So ended the world’s greatest game of pass the parcel. After much to-ing and fro-ing between them, and with the various shenanigans and machinations of the past six years behind them, the baton finally passed from Timothy Dalton – who was first considered as early as 1969 – to someone who’d been in the frame since the early Eighties, and whose chance looked resolutely to have gone when he had to drop out before The Living Daylights. Maybe that sense of relief is what explains the shit-eating grin that Bond wears at random moments in Goldeneye…
Yes, Pierce Brosnan was the fifth man to inherit the on screen mantle of Britain, nay the world’s, greatest not-that-good-at-being-secret secret agent. His performance in Goldeneye, in the best Bond Legacy tradition, seemed to call on something from each of his predecessors in the role; he had the stern insistence of a man with an English accent who wasn’t actually British (Lazenby), the effortless sophistication and grace that make him look good in a dinner jacket, but also the belief he could handle himself in a fight (Connery), the hard-edged distance of a man that’s seen a lot of suffering (Dalton) and a louche theatricality with a one-liner that made him seem almost dangerously cheesy (Moore, although that maybe does a little disservice to old Rog).
For some reason, when attempting to capture what made the quintessential Bond film, Martin Campbell and the Broccolis made what everyone thought the stereotype of a Bond film was, rather than replicating an actual Bond film. Consequently the style and the stunts are all there, but so are the worst extremes of Seventies Bond, and there’s a moment with Bond and Wade in Cuba when their aside to camera feels closer to the music hall than it does to a classic Bond film. However, audiences lapped it up and this new Bond, serious one minute and leering the next, would largely provide the template for the Brosnan era, for better and for worse.
Goldeneye is without doubt the best of that era, thanks to a number of key elements. Sean Bean’s creepy smoothness as Trevelyan gave this new, modern Bond the ideal mirror in which to view himself, and their fight late on has a crunching physicality to it, a no-holds-barred approach that would also come to categorise the Bonds that followed. Isabella Scorupco might have been a Polish model turned singer turned actress, but she was still able to act rings around many Bond girls that had gone before her, and Famke Janssen’s Xenia Onatopp (also a former model) camped it up delightfully; if you don’t enjoy her delivery of the line “He’s going to derail the train!” then you maybe need a little more joy in your life. But the key elements were the revitalisation of Martin Campbell’s direction and the knowing script that just about managed to avoid tipping over into self-parody. Just.
Thankfully, just like the sixteen films that preceded it, Goldeneye still has something to offer in dictating the path of what is to come.
1. No relic of the Cold War after all
The one doubt in everyone’s mind was whether, in a world without Russian enemies and with high-powered American action movies, Bond was still really needed. The relative failure of Licence To Kill in America and a few other territories had, somewhat unjustly, caused speculation as to if Bond could still cut it. In terms of box office and adjusting for inflation, Goldeneye took nearly twice the total of its predecessor and more than any Bond film since Moonraker, and Goldeneye really showed, for the first time, that Bond could move with the times. Sure, the franchise had often made reference to the latest fad or fashion and tried to hang on the coat-tails of the other big movies of the time, but the Nineties showed how Bond could still thrive in a world without the Iron Curtain. (We’ll gloss over the fact that half of the film is still set in
2. Campbell’s soup-er when it comes to reboots
Martin Campbell had made his name with the TV adaptation of Edge Of Darkness, and he proved key in bringing Bond back to the big screen. So key, in fact, that when Bond returned after another four year hiatus and producers were again looking to put a fresh spin on proceedings, Campbell returned and once again proved his ability to keep enough familiar elements while injecting a shot of individuality and freshness. He’s now in his early sixties, so he should still have enough good years left in him when Michael Fassbender, Andrew Garfield and Will Poulter line up for their reboots in the next twenty years. (Especially when everyone says how much the Poulter years are a return to form after that Garfield fiasco.)
3. Kleinman’s the man, but Serra’s an error
I’ve wrapped the last two lessons together, but they are both salient warnings to anyone attempting to make a Bond film in the future. Daniel Kleinman takes the work of the likes of Robert Brownjohn and Maurice Binder and makes it fresh and exciting, capturing the feeling of its predecessors but still managing to take the opening titles forward. Consequently he continued to get the gig right up until Quantum of Solace. Eric Serra was also hired to write the score, and has produced some fantastic work for Luc Besson’s movies, especially the prior year’s Leon. His work on Goldeneye is similarly great, with the sweeping string accompaniments for Bond’s Caribbean detour evoking just the right mood. Trouble is, the score as a whole is categorically wrong for a Bond film; so wrong that the producers had to bring in John Altman – who, fact fans, also arranged Always Look On The Bright Side Of Life for Life Of Brian – to Bond up the tank chase in St. Petersburg. Consequently David Arnold, to the relief of everyone everywhere, got the gig for the next five films. The moral of the story is, feel free to have a little play with the key elements, but if Bond Legacy has taught us anything, it’s that you can’t mess with the fundamentals.
Next time: The irony of a film about a media mogul gone mad whose title is based on a misprint. It’s Tomorrow Never
For more Bond related japes and in-depth analysis, visit BlogalongaBond.
Much has been the debate over the past two decades, as film has become increasingly self-referential and self-obsessed, as to whether or not sequels can outdo the originals. As Hollywood product becomes increasingly bereft of originality, thoughts have turned to idiotically named threequels and even obviously named fourquels to understand whether they can maintain the quality of their originals, or even maintain any level of quality at all. For a series currently embarking on its twentythirdquel, such concerns have long since passed for James Bond and his producers, but Thunderball undoubtedly marks a number of significant turning points in the series, and not all of them for the better.
