The Bond Supremacy?
007′s back in one of the most eagerly anticipated films of ‘008.

Quantum of Solace kicks off just 20 minutes after the closing scenes of Casino Royale.  This is the first direct James Bond sequel and it’s clearly designed as part of a much larger canon, with plenty of scope for continuation.

Bond (Daniel Craig) must come to terms with Vesper’s betrayal and expose the mysterious organisation that took her life.  The organisation is more powerful and far-reaching than MI6 had ever conceived and Bond’s path brings him into contact with politically corrupt environmentalist Dominick Greene (French actor Mathieu Amalric), and his fiery love interest Camille (Olga Kurylenko). 

Bond has a disconcerting habit of killing most of the people he meets, particularly bad guys, suspected bad guys and they’re almost always potential leads.  It’s not long before M (Judi Dench) and the British government are condemning him for being out of control, seeking vengeance for Vesper’s death

“Immense set-pieces”

The plot may sound intricate, and it should be with three writers employed to construct a plot that’s independent of Fleming’s novels.  When watching though, it’s difficult to comprehend how such a complex web is weaved effectively when the film is so action heavy.  It consists mainly of a string of immense set pieces and there’s little opportunity for dialogue and plot exposition. 

The action is even more Bourne inspired than Casino Royale, though this shouldn’t come as much of a surprise considering the film’s makers snapped up the editor and stunt team from the Bourne Trilogy early on in production.  Whilst comparisons were inevitable it’s astonishing to see how similar the approach is. 

“…very Bourne again but hardly Christian”

There’s the now familiar free-running across terracotta rooftops, the volatile handheld cameras amidst the visceral fight scenes, and more often than not it’s up close and personal too.  There’s a distinct lack of guns and a reliance on whatever comes to hand – knives, iron bars, axes, and other bone crunching tools of the trade.  It’s all very Bourne again, but hardly Christian behaviour.

Not that this influence is a bad thing.  Pre-Casino Royale, Bond was much in need of a re-boot after the increasingly ridiculous gadgets (an invisible car? Come on…), an over reliance on CG effects and unbelievable silliness.  Jason Bourne came out of nowhere and showed how a hardcore spy was supposed to behave.  Bond’s got a lot to be grateful for.  

Compare the plane battle sequence from Quantum to Goldeneye (1995) and the two are worlds apart – Quantum has made the impossible plausible – this time around you’ll be convinced that Bond can leap out of a nose-diving plane without the need for a parachute and walk away with just a few grazes and a soft layer of dust on his otherwise impeccable suit. 

“Effortlessly cool”

As Bond, Daniel Craig exploits the character’s ruthless efficiency and unpredictable reckless streak, whilst bringing his simmering intensity, to claim the role as his own.  The man may well be carved from ice he’s so effortlessly cool, but that would be underestimating the fact that he’s clearly harder than granite.  

Diehard fans may bemoan the lack of trademark quips but there’s no shortage of dry wit and smart exchanges between Bond and the supporting cast.  In particular, his recurring tête-à-tête with M is a joy to behold, especially as the relationship becomes more strained.  It’s an easy couple of hours work for Dame Judi Dench but she’s perfect for the part.

“Just the tip of the iceberg…”

On villain duties is the smarmy Dominick Greene (French Actor Mathieu Almaric), who’s foregone the need for caricatured props like the fluffy cats and golden appendages of old.  Instead he opts for a starey-eyed aggression and cocksureness, with a disarmingly meek French accent.  It works.  He’s a conceivable political player, evil but not zealously so, motivated by greed and power rather than a maniacal urge to take over the world.  He’s undoubtedly the tip of the iceberg within the Quantum Organisation, so he may well be small fry compared to future instalments.

Of the Bond girls, Olga Kurylenko is more than capable – she’s feisty eye candy with an agenda, yet balances this with an endearing vulnerability.  Gemma Arterton’s Agent Fields would have been best left in St.Trinians though, she wears an Inspector Clouseau style raincoat (and little else) and speaks with a daft plumy English accent – she’d be convincing if she was playing an MI6 themed Stripper-gram, but anything else is a stretch.  Thankfully she has minimal screen time. 

“The title is pretentious nonsense…”

The title is pretentious nonsense but the film is at the complete antithesis.  It’s a lean, mean, globetrotting killing machine, offering viewers the chance to see some of the most brutally choreographed set pieces seen in a spy movie.  Bond has managed to out-Bourne Bourne, and does it with the charm, intrigue and sophistication that we’ve come to expect from the franchise. 

The chain of set pieces may be formulaic and at times unoriginal, but the execution and entertainment can’t be faulted.  Marc Forster’s (The Kite Runner, Finding Neverland) artistic direction, the variety of distinctive worldwide locales and awe-inspiring sense of scale builds upon the foundation of its predecessor whilst creating a [Bourne] identity of its own.

Quantum of Solace trims the fat with it’s stripped down running time and minimal dialogue, elevating Bond back to where he belongs as the Lord of the Spies.

Rating: ****

Listen to the review and the Quantum debate as featured on BBC Radio Sheffield, Leeds and York on Wednesday 5th November.