Quantum of Solace

[miliosr]

I just got back from the new James Bond movie Quantum of Solace. I enjoyed it . . . but not nearly as much as its predecessor Casino Royale:

SPOILERS AHEAD (Stop reading now if you don't want to know!)

Quantum picks up almost exactly where Casino Royale left off w/ Bond continuing his pursuit of those who contributed to the death of his love Vesper Lynde in the first film. (The two films are almost like one four hour film split [Kill Bill-style] in two.) I watched Casino Royale last night as a refresher and I'm glad I did -- I don't think Quantum would have been very intelligible without the refresher course.

The bigger issue I had with Quantum is that I felt like it was chasing a trend and that trend is the Bourne franchise w/ Matt Damon. If you watch the opening rooftop chase in Quantum, you'll spot some remarkable resemblances to a similar chase scene in the last Bourne installment. I think the producers need to be more careful in this regard in the future. Bond and Bourne are very different creatures and it would be a pity if the older franchise dilutes itself by imitating the younger.

[dirac]

Thanks, miliosr. I haven't enjoyed a Bond movie in years the way I did 'Casino Royale' so I was looking forward to this one and hope to see it soon, although the reviews have not been entirely encouraging and when I first saw the title in a headline I thought it was a new papal bull.

I think the producers need to be more careful in this regard in the future. Bond and Bourne are very different creatures and it would be a pity if the older franchise dilutes itself by imitating the younger.

And directors like Paul Greengrass don't grow on trees. I will be curious to see how certain elements introduced in Casino Royale will be developed in Quantum of Solace. Daniel Craig is a real actor and wants to give Bond some depth, I'm sure, but on the other hand I'm not sure how much I want to see of 007's tormented soul....

Casino Royale has been turning up on cable and I saw it again recently, so I'll be prepped.

[Helene]

I saw "Quantum of Solace" this afternoon, and I was disappointed that none of the promise of "Casino Royale" was realized. The chase scenes and havoc became sillier and sillier, with a plane chase almost as absurd as the one in the Rambo movie that took place in Afganistan. At least in the Bruce Willis movie from several decades ago, when the glass shatters, he cuts his feet, minces in pain, and is immobilized. There was more broken glass in this than in just about any movie I've ever seen, and no one gets the equivalent of a paper cut.

"Casino Royale" showed the crucible that made the man, or at least transformed him, and there was a sense of personal danger to him, not only to the people to whom he was personally and professionally attached. Not for a second in "Quantum of Solace" was it believable that Bond was in danger, or that anything that he had suffered along the way impeded him. Daniel Craig looks quite fine with his shirt off, but they cast a builky body builder as the guy from whom Bond steals a tux that fits perfectly. (About as believable as Melanie Griffith borrowing Sigourney Weaver's clothes in "Working Girl". ) Doesn't anyone edit these things for some semblance of continuity? Why do I think that is a rhetorical question?

PLOT SPOILER ALERT:

The ingredients for more than a special effects movie were there; why they even bothered with them instead of just blowing things up was the most frustrating thing about the movie because the director just left them lying in little piles: The former colleague whom through Bond's actions was imprisoned and tortured, the physical danger in which M was placed -- if it could happen to her, it could happen to anyone -- the organization that transcended nations but was completely under the radar of British Intelligence, Bond on his own after having been set up by the Bogota police, the state of mistrust, the fragile state of worldwide resources, etc.

The movie could have been a nail-biter from beginning to end, but instead, it became a Hollywood blockbuster crossed with a (bad) TV movie: Giancarlo Giannini plays the former colleague who agrees to help Bond after a few minutes of less-than-profound dialogue, and is, as expected, killed in the attempt and speaks a bunch of platitudes about forgiveness before dying in Bond's arms; the scene invokes zero emotion. The assassination attempt on M was brushed under the rug after a minor crisis of confidence. (Ugh, and they make Judi Dench speak the most obvious comments.) Bond puts back six martinis and pays lip service to Vesper, but he could have been drinking because his car was scratched or because he occasionally became morose and got wasted. More and more platitudes about vengeance, and to complete the picture, a buffoon CIA character. The gorgeous Olga Korylenko has the only emotionally satisfying scene in the movie, where she is in incredible danger and with a great, prolonged effort kicks the butt of a murderous former dictator/general. Bond has a flicker of emotion at the very end: although she isn't his love interest in this movie, before she leaves, he kisses her, and it isn't sexual, but a short and swift cry for an emotional connection.

This movie could have been as tense and as gut-wrenching as "Tinker, Tailor, Soldier, Spy" with a few doses of cars and car chases and things blowing up as a bow to the franchise. Instead, it was a crucible of for turning an interesting character into a cartoon. It had no place to breathe, and was as relentless as a Jorma Elo ballet.

