Skyfall, the best Bond of Daniel Craig, Bardem best villain of the saga. A reebot of reebot was Casino Royale.
Death and resurrection. That is the central issue addressed by the third installment of Daniel Craig as James Bond, completing a trilogy, ending a cycle, making an original and complex exercise reboot of the reboot. I mean, Casino Royale was already a reboot or relaunch the character of 007. And now this movie not only marks the end of the relaunch, but it raises a new starting point for the character, form a cycle to rewrite the adventures of agent licensed to kill.
Hence, the film can be easily divided into two distinct parts and complementary. In the first, from the exciting beginning of persecution until Bond's encounter with the villain played by Javier Bardem, have common history in the age of 007 Daniel Craig: persecutions, sharp and decisive action, melee fights that convey brutality bond with the girls to lie, and the rest of the seasonings that blend adventure and intrigue film that has always characterized the cinematic journey of the character. There are even exotic trip to Shanghai, Macao, etc. Proper of the saga. But from the moment that Bardem, who does not appear in the first part, makes an appearance, the film begins its shift to something else with a clearly more and more serious. The entry into this other narrative territory, which is not usual in the series of 007, in which Bond girls no longer but a story of "mother-son" very interesting between the agent and his superior, M (Judi Dench) is follows the sequence in which the resolution is given to one of the "Bond girls" of putting this issue head on a glass of whiskey ... Met and a hallmark of the entire film franchise agent licensed to kill, and also opens the door to something else. Incidentally, the way Bond looks at the life of the girl in a monologue that is a verbal flashback to introduce the female character in record time and with maximum economy and media footage narrative plane against plane, is a lesson good use of the resources of the script.
The first sequence of the villain played by Bardem in the headquarters of MI6, plus cleverly echo the style of some of the productions that have marked the spy genre in fiction in recent years in tv shows like Alias or Nikita, culminating a physical transformation possible, not fantasy, and because of that much more terrifying, the antagonist, completing the presentation of the same tones that recall both Hannibal Lecter as the Joker in The Dark Knight movie which has much in common Skyfall its narrative pace and constant twists exhaustion points of the narrative able to renew itself and maintain viewer interest impeccably in key moments. It is no coincidence that this change in tone occurs in London, rather than in a more exotic and distant location, and that one of its high points is a chase in the underground of the British capital is a kind of version 007 of the William Friedkin propose persecution for The French Connection. Later the film provides us with another new surprise, from that key urbanite action movie to a western approach in Scotland with the storyline moves into its denouement, and coming to some scenes in the wasteland that link directly with visual proposals for opening credits with the song of Adele, which are among the best in the Bond series. The sequences in the wasteland illuminated by the flames are the realization of the promise of the protagonist's journey to the underworld that was already in such claims and are a perfect example of the careful and stylized visual resolution and accompanying aesthetic proposition 007 in the adventure and shines in other sequences that seem to pop visually to contrast with the more realistic tone of the rest of the story, as the fight melee in Shanghai, with silhouettes in neon, or that deserted island where inhabits the villain, a sort of Chernobyl in the Far East, monumental setting also recalls the outcome dreamlike creations in Inception and somehow honors the island of Scaramanga, the villain of The Man with the Golden Gun. That leads me to emphasize that the winking homage to the past of the character through several objects and references to other installments of the series also show the elegance and styling of this release celebrating the 50th anniversary of James Bond, without hindering the narrative before the contrary serve as appropriate reinforcement thereof. The Walter PPK pistol, the martini shaken, the Beretta, Aston Martin, Miss Moneypenny ... are echoes of other deliveries, but also reaffirm that statement of principles for survival Bond character as an icon of popular culture and action movies, and the series itself. It is a statement of principles that can be summarized in one sentence script: "old dog, new tricks", but also in that nod to the past by establishing the headquarters of MI6 in the former headquarters of Winston Churchill during the Second World War, Tennyson's poem reciting M and also, why not?, in the figure of the bulldog British flag adorning the head table 007 and a final message contains very clear to the agent. This alludes to another essential element of this new installment of the series of 007 with the death and resurrection: memory.
Or what is the same: death and resurrection of Bond, reboot the reboot.
I left for last a resounding applause and a warning.
The applause is for Javier Bardem, who with all due respect to those who have preceded him in the risky endeavor of being a Bond villain in the series, has set the bar very high in this area. So high that I dare to qualify as the best villain in the entire series. It is difficult to find the nuances that Bardem has given this kind of character with a tendency to fall into the topic and the formula in other former antagonists of the series, despite having had it with notable actors involved in this plot. What happens is that Bardem and look again demonstrates its curious mixture of overwhelming talent, pure animality released film that knows no clichés and formulas and re-develop a very complex terrain work, although he does flow with an apparent ease of minimal gestures and indications fluids, small details and situations seemingly conventional topical like throwing a grenade into a building.
Never had James Bond villain opposite a competent and disturbing than this.
The notice is also related to the role of Bardem: must see the original film to appreciate the work of the actor. I've seen well in the press pass. I do not know what will happen with Bardem's voice dubbed in Castilian copying, but notice that if the trailer is the same, it has nothing to do with the original. So do not be guided by that trailer.
In conclusion: a five-star delivery within the series of 007.
Miguel Juan Payán
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