Quantum of Solace

Quantum of Solace – 2008

If I may, I would like to begin this review with a kind of rant; a rant about the path this movie has taken since its overseas release, so bear with me. Who is to say what a ‘James Bond’ movie should entail? Obviously Ian Flemming, who scribed the source material, but the public’s issues rarely involves and argument surrounding an unfaithful literary adaptation. Now of you have a gripe with this film on another level, such as acting, direction, whatever, I will happily respect your opinion. No, in the case people claim Quantum of Solace ‘does not feel like a James Bond movie’; and I’m sorry but that’s a load of bull. If James Bond is in it…then it’s a James Bond movie. (Not to mention the abundance of Bond trademarks: the foreign beauty, the isolated enemy hideout, the product placement, the cars) Dropping the character into a 21^st century environment does not deprave the suave spy of his persona, nor does it ruin the film as a whole. Leaving behind the sometimes excruciating campiness of films like Live and Let Die, is a wise decision; as is that to tone down, if not fully eliminate implausible gadgetry and corny one liners. Writer Paul Haggis is more then talented enough to make Bond compelling and debonair without the need to return to Connery era dialogue. Another superfluous gripe floating around is Bond’s lack of restraint and turn into the realm of brutality after the death of his love Vesper in Casino Royale. Now, I will admit to a few moments where Bond’s callousness became too predominant and took me out of the film, but with that being said the decision to tweak the character accordingly in response to the immediate events of this film is wise. He is not a faceless killer, he is angry, he is human. Also important to be cognitive of, is the fact that Bond only recently entered the spy game, and the burden of his sins and nightmares of his past have not yet crested. I foresee a troubled Bond in future instalments, a la Jason Bourne’s catharsis in Ultimatum. The last thing I will say is that Bond has always been a killer; he has a licence to do so. Brosnan’s Bond killed dozens more people then Craig ever has, and just because they are not faceless henchmen, and the acts are committed in a grittier fashion, is no reason to get in s stink.

Marc Forster’s Quantum of Solace picks up the pieces immediately after the events of Casino Royale led him to a mysterious figure named Mr. White. Following a high octane car chase, as only Bond can boast, M. (Judi Dench) and Bond (Daniel Craig) try to piece together who the organization is behind Vesper’s death and how they could have retained such anonymity. Bond is whisked worldwide as he follows leads and tips which eventually lead him to a man named Dominic Greene, who is in sinister negotiations with a Bolivian General named Mendrano (Joaquin Cosio). It is here that Bond, under very poor terms I might add, meets the beautiful Camille (Olga Kurylenko) who too is looking for revenge. Under their burning desires they team, to find the answers they have been longing for. Quantum of Solace acts as a bridge movie, as like The Two towers did for Lord of the Rings; the plot is not advanced anywhere far, but builds tension and compounds wonder. As such, Solace is not as good a film as Casino Royale, nor does it have to be. It is however sleeker, glossier and more visceral.

Craig again puts forth a stellar acting effort and solidifies his stand as one of the best ever Bond’s, and is formidably complimented by the dames in his life, such as Dame Judy Dench who gets solid screen time as M. and makes the most of it to be certain. Kurylenko has a unique chemistry with Craig, not a burring lust or passion, but the two share a bond, (no pun intended) derived from their mutual quest for vengeance. Dominic Green, played by Mathieu Amalric is creepy and sinister; not in a foreword way but similar to that of Le Chiffre; intelligent, not physically intimidating (Although he puts up an impressive fight during an exquisitely fiery pivotal scene) Some may be bothered by the quick camera cuts, but I have never been one to be bothered, or even notice these techniques, which is perhaps which is why I enjoyed the Bourne’s, Cloverfield and other’s, so thoroughly.

The action is bold is unrelenting, the slim running time is comprised mostly of high energy sequences, and serves as an apt compliment to the slow burn of Casino Royale. While Craig serves his revenge icy cold, he gets into significant heat; churning out some close calls and is almost always boasting a fresh set of bruises and gashes. The biggest determent to this picture is the vastly inadequate opening song and sequence, featuring Alicia Keys and Jack White and is a mediocre pop song on its own, and a flat out bad Bond song in context. Despite that hiccup and a long-coming gun barrel sequence Bond is back. I for one am excited to see where the actions of Bond, in this film, will take him as he continues his quest, as Quantum of Solace shows shaking up an old formula can make for a stirring return.