Tag Archives: Gerorge Lazenby

REB007T, or I Promise to Stop Writing About Skyfall

bonds

I just completed my fifth viewing of Skyfall. I have written about it and James Bond movies in general a few times Here, Here, and Here. As a lifelong James Bond fan, I am always excited by the release of a new film in this hallowed series, but Skyfall is something more. The 23rd film represents a turning point in the reboot series. The third film for a James Bond actor has always been the sink or swim moment. Goldfinger, The Spy Who Loved Me, even The World is Not Enough were showcases for the moment when the writers hit a  stride with the actor portraying 007. The stories in these films are written to showcase the unique attributes of each actor.

When it was announced that 2006’s Casino Royale would not only bring us a new Bond in Daniel Craig but also a reboot of the long running series, I had my doubts. Casino Royale and Craig were a pleasure to watch, but I was left wondering “where do we go from here?” The film had such momentum and excitement that it took repeat viewings to realize its flaws. The following film Quantum of Solace suffered none of the same issues; its flaws were right up front. Skyfall with its dark and humanizing storyline is something more. It seeks to re-reinvent not just the character, but the world in which he resides. It is a reboot within the reboot continuity.

This got me thinking about reboots in general. Unless you have made your home deep within a cave for the last 10 years you may be aware of the vast number of rebooted series showing up in our theaters of late. The list of films getting the reboot treatment in the coming year is staggering. Movies based on a prior film either in the form of sequels or reboots is staggering. Based on no particular fact or statistic,reboots account for all 98% of all  movies worth seeing this year.

Turning my thoughts back to the James Bond films, I wondered if Casino Royale was the only reboot. In examining the movies and comparing them to one another, it is evident that many of these 23 films could be considered reboots.

Take On Her Majesties Secret Service as an example. The only film in the series to star Australian actor George Lazenby was arguably the first reboot.

The sixth film was the first without Sean Connery in the role of Ian Fleming’s master spy. It begins as more of an “anti-reboot” showing us all things Bond to ensure we don’t think this is a different character but the same one simply played by a different actor. Various movie props from the previous films are pulled from the desk as a sub theme from Dr. No is played. The credits sequence is simply a martini glass on which are shown key action scenes from previous bond movies, though the producers are careful not show Connery’s face.

This never happened to the other fellow Property of Eon productions

This never happened to the other fellow
Property of Eon productions

Roger Moore’s first outing, Live and Let Die, is a complete 180. Several minor aspects seen in each film are removed. Bond does not go to MI6 headquarters, Q is absent, Bond smokes cigars instead of cigarettes, drinks bourbon instead of martinis. Moore had a gift for comedy far beyond Connery’s one liners. He could deliver a joke with a straight face and react as straight man to anything he observed, and this was written into all of Moore’s scripts going forward.

Reboot number three came after Moore’s 7th and final film A View to a Kill. The film, like many of Moore’s later endeavors, suffers for two things: Moore was so old at the time of filming that his hair had to be thickened every day and the comedy is over the top. Somewhere halfway through Roger Moore’s run as Bond the slapstick got out of control. Enter Timothy Dalton.

Dalton was a Shakespearean actor by trade. His interpretation of the character ran away from the Montypythonesque (that’s a word, right?) to his core–his dark, brooding core. Dalton saw Bond as troubled by the life he has chosen to lead and the sacrifices he has made for queen and country. Dalton also brought the literary version of Bond to the big screen, focusing more on Fleming’s work as apposed to simply doing an impression of his predecessor. Dalton’s films were not critically received, and at the end of his two film run, the series went on hiatus for 6 years.

When Pierce Brosnan took up the mantle for 1995’s Goldeneye, the fourth reboot, he had an advantage. The writers had taken all of the aspects that made a great Bond movie and placed them in a modern world. The audience-pleasing special effects and the return of the gadget-a-minute approach made the Brosnan era visually stimulating. Still, by the time Bond surfed a tsunami and drove an invisible car, it was time for another reboot.

Bringing us back to Casino Royale. Rebooting this long running series over the last 50 years has been more than simply swapping out leading men. Each time James Bond seems to preserve his core while responding to audience demand. With a reboot every six films or so, we have to wonder where they might go next.

Maybe to space?

No, they did that already.

Maybe the bottom of the ocean?

No, they did that… twice.

Where ever James Bond may be headed next, you can bet I will be along for the ride.

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