That said, it has Daniel Craig in it, and I'd pay to see him in a lot worse. I really loved the "Tosca" scenes, even if there were a bit of a rip-off of "The Godfather". And the main villain, Dominick Greene, was played by Mathieu Amalric, who resembled a shorter version of former PNB dancer Christophe Maraval.

[cubanmiamiboy]

No swim trunks this time for Bond...? (And i was really hoping that Craig could have been the beginning of a trend within the American population against the "speedos/trunks=No,No" current mantra. ( Can't stand the knee lenght beach swimwear, BTW... )

[Helene]

No, he was clothed most of the time, but it's Craig's face that the camera loves.

[SanderO]

I am almost always disappointed by Hollywood films and stopped going to see them. Now I am not disappointed. Hollywood produces basically rubbish and they need to re invent themselves and use talent for more than special effects and idiotic chase scenes and fairy tales with adults. For every Bridges of Madison Country there are 100 James Bond "thrillers".

Frankly, if I am going to go out for "enterainment", I'll take live talent, theatre, dance, concerts, jazz whatever instead of what the "movie experience" has become. Technological advancement and artistic necrosis.

[dirac]

I just got back from the new James Bond movie Quantum of Solace. I enjoyed it . . . but not nearly as much as its predecessor Casino Royale:

SPOILERS AHEAD (Stop reading now if you don't want to know!)

Quantum picks up almost exactly where Casino Royale left off w/ Bond continuing his pursuit of those who contributed to the death of his love Vesper Lynde in the first film. (The two films are almost like one four hour film split [Kill Bill-style] in two.) I watched Casino Royale last night as a refresher and I'm glad I did -- I don't think Quantum would have been very intelligible without the refresher course.

The bigger issue I had with Quantum is that I felt like it was chasing a trend and that trend is the Bourne franchise w/ Matt Damon. If you watch the opening rooftop chase in Quantum, you'll spot some remarkable resemblances to a similar chase scene in the last Bourne installment. I think the producers need to be more careful in this regard in the future. Bond and Bourne are very different creatures and it would be a pity if the older franchise dilutes itself by imitating the younger.

Don't have time to post much right now, but I saw it last weekend. It has a distinct 'sequel' feel but can stand on its own; however, I hope this isn't a trend. Basically it's a Bond picture that doesn't feel like a Bond picture (Casino Royale was in some respects a Bond film for people who don't like Bond, but it was still very much in the style) and not in a good way. Marc Forster will not, God willing, be back as director next time.

[Cygnet]

I saw it last week. I think it's an acceptable sequel to "Casino Royale." It ties up most of the loose ends of "CR," and

connects some dots. IMO "CR" is the superior film. You have to view "CR," before "QOS," otherwise you'll be lost. The special effects and the action sequences were a little OTT. For example, the "falling through the glass roof," "upside down trapeze act - get the gun in time to kill the thug," and the " 'drive' through the mountains" segments were a little too much to believe. How could 'Mr. White' or anyone survive impacts like that in a car trunk? Craig suffered serious injury during filming: I can see why. There were subtle nods to the Bourne trilogy such as the shattering glass, outrageous chase scenes and some fight sequences, but nothing too identical.

However, Bondophiles will notice major similarities with other Bond films. Imitation is the sincerest form of flattery. For example, the girl "Fields" is smothered in crude oil, just like the girl that was smothered in gold paint in "Goldfinger." Plus, both ladies are laid in the same position on the bed. In "Goldfinger" Odd Job probably killed the girl first, then shelacked her with gold paint. That's a plausible explanation of how she ended up in that condition. How did Greene's crew drown Fields in slippery crude oil and place her on the bed - all without leaving not a drop of oil anywhere? Obviously, they followed her after Bond and Kurylenko left the party. So are we to believe that they abducted her, tortured her to get the suite number, killed her, then doused her in crude at a refinery before Bond, "M" and MI6 arrive? How did they do all of this - and so quickly? They give the impression that all of this - including Giannini's death happened in under 30 mins. Plus the suite had no windows and only one entrance. What? Greene's crew carrying a (let's assume concealed) body dripping with crude, and MI6 just happened to miss each other in the elevator bank? None of this is plausible.

