IF YOU HAVE NOT SEEN SPECTRE YET, BE WARNED THAT THE FOLLOWING CONTAINS HEAVY SPOILERS!

The wait is finally over and Bond is back on the silver screen! In the six months following the big announcement at Pinewood Studios in December 2014, director Sam Mendes and his team have worked tirelessly to lift Bond to new heights as well as adding new depths. But is the result the ultimate Bond film we have been expecting?

The cinematic James Bond has gone through many changes over time. Six brilliant actors have portrayed him on screen with each steering him in a certain direction. When Daniel Craig was introduced as the new 007 in October 2005, the casting decision caused delight and uproar in equal measure. Critics were quickly silenced when his first Bond film “Casino Royale” opened in cinemas, there was even applause during the Main Title sequence when at one point Craig stared directly into the audience from the screen. From then on, critics were silenced again and again and again.

The producers chose to reinvent Bond with Daniel Craig, give the much-loved franchise a new boost. Out went beloved characters like Moneypenny and “Q”, in came more spectacular action and believable main characters. Under the direction of Martin Campbell, “Casino Royale” became an instant smash hit with audiences, confronting them with a much grittier version of the legendary secret agent who had just earned his licence to kill. Suddenly, Bond was bleeding, he was vulnerable and lost as much as he won. With Craig’s second film, “Quantum of Solace” (2008), the inner turmoils of Bond were explored further and when audiences witnessed him silencing his pain with a lot of Vodka Martinis, it was evident that this portrayal of Bond would probably cause controversy at some point. 

The previous outing “Skyfall” (2012) was celebrated as an artistic masterpiece with its often dramatic cinematography by Roger Deakins. The film snuggled up to old and familiar elements with the introduction of a new Miss Moneypenny and Quartermaster “Q” and even the iconic Aston Martin DB5 was thrown back in the mix. Despite having a very well crafted storyline with a superb villain portrayal by Javier Bardem, Bond’s ever present past didn’t cease to hang by a thread over the Bond franchise like the sword of Damocles. The death of his superior “M” was a signature scene where many thought it would toughen Bond to an extent that it would turn him into the agent we knew from the olden days. In the next film, he would surely save the world in style and not give a damn about what happened in the past.

Along comes SPECTRE. A title as iconic as James Bond himself. Everyone familiar with the Bond films immediately recognized the seven letter abbreviation for Special Executive for Counterintelligence, Terrorism, Revenge and Extortion. The evil terror organization, led by Bond’s arch-enemy Ernst Stavro Blofeld, had its last appearance in 1971 and the final Bond film of Sean Connery, “Diamonds Are Forever”. After that, S.P.E.C.T.R.E. was “decomissioned” from the EON film series and never heard of again. Until December 04, 2014. A long copyright dispute prevented EON Productions from using both the organization and its leader Blofeld. After the 52 year legal battle was finally brought to an end in 2013, the copyrights for SPECTRE and Blofeld went back to EON who could now use it as they pleased. In that regard, the title of the new Bond film almost feels like a statement, an assurance that what had made Bond so unforgettable in the 1960’s was now available to revitalise the Bond series once again.

But was it a good decision to reintroduce the most iconic organization of all? Would it probably be odd to have the modernized 007 battle enemies from the past, or indeed even his old nemesis Blofeld? Much speculation surrounded the filming. Fans and the media were often left clueless. Now, with the much anticipated release of this 24th film of the series, the veil of secrecy has finally been lifted. But is SPECTRE really the definitive Bond film we have been waiting for? The following analysis tries to answer this question.

[su_heading size=”20″ margin=”0″]FULL THROTTLE – A PROMISING OPENING[/su_heading]

While the first Daniel Craig Bond featured a modified gunbarrel for the purpose of finishing the pre-title scene and forming a transition to the Main Title sequence, the following two films saw the famous sequence moved to the end of the film. A thorn in the flesh of many Bond fans across the globe. Traditionally, the gunbarrel had always opened every single film until 2002 and with SPECTRE, it finally assumes its correct place again. The design is new, but reminiscent of the 1960’s era gunbarrel sequences. Goose bumps.