1. There was a spectre cast over the series for over thirty years
While it was actually the fourth in the series, there was a time when Thunderball would have been the original James Bond film. It’s an unfortunate theft, far more obvious than any other in the series, that led to this state of affairs; Fleming had been involved with several others in an attempt to get a film series based on the character off the ground, and so Thunderball was an original screenplay. When it didn’t pan out, Ian Fleming took his work for this, and also some work from drafts of the screenplay by Jack Whittingham, and turned them into a novel called Thunderball for his James Bond series.
Unfortunately this led to court action by the member of the group hired to produce the original series, Kevin McClory. McClory saw an opportunity to still bring the original vision to the screen, and in a court settlement McClory gained rights to nine different screenplay drafts and elements right down to Blofeld’s cat. The only stipulation was that McClory wouldn’t attempt to make another film using the elements for another twelve years. (In that time, you may recall a number of other EON productions which used Blofeld’s cat, and all of those other elements.)
When that twelve years expired, a period of two decades of attempting to milk this potential cash cow ensued. McClory had made little other success of his film producing career, but was financially well set from the Thunderball situation; he then proceeded to spend the rest of his life ploughing every last penny of those proceeds into attempts to retell the story. The first attempt, variously called Warhead 8 or James Bond Of The Secret Service, had the effect of causing EON to take SPECTRE out of The Spy Who Loved Me after early drafts.
Eventually, in 1983, we got another Sean Connery film, whose title we will never say. Never again would McClory manage to get anything on screen, but that didn’t stop him trying almost up until his death in 2006. The last and most significant attempt in 1997 was a collaboration with Sony, which culminated in Sony and MGM to settle rights issues almost like two parents dividing up the children in a messy divorce, with MGM getting all of Bond and Sony taking sole control of Spider-Man. Ironically, Sony then bought MGM in 2005, so that Sony ended up releasing Daniel Craig’s first effort in the tuxedo a year later.
But the actual rights themselves to those story elements still reside with someone, although it’s not actually 100% clear who at this point. SPECTRE may make a return to the series at some point, but the real spectre of the alternative, lower quality Bonds being produced maybe still hasn’t gone away to this day.
2. After this it wouldn’t be enough to just insert random formula elements
Thunderball does mark one particularly significant achievement – it remains, in adjusted dollars, the most successful Bond film both in America and worldwide, sitting at 27 on the all time American list and it would have been worth a few cents shy of one billion dollars in today’s money with the worldwide takings. But when you look at the first three Bond films, each actually brought something different to the table: Dr. No established the concept, From Russia With Love expanded it and Goldfinger took it to the verge of self parody.
Starting with Thunderball, opportunities for true innovation were limited and the cycle descended into a law of diminishing returns. Tellingly, the subsequent box office peaks have always occurred when a new Bond has been introduced to the franchise; dear Broccoli family, if you’re reading this, it doesn’t mean we want a new James Bond every film. Quite happy with Mr Craig for now, thank you very much.
3. It’s like, y’know, for kids – all that misogyny and casual violence
Forget GI Joe, pansy American soldier, if you want to play with toys then you need one of a man who’s not afraid to make a pass at anything in a skirt and to shoot a man in cold blood once he’s already dead. These are the kind of role models that a young boy needs (and given how many of my male friends over the years have attempted to shag anything that moves, it seems to have had an effect), and Thunderball was the first James Bond film to feature an action figure. Although frankly James, you might need to get a hem put on those trousers – a little long in the leg.
4. Forget bow ties and stetsons – jet packs are cool
If you’re telling me that you’ve never wanted a jet pack, then I will quote the “liar, liar, pants on fire” argument in rebuttal. From the Los Angeles Olympics opening ceremony to Kick-Ass, every possible application of jet pack technology screams “I want one” from the rooftops, which is where Bond has conveniently stowed his. And it packs away neatly in the boot of an Aston Martin as well, as long as your pursuers give you enough time to take it off. We still await the first actual jet pack chase in the series (and I’m not counting anything in Moonraker – jet packs in space just aren’t the same). That idea (c) The Movie Evangelist, 2011, by the way.
5. Widescreen was the way of the future
As you can see from the above picture, Bond was keen to get his car, his helmet and anything else he could lay his hands on into the widest spaces possible. This was the first film to appear in the Panavision 2.35:1 ratio, which is the widest widescreen in current common use and is ideal for capturing the full detail of long, thin things such as torpedo tubes and sandy beaches. By The Man With The Golden Gun, the series would become permanently in this ratio, and any action movie worth its salt these days will appear in a similar ratio.
6. Bond is just the first line of attack – you’ll get nothing in this game without henchmen
There was one major element of the series that hadn’t been truly and properly established at the time of Thunderball, and that was the massive henchman battle. Armies of men from both sides engage in a
slightly soggy and disappointing truly epic battle which allows Bond to sneak in, relatively unnoticed, and confront the evil mastermind with whom he’s already spent a large part of the film having casual conversation, playing games, generally socialising, etc. This template of a large army of men on both sides who don’t actually have a conclusive effect on the outcome has become a staple of the series, and the requirement for a base to hold such significant forces became a real bonus for production designer Ken Adam, as we’ll see…
Next month: Pussy stroking galore. It’s You Only Live Twice.