Here's something else that's unlikely: Fields trips Greene's henchman. He falls down a staircase, his toupee comes off - and he's apparently uninjured and still alive. This becomes the motivation to kill Fields, who said "please excuse me, I'm so sorry." I've heard of ruthless, but this is ridiculous. Greene's organization is supposed to be more subtle than this. They have no legitimate interest to draw that kind of heat or attention to themselves, so why does Greene bother with Fields in the first place? Greene didn't fall down the stairs; his henchman did. This minute subplot isn't justified nor fully developed in the script. "M" asked Bond, "Why her?!" I ask the screenwriters the same question. It would have made more sense for Greene to have had Korylenko drowned in crude oil, either that or Bond rescues her at the last minute. It would have been better if Bond would have gotten together with Korylenko - two "lost" spies. This follows the Bond film formula where two or more women split the love interest and efficient, femme-fatale spy duties. This film however lacked a female villain like Grace Jones' 'May Day,' Barbara Carrera's 'Fatima Blush,' or Lotte Lenya's 'Rosa Klebb.' Bondgirls' "names" would be the subject of a totally different thread. "Fields" becomes a minor footnote - the excuse for the obligatory love scene. Korylenko's "Camille" was a more fully drawn character; and her storyline was better developed. Her fight sequence with the General was better choreographed and most of all, more realistic than the poor imitation "Bourne sparring" that Craig did.

The plane/parachute segment is a nod to the final scenes in "The Living Daylights," "Octopussy," as well as the prologue from "Goldeneye." IMO there were two major plusses, the first being Dame Judy Dench. She single handedly saved this movie. It's always a pleasure to hear her speak. She's the female Olivier. The second is MI6's giant interactive intelligence tracking system. Such a system makes "Q" Branch and their gadgets obsolete. Q" and his toys are missing, but it works. The gadgets usually make the action even more unbelievable. What are the odds that the right situation would arise, at the precise moment to use the right gadgets in the correct setting - and they actually work? Astronomical. Daniel Silva's 'Gabriel Allon' novels are more realistic.The screenplay was dark like the short story; there were no jokes and minimal tongue in cheek in the script. "

I really loved the "Tosca" scenes, even if there were a bit of a rip-off of "The Godfather".

I agree. The "Tosca" segment (and its space age staging), was very interesting. But really, who holds a conference call meeting during an opera? Even Bond mentioned this absurdity in that segment. IRL there would be alot of 'shushing' going on, not to mention ushers shining flashlights in faces threatening eviction from the opera house. If this organization is supposedly "more clandestine" than the other intelligence agencies, it would make more sense to have a virtual meeting on a secure system in private. 'SPECTRE' did it 45 years ago in "From Russia With Love." Anyway, this scene could be the 21st century's inferior answer to the opera scene plot twists in "Godfather III" - sans the dramatic intensity.

IMO the biggest problem with this film is the non-theme by Alicia Keys. It's running neck-in-neck in The Battle For The

Worst Bond Themes Ever with Madonna's "Die Another Day," Sheryl Crow's "Tomorrow Never Dies," and A-ha's "Living Daylights." The soundtrack was throwaway and forgettable. Does anyone out there remember the tune or the title? I can't. It

was nothing like "You Only Live Twice," Garbage's "The World Is Not Enough," Gladys Knight's "License To Kill,"

Tom Jones' "Thunderball," Louis Armstrong's "We Have All The Time In the World," Bassey's trilogy "Goldfinger," "Diamonds Are Forever," or "Moonraker" (and that movie was bad), Sir Paul's "Live and Let Die," Carly Simon's "Nobody Does It Better," or Duran Duran's "A View To A Kill." What this film needed was a Bassey style ballad or something comparable, sung by Dame Shirley, or someone comparable.

[miliosr]

I wonder if Quantum of Solace would work better if it and Casino Royale were edited into one movie. I can't help but think of Kill Bill and its two parts. Kill Bill - Part One is like Quantum of Solace -- non-stop mayhem. And Kill Bill - Part Two is like Casino Royale -- some action but very heavy on mood and character development. Part One is visually exciting but it lacks a certain heft until it is paired with the more thoughtful Part Two. Maybe Quantum of Solace would benefit from being joined with Casino Royale as one movie? (I freely admit that the audience for a four hour Bond movie is likely non-existent.)

Agreed about the Jack White/Alicia Keys theme song. (The last theme song I liked was Garbage's The World Is Not Enough.)

[Helene]

I agree. The "Tosca" segment (and its space age staging), was very interesting. But really: Who holds a conference call meeting during an opera performance? There would be alot of 'shushing' going on, not to mention ushers shining flashlights

If only I've never seen an usher interfere with anyone during a performance in four decades, and I used to go to student performances at the Met (although I've been told it happens).

It was in Bregenz, so chances are there would have been shushing; in other parts of the world, an audience is polite if they don't make outgoing phone calls during the performance.

I think the dialogue was spread out, intermittent, and short enough to raise the hackles of neaby audience members, but stop before the "shush" phase. What wasn't credible is that no one around them glared at all. But that was the least of the improbable in this movie.

[papeetepatrick]

If only I've never seen an usher interfere with anyone during a performance in four decades, and I used to go to student performances at the Met (although I've been told it happens).

