|Silva (Bardem) toys with Bond (Craig).|
Silva may want revenge but his transfigurement as a result of M’s betrayal is a costly one for the British establishment as the blowback which they encounter is difficult to defend against without blurring certain moral and political boundaries. Some would say it is sacred territory to venture into the history of James Bond as it invalidates his enigmatic personality. Part of me would agree with such an argument of nostalgia yet by foregrounding his past and by locating the final conflict within a familial context humanises Bond so an ordinariness shines through. It is an ordinariness that is paper thin though and thankfully lasts for only the denouement. Skyfall is certainly the best looking Bond film in a long while and the visually noirish cinematography of Roger Deakins is transparent throughout. In many ways, this is Deakins film. What interested me the most was the contradictory politics at play at the heart of the film. Although it is a progressive Bond film since it critiques Empire, the film’s reflexive ending reclaims a regressiveness that characterised many of the classic Bond films. It is a film that contests an open battle between progressive and regressive ideologies yet at the end by reinstating familiarity, Bond recognises that its endurance as a cultural entity remains with being repetitive and different as a genre. Moody, dynamic and ideological - this is a Bond film with a pulsating heartbeat. It will be a hard act to follow for the next director who signs up for Bond as Mendes may have delivered one of the finest outings to date.