News reports and pictures from Mexico promised a spectacular and visually stunning pre-title sequence. In impeccable detail, Director Sam Mendes and Production Designer Dennis Gassner recreated the traditional Day of the Dead parade on and around the Zócalo, Mexico City’s main square. Over 1.500 extras participated and each of the colorful costumes was handmade. A truly magnificent setting to open the 24th James Bond film. And as expected, it pushes all the right buttons.

First, there is a long continuous shot following a costumed Bond and beautiful Mexican Estrella from the busy street parade into their hotel, up the lift and into the hotel room. Bond enthusiasts will immediately recognise that it is the same hotel, even the very same lift as seen in “Licence to Kill” (1989). While Bond Girl Estrella seductively lolls on the bed, Bond quickly removes his costume (in fact too quickly to be believable), ready to jump into action. What ensues is an action sequence that leaves you shaken and stirred. The sequence builds momentum through ingenious visual effects and expert camerawork.

Bond chases an assassin, Marco Sciarra (played by Italian actor Alessandro Cremona). The foot chase bares a slight resemblance to the one in “Thunderball” (1965) where Bond tries to shake off his pursuers during the Jamaican Junkanoo parade. Suddenly, a helicopter approaches and thunders over the massive crowd of parade participants. Bond and Sciarra end up on Zócalo square and Sciarra leaps into the helicopter which hovers right amidst the vibrant celebrations. A fight breaks out while the helicopter takes off. It spins dangerously in the air, seems out of control. The men fight, fiercely pushing each other in and out of the helicopter until the pilot decides to do a vertical climb and fly a 360° barrel roll maneuver, thus turning everything upside down. You hold your breath and watch in awe.

Bond triumphs after a nail-biting opening, in his hand a ring he took off Marco Sciarras finger. An octopus is engraved. Fans know, it is the symbol of terror organization S.P.E.C.T.R.E. – the reintroduction has begun as Sam Smith’s title theme begins to play.

Bond is tradition and the films have always profited from staying true to their original framework. The main title sequences have their own iconic status in pop culture and are often copied in spoofs or advertising. They represent miniature works of art with a theme complementing the film, whether they have been filmed for real like in the earlier Bond films or with a great deal of help from computers in recent years. With SPECTRE, Daniel Kleinman designed a title sequence that takes audiences through the Daniel Craig era while a giant octopus looms over everything.

 [su_heading size=”20″ margin=”0″]STRENGTHS & WEAKNESSES[/su_heading]

Having enjoyed the marvellous opening sequence, the feeling that this could really be the Bond film to top them all was firmly established. However, it is not that simple altogether. While SPECTRE is definitely a fun and entertaining 007 extravaganza, it also suffers from several weaknesses, downgrading it in comparison to other spy thrillers like the latest Mission Impossible.

Cinematography and production design are impeccably stylish. Not only did the opening sequence make that clear, but also the scenes set in Rome which feature striking contrasts. Black designer clothing paired with the white columns of fascist Mussolini architecture. Once all the funeral guests have disappeared, only the grieving widow of Sciarra and Bond remain. Monica Bellucci plays Lucia and seeing her standing in front of her late husbands grave is nothing less than a powerful image. It is composed, artistic.

Does it seem odd that Bond sticks to her heels, eliminates two assassins who have the order to get rid of her and then seduces her? What we might find tactless is Bond’s way to get information and there have been countless situations in the history of the Bond films in which agent 007 takes advantage of beautiful women. Most of them ended up dead.

