I dressed up in black tie (as I always do) and went off to see the latest Bond movie on its opening night. Unable to blag tickets to the premiere, I crammed into the Odeon on Tottenham Court Road with Vanessa and a few other friends and sat back with great hope and expectation.
Here was my preview of Spectre.
Beware – ahead there be spoilers.
I enjoyed the movie, but I didn’t love it. I felt positive after the final credits rolled, but on a little more reflection, I find myself a bit disappointed. I think it’s up there among the better third of Bond movies – while some of the action sequences are brilliant, they are let down by the way they’re pulled together. Sadly, against the consensus of many critics, I feel the final product is less than the sum of its parts.
All ready for 007
I knew before I stepped into the cinema we would see the return of the gun barrel opener, back in its rightful place for the first time since Pierce Brosnan’s disappointing final outing, Die Another Day. I explained in my preview that its absence in recent movies “was excusable in Casino Royale, less so in Quantum of Solace, and a real let-down at the top of Skyfall.” There is, at least, an editorial reason why it was absent from Casino Royale, as that opens before Bond earns his 00-status.
I recently learned that Sam Mendes intended to include it at the beginning of Skyfall, but…
“…the film starts with Bond walking down a corridor towards camera and lifting a gun. And of course the gun barrel is him walking, stopping and lifting a gun. When I put the two together, it looked ridiculous!”
(Sam Mendes, speaking in 2012)
Maybe so, but if it was so ill-planned at the storyboard stage it should have been reworked.
I can’t fault the way Spectre opens. The gun barrel sequence is there and it gives way to a stunning Dia de los Muertos street party in Mexico City. It’s a five-minute apparently cut-free tracking sequence following Bond and his partner through the crowds as he makes his way towards his first kill. From the collapse of two buildings, including Bond’s comic landing on a sofa to the amazing helicopter aerial stunts and then the credit sequence scored by Sam Smith, it is spot on.
Bond is given a proper dressing down by the brilliant new M, Ralph Fiennes, who takes him off duty (ironically giving him the freedom to get on with his work). Q (Ben Whishaw) helps him ‘disappear’, and off we go!
So far, so good.
The main actors perform well. Bond, M & Q are expertly played. The appearance of Miss Moneypenny (Naomie Harris) is all too short. Monica Belluci, Léa Seydoux, Christoph Waltz and Dave Bautista are all brilliant in their respective roles. It’s great to see a kick-ass henchman as portrayed through Mr Hinx (Bautista) that harks back to an earlier era. I’m less convinced by Max Denbigh in the role of C – too young and a little too obviously shaken when Bond throws a verbal dig.
Bond’s final showdown with Mr White
As the main villain, Christope Waltz is excellent, bringing all his Oscar-winning talent to bear. But his character, be it Franz Oberhauser or Ernst Stavro Blofeld, is pathetic, psychologically incapable of running a global criminal conglomeration without distracting himself by needling an unwelcome foster brother from his childhood, decades on.
I loved the Spectre boardroom scene – a great way to introduce Oberhauser, and the terrifying Mr Hinx. It neatly brings Oberhauser and Bond face to face (from a distance) for the first time on screen. The Spectre organisation is established as a force to be reckoned with.
But outside the boardroom, it would appear to fall short of its promise.
Towards the end, Oberhauser operates from a small complex of buildings in north Africa inside a meteor crater. It’s a throwback to You Only Live Twice, but a pale imitation of that Blofeld’s volcano lair. I also prefer the Piz Gloria venue in On Her Majesty’s Secret Service and the oil rig in Diamonds Are Forever. I certainly preferred Raoul Silva’s deserted island in Skyfall.
The journey – by luxury train and a vintage Rolls Royce – was considerably better than the destination, perhaps more so for the viewer than for Bond, given his tussle with Mr Hinx. Though there is a payoff for Bond after the fight.
At the meteor lair, Oberhauser (now revealed as Blofeld) conducts a strange torture scene with Bond as his subject. The objective is ill-explained and the method is faulty. Blofeld operates as the torture technician – can’t he instruct a minion to do this for him? Ultimately, whatever he was trying to do fails and with Bond essentially incapacitated throughout, it makes Blofeld look like a fool – not a good look. And Bond’s escape with Madeleine Swann seems remarkably straightforward.
The final showdown in central London takes place across two locations, with parallel showdowns between Blofeld and Bond at the derelict MI6 headquarters, while M & Q face C at the latter’s new office. It’s good to see M & Q at the heart of the action, as we’ve seen now and again before, most notably in Octopussy, The World is Not Enough and Skyfall. While all the elements are fairly strong, the two scenarios unfolding concurrently don’t work as well as they could. They interlock weakly and the suspense is unnecessarily diluted.
Finally escaping MI6 HQ, Bond (with Swann) bursts onto the Thames in a speedboat and chases Blofeld’s helicopter downriver, somehow shooting it down with his Walther PPK. I don’t doubt that this might be mathematically possible, but it seems improbable and a little too convenient at this stage in the narrative.
He should have been allowed to escape.
Moments later, standing over his injured nemesis, Bond predictably – and rightly – spares his life, reminding us of a line from M much earlier in the film, in which he declares that a licence to kill is also “a licence not to kill”. So instead of being killed off, Blofeld is arrested by M, while Bond walks off into the night with Dr Swann.
In his previous incarnation, Blofeld was such a key figure in the James Bond universe, it would have been a travesty to see him killed off in Spectre. In the past he was played by Donald Pleasence, Telly Savalas and Charles Gray. They brought such different portrayals to the role it was downright weird.
Spectre the film and Spectre the crime syndicate were both a letdown to me, because they fell so far short of their immense promise. But the film has some decent nostalgic value: an exploding watch, an Aston Martin with a built-in ejector seat, a deadly fight on a posh train, Blofeld’s white cat and – my favourite – the scar on his face, clearly a nod to You Only Live Twice.
Donald Pleasence set the Blofeld standard in 1967
I’m keen to see more. The wider Spectre saga can be rescued. It would be implausible for the organisation depicted in Rome to have been brought to its knees so easily, despite Blofeld’s flaws. Let us see the tentacles of a truly powerful Spectre, headed as before by Christoph Waltz as Blofeld. Perhaps the pre-credit sequence could show the super-villain’s prison escape? Or a courtroom breakout at the point of sentencing?
But if Waltz is back as Blofeld, then Craig must come back as Bond. He said he’d “rather slash my wrists” than play Bond a fifth time, but I pray that’s attention-seeking self-indulgence.
Let’s have an encore Mr Craig.