Written by Paul Haggis and Neal Purvis & Robert Wade
Directed by Marc Forster
“She would have done anything for you…forgive her. Forgive yourself.”
Five reasons to absolutely love Quantum of Solace:
(1) Daniel Craig’s impressive growth in the role of James Bond. Quieter, smoother, and more relaxed than in Casino Royale, he is also far more willing to throw himself into situations others may find reckless. The panic and fearful adrenaline that fuelled his earlier escapades have crystallized into a cynical, pragmatic persona…and Craig plays it beautifully.
(2) The politics of the film are some of the most topical in ages; to my mind, only The World is Not Enough is at the same level of relevance for recent Bond films. Full of sly jabs at ambitious, jump-on-the-eco-bandwagon politicians and shadowy businessmen, it’s the most “now” Bond film in quite some time. Throw in the first truly global jet-setting we’ve seen from Bond since the 1970s, and the end result is deliciously cosmopolitan.
(3) The astonishing pathos of the film. This is Shakespearean tragedy, liberally mixed with Jacobean revenge drama…and it’s all very affecting (the entire Matthis sequence, including his shocking death, is well worth the price of admission). The entire crux of the film is that Bond is motivated strictly by revenge, but his emotions run much deeper than that…and only a precious few can see it. This is a man in a great deal of pain, but he is holding on to the last shreds of his self-control because he knows revenge is useless in the long run…everything needs to be subsumed to some sort of purpose. It’s why M (once again, a MAGNIFICENT performance by Judi Dench) tries to stop him…but only goes so far. It’s why Felix plays along with his CIA superiors…but only to a degree. They see what Bond is really up to, and they’re willing to let him go far enough to exorcise his demons, yet still complete his investigation. It’s a chess game where emotions trump rationality…but only just. The resulting conflict of approaches & personalities makes for some stunning drama.
(4) The unique Bond women: a tale of triumph and tragedy. Olga Kurylenko is the Bond woman who doesn’t sleep with our hero, and brings a new meaning to personal empowerment. Damaged, hurt, and angry, she is Bond without the discipline…until he teaches her how to use her anger and bitterness for a better purpose. Gemma Arterton is the Bond woman who does sleep with our hero: someone empowered by his very presence — an innocent who pays dearly for the life he leads. The amount of characterization Arterton brings to such a small part is certainly impressive.
(5) The conclusion. A quiet, surprisingly poignant tying up of the final lose ends of both Quantum of Solace and Casino Royale, it ends with Bond letting go of his revenge, embracing his true self…and walking out via the classic bouncy-ball/gun barrel shot and the signature James Bond theme. A breathless, lump-in-the-throat finish…for all sorts of conflicting yet complimentary reasons.
Three reasons why Quantum of Solace can be irritating…
(1) The opening theme song is RUBBISH! The rotting rubbish found in the deepest, darkest corner of hell. It’s so dismal it makes me long for the techno-stylings of Die Another Day. The day a person is driven to miss a Madonna song is usually a sure sign that the apocalypse is upon us…
(2) The first half of the movie contains action sequences clearly inspired by the Bourne films…but they are compromised by having too many confusing close-up’s & too many blurred shots. It’s almost impossible to follow these set-pieces…at least, until the opera house sequence, where the director finally seems to hit his stride.
(3) If you haven’t seen Casino Royale, you WILL be required at a disadvantage, as the movie will not make a great deal of sense otherwise. There are precious few concessions to newcomers to the re-booted Bond franchise.
Other than that, I’m sold. Casino Royale may have been the richer experience, but Quantum of Solace is the more visceral film. Not a single shot is wasted in this slim & trim exercise in celluloid art, and it stands as the perfect conclusion to a pair of movies that completely and successfully re-invigorate the James Bond universe. It’s rare for popular movies in this day and age to be so bloody satisfying…more should aim for this goal.
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