Nonetheless, the dramatic love scene between Bond and Lucia greatly profits from Monica Bellucci’s acting skills – it is believable without being silly or cheap. The tear running down her cheek nicely demonstrates her inner discord. Her fate however remains uncertain when Bond refers her to his old CIA friend Felix Leiter. He leaves her with the advice to get in contact with him for protection. Could this be a possible option for a return of Lucia Sciarra in Bond25? It would be desirable as Monica Bellucci’s screentime in SPECTRE is way too short for the great actress that she is. It almost feels like the casting choice had been made to feature yet another famous name in the already stellar cast rather than make her character spice up the storyline.

Finally, it is time for Bond to come face to face with SPECTRE when he infiltrates a secret meeting of the menacing terror group. The meeting room setting is dark and moody, warm orange and black tones dominate the scene. It is evident, that Director Sam Mendes took his inspiration from the famous meeting room set of “Thunderball” (1965). But in SPECTRE, everything is a bit larger.

The entrance of the iconic SPECTRE leader is dark. Not in terms of acting but because he stays hidden in the shadows. Everyone at the table gets up from their chairs, they observe with bowed heads. This is the moment Bond fans have been waiting for. SPECTRE is back! Sciarra, the assassin killed by Bond in Mexico, has to be replaced and tasked with killing someone referred to as “The Pale King”. One contender comes forward. Suddenly, a door opens and a broad-shouldered man enters to challenge him. When asked for his qualification, he brutally kills his opponent, crushing his eyes in the process. A brutal and gruesome display of convincibility by Mr. Hinx (Dave Bautista) who is never actually mentioned by name in the film.

A turn of events: out of the blue, the SPECTRE leader addresses Bond who is still observing the scene from the gallery. Now his face is revealed and he looks directly at Bond as if he had sensed his presence. In what at first appears slightly childish, the villain says “cuckoo” with a grin. At that point, you have the feeling that Christoph Waltz’s performance will send shivers down your spine as you probably expected it would. Fact of the matter is, it doesn’t. For quite some time, we don’t see him again. He reappears when Bond and Madeleine are brought to his Moroccan hideout, an odd looking facility in a meteor crater.

The problem with Waltz’s performance is that it is far from being menacing but rather calm and reserved. The much debated revelation of his character name Ernst Stavro Blofeld, which he took from the bloodline of his mother, is presented without any drama or suspense. His behaviour in the torture scene is awkward and unintentionally comedic. As he said himself in an interview, Waltz mainly plays himself. Whether this was the best idea for an enemy so iconic as Blofeld is subject to audience perception.

In a nice twist, we’re treated to the story on how Blofeld ended up with the equally iconic scar running down from his eye almost to his chin. It is the same one as in “You Only Live Twice” (1967) where Donald Pleasance played the part. Adding his favourite domestic animal, a white Turkish Angora cat, to the mix rounds off the positive side of the reveal.

Back to Rome and what looked like a promising car chase during the time when it was filmed. Undoubtedly, it is a beautifully shot and choreographed thrill with two stunning vehicles – but that’s it. In every frame of the chase, the streets of the Eternal City look absolutely empty – not a soul on the street and, beside a senior citizen in a Fiat 500, no traffic at all. It looks just plain awkward and more like a glossy advertisement for Aston Martin and Jaguar. 

The action sequence in Austria, preceeded by a moody and dramatic encounter with Mr. White, involves Dr. Madeleine Swann being kidnapped from the alpine Hoffler Klinik which surprises with being a nice architectural reminiscence of Piz Gloria in Switzerland. Bond follows the kidnappers by plane. But hold on! Where did he get the plane from? It’s not the one that had brought him to the clinic earlier. The explanation is missing but would have made the start of a marvellous action scene so much better.

Bearing in mind that filming SPECTRE in Soelden and Obertilliach was extremely difficult due to weather conditions and highly demanding stunt work, it really turned out great on screen and is fun to watch. The pace is excellent and the moment when Bond crashes through the barn with the music stopping is just a pure 007 signature moment. Agreed, all the action sequences in SPECTRE are a bit over the top but each possesses it’s own charm.

