind the camera, who gives a movie
its look and feel. He determines what lenses to use and how to light
each and every moment that is captured on film (or the digital
equivalent).
So
you may not know Roger Deakins by name, but you almost certainly have
seen his work: The
Shawshank Redemption, O Brother, Where Art Thou?, Fargo, The
Assassination of Jesse James by the Coward Robert Ford, Doubt, True
Grit, A Beautiful Mind
(to name a few in a rather long and impressive resume).
So
my point is not that the camera work alone makes this movie different
or better, but it helps tell a different kind of story altogether.
You don’t bring in one of the best directors of photography in
the world if you’re going to shoot the same old goofy spy movie
you’ve been shooting for 50 years. What director Sam Mendes and
writers Neal Purvis and Robert Wade figured out was that they could
take the best parts of a well-loved and well-worn franchise and graft
in the best lessons learned from the Jason Bourne series, creating a
fantastic new direction for this character to grow and develop.
The
casting is superb, and the acting is all top-shelf. Javier Bardem
plays a disturbingly believable psychopath with a festering grudge
that drives him to do some horrible things, but they never even begin
to approach the cartoonish, take-over-the-world scenarios of
yesteryear. He is scary for all the right reasons, and it is never a
foregone conclusion that Bond will walk away unscathed or even
victorious.
For
long-time fans of the franchise, there is some wonderful backstory
laid out that gives us insight and understanding, but newcomers will
not feel left out or conclude that they need to go back and watch the
last 20 or 30 movies to catch up with the storyline. Skyfall
is action-packed, suspenseful, and never predictable. The
storytelling is tight, the acting is exceptional, and the look and
feel of the film is amazing. It is well over two hours but you’ll
never glance at your watch.
Skyfall
is Bond. James Bond. And in my opinion, better. Just better.
SHARK BITE THEATER
Andy Lindsay can frequently be overheard engaged in conversations that consist entirely of repeating lines of dialogue from movies, a genetic disorder he has passed on to his four children and one which his wife tolerates but rarely understands. When Andy's not watching a movie he's probably talking about a movie or thinking about a movie.
Or, because his family likes to eat on a somewhat regular basis, he just might be working on producing a TV commercial or a documentary or a corporate video or a short film. His production company is Barking Shark Creative, and you can check out his work here www.barkingshark.com.
Andy grew up in Frederick, Maryland, but migrated south to North Carolina where he met his wife, Deborah, who wasn't his wife then but later agreed to take the job. Their children were all born and raised in Greensboro, but are in various stages of growing up and running away.
Andy (or Anziano Lindsay, as he was known then) served a full-time mission for the Church in Italy, and today he teaches Sunday School, works with the Scouts, and is the Stake Video Historian.