It was always going to have to come to an end. Bond actors don’t last as long as you think, though it’s been 9 years now that we’ve had Daniel Craig as the image of Bond – from his reinvention of the character as a gritty, conflicted type in Casino Royale, a vast gulf separating the reboot of the character from Pierce Brosnan’s portrayal through the 90s and early 2000s. Handily, the plot in Spectre serves much the same – a sense of an ending is present very early on.
Following the events of Skyfall, Bond finds himself in Mexico City, where he must kill a man – ostensibly, once again, Bond is on leave, but still appears to be doing his best to serve his country regardless. This is not a man that takes being off active duty very easily, it appears, and the assassination witnessed by a whole city celebrating the Day of the Dead doesn’t help him cover that fact up terribly well.
Back in London, the new M dresses him down for acting without orders, and is seemingly inevitable for Craig’s Bond, officially suspends him – this time ruminating over the fact that MI6 no longer hold special privileges with the era of digital surveillance and digital killing with drones quickly outpacing human intelligence.
Of course, as part of being suspended, Bond must visit Q, and so the Bond movie structure clicks into place. Gadgets are introduced, a reason to go off-book is brought up, and for the first time in Craig’s run of movies, I finally got the feeling we’re back in familiar Bond territory.
And that’s how this plays out – M disapproves, Bond gets Moneypenny involved, Q’s toys get to be Chekov’s gadgets, Bond finds the truth runs deeper, and there’s a race against the clock to prevent a mad plan from dropping into place – especially when the sinister head of Spectre, played with relish by Christoph Waltz, appears to ramp up the tension.
Between the plot, gadgets, cars, international (but more or less European) locations, girls (Monica Bellucci played far too short, Léa Seydoux played a little beyond her abilities), Bond’s meticulous dress sense that shifts from scene to scene, and the call-backs to earlier Bond movies, this is a departure for Bond as portrayed by Daniel Craig – this is Bond of old, Bond made un-gritty, in a way that could’ve seen Roger Moore or Pierce Brosnan happily embrace the occasional silliness. The obligatory car chase in prototypes, the obligatory hair raising shootout in a fantasy location, the obligatory explosions which – in hindsight – don’t quite make sense but are spectacular nonetheless; it is all what the Bond franchise delivered for so many years.
Spectre is above all else entertainment; where Casino Royale sought to humanise Bond the character, where Quantum of Solace was driven and purposeful, albeit without plot, and where Skyfall was intensely personal for Bond, this one lets us back into the super-spy world – perhaps ironically given the plot talking about the end of the human pulling the trigger. It aims to tie a nice bow on the arc of the story which Craig’s portrayal started, and in a way it does – the first time in the Bond universe you’d have a plausible reason to watch back to back, which is its own novelty.
The performances are largely fine, with Craig possibly the weak point as you can see he tires of the role and its low dimensionality. Whishaw is excellent as Q, a much better every-man than perhaps would be expected, and Waltz’s villain gets steadily more pathological as the story progresses, working perfectly with the building plot.
Don’t go in expecting something as complex or empathetic towards Bond as Casino Royale – this is much more the Bond movie that you enjoy for the ride, without closely examining the details because the movie asks you to move on with steady pacing; if you do take it for what it is, you’ll be in for a good time.