James Bond and Dr. Madeleine Swann share their moment of getting more or less properly acquainted with each other on the train in Morocco. While they treat themselves to the classic Vodka Martini, they are viciously interrupted by henchman Hinx and an energetic fight breaks out. Reminiscent of the train fights in “From Russia With Love” and “Live and Let Die”, this tense scene comes across as genuinely painful for Bond. Dave Bautista’s performance is very convincing and earns him a high rank in the long list of Bond henchmen. Fight choreographer Olivier Schneider and his stunt team did an excellent job with this.

The finale set in London’s famous MI6 building and on Westminster Bridge sadly misfires and is far away from being innovative and grand. It has it’s moments, sure, but somehow leaves the viewer unsatisfied by missing out on a decent arc of suspense. Just when you thought, the film would be over with Blofeld’s helicopter crashing down on Westminster Bridge, SPECTRE has one last surprise left in store. Bond does not kill him. Blofeld is arrested by “M” and taken into custody. Does this hint at a possible return of Waltz in Bond 25? From the very beginning, when rumours about him playing Blofeld were only rumours instead of facts, it was evident that he and SPECTRE would surely not be brought back for the sake of only one film. With his survival, the door has been left open for a return.

A really refreshing thing throughout the entire film was the humour. A reintroduction of classic 007 wit had long been overdue. SPECTRE has a ton of funny highlights and the occasional one-liner without being cheesy or silly. Furthermore, the film features a whole array of references and tributes to older Bond films of which some are quite obvious while others are rather subtle. In that regard, SPECTRE is truly a film for the fans. Here is a list of references you can look out for in SPECTRE.

Again prominently featured is Bond’s past and the inner turmoils he is dealing with. While this certainly adds depth to the character from an artistic standpoint, it has been overused and drastically diverts the heroic impact of the Daniel Craig films to the brink of the drama genre. The question stands if we want to see Bond getting a mission, fulfilling it and saving the world or if we prefer him dealing with inner demons, feelings and ghosts from his past.

Possibly the greatest weakness of this 24th film in the Bond series is it’s music, once again composed by Thomas Newman. While the very first track for the Mexico sequence features a well-balanced buildup with the inclusion of the Bond theme, the music for the action set pieces fails miserably. There is neither innovation nor sensitivity for what is shown on screen, the repetetive music just thunders along without any highlights. Moreover, much of the soundtrack has been lifted directly from the previous film “Skyfall” which proved a painful letdown in certain scenes. Especially the finale suffers greatly from the absence of epic and heroic motifs and is instead ruined by Hans Zimmer-esque irrelevance. It is only in moderate sequences of the film that composer Newman managed to add some flavour and came up with a few inventive cues. This clearly substantiates the fact, that action films are not his strength and there aren’t many in his portfolio.

[su_heading size=”20″ margin=”0″]THE FINAL VERDICT[/su_heading]

SPECTRE is great fun, there’s no doubt about that – it’s popcorn cinema with a high production value for a broad audience. Although it is the longest of all the Bond films, you don’t feel the length. However, die-hard Bond fans will undoubtedly have recognized the above mentioned criticism or praise. What saddens me personally is that the film does not come anywhere near the well-balanced total package of “Mission Impossible 5” or the coolness of “The Man from U.N.C.L.E.”

In comparison to other James Bond films, SPECTRE definitely has the potential to top many of them when it comes to overall  entertainment value. If you’re looking for an inherently coherent film, you might however be disappointed. On the other hand, many Bond films had weaknesses but each and every one of us cinemagoers is looking for something in these films and we each take something home from them. For me, the film presented a nice return to old standards of the franchise. I laughed, I felt tense and moved, shook my head in admiration of the formidable stunts and got a bit disappointed by some things – that nearly encompasses the whole range of emotions you can experience in the cinema. In that respect, SPECTRE scores and on a scale of 1-10 I give the film a solid

8/10