Yes, it does happen. I was a student usher at the Met one summer, and shushed some loud-talking people--several times, because they repeated this and never attempted to whisper. They reported me for it and said to me "Are you from the Bronx?" Management paid no attention to them, told me I was right. And we definitely had to reprimand the cigarette-lighter program-reader people. PLUS--certain of the more spoiled latecomers would throw huge tantrums if not allowed in after the performance began, which we never were allowed to do, at least during the operas (the ballets weren't quite as strict, as I recall.) One woman screamed "This is the rudest house IN THE WORLD!"

[4mrdncr]

This movie could have been as tense and as gut-wrenching as "Tinker, Tailor, Soldier, Spy" with a few doses of cars and car chases and things blowing up as a bow to the franchise. Instead, it was a crucible of for turning an interesting character into a cartoon. It had no place to breathe, and was as relentless as a Jorma Elo ballet.

That said, it has Daniel Craig in it, and I'd pay to see him in a lot worse. I really loved the "Tosca" scenes, even if there were a bit of a rip-off of "The Godfather". And the main villain, Dominick Greene, was played by Mathieu Amalric, who resembled a shorter version of former PNB dancer Christophe Maraval.

You'll NEVER get another "Tinker, Tailor, Soldier, Spy" again, because no one these days has a script as meticulously plotted as the novel it's based on, a cast as experienced and collaborative as the creme de la creme of British theatre used then, or a willingness to tell a story over 4-6hrs with only one car chase--(in the very first episode, the next time someone (Michael Jayston's character) drove too fast, Guinness' Smiley told him to slow down)--and no explosions at all. And yet, I was tensely alert throughout the entire series, listening to every word, and trying to analyse every inflection or nuanced expression. And to this day, the first frames are still the best nonverbal character(s) delineation I have ever seen; as the opening credits are for the plot. Geoffrey Burgon's score, like his one for "Brideshead Revisited" (1981 tv series), is also appropriate and gorgeous. They do not make them like this anymore. I was SO glad when it was finally available on dvd, I waited years.

Coppola used opera in his operatic OTT Godfather III, and others before him (Hitchcock I think) used symphony orchestra concerts, and even I think a ballet performance, as cover for "dastardly deeds" taking place in the theatre. Everyone borrows from everyone all the time. There is NO such thing as originality in Hollywood ever, they are too afraid of their audiences and the bottom line.

[papeetepatrick]

Coppola used opera in his operatic OTT Godfather III, and others before him (Hitchcock I think) used symphony orchestra concerts, and even I think a ballet performance, as cover for "dastardly deeds" taking place in the theatre.

Hitchcock in 'The Man Who Knew Too Much' and 'Torn Curtain', if not even more examples.

Everyone borrows from everyone all the time.

C'est normale.

There is NO such thing as originality in Hollywood ever, they are too afraid of their audiences and the bottom line.

That's extreme. I mean, Orson Welles alone--all the European directors think he's the greatest. And even Fritz Lang in Hollywood was too talented not to continue being original even though he was definitely willing to cooperate with the bottom-line when he thought he had to.

[dirac]

I wonder if Quantum of Solace would work better if it and Casino Royale were edited into one movie. I can't help but think of Kill Bill and its two parts. Kill Bill - Part One is like Quantum of Solace -- non-stop mayhem. And Kill Bill - Part Two is like Casino Royale -- some action but very heavy on mood and character development. Part One is visually exciting but it lacks a certain heft until it is paired with the more thoughtful Part Two. Maybe Quantum of Solace would benefit from being joined with Casino Royale as one movie? (I freely admit that the audience for a four hour Bond movie is likely non-existent.)

I don’t think a four hour Bond movie is practicable (or even desirable, honestly). I think Tarantino should have thrown the dice and sent Kill Bill out in four hours, although perhaps he wasn’t given any choice, I don’t quite remember.

cygnet, I have a soft spot for the incoherence of Moonraker. I think it falls into the So Bad It's Good category.

[4mrdncr]

Coppola used opera in his operatic OTT Godfather III, and others before him (Hitchcock I think) used symphony orchestra concerts, and even I think a ballet performance, as cover for "dastardly deeds" taking place in the theatre.

Hitchcock in 'The Man Who Knew Too Much' and 'Torn Curtain', if not even more examples.

Everyone borrows from everyone all the time.

C'est normale.

There is NO such thing as originality in Hollywood ever, they are too afraid of their audiences and the bottom line.

That's extreme. I mean, Orson Welles alone--all the European directors think he's the greatest. And even Fritz Lang in Hollywood was too talented not to continue being original even though he was definitely willing to cooperate with the bottom-line when he thought he had to.

Sorry, I was thinking of more modern times--say in the last 30 years or so. What innovation occurred IMHO (other than technical) was a re-do of previous genres, but to better effect because the directors/crew learned from the past instead of just trying to copy it.

[papeetepatrick]

Sorry, I was thinking of more modern times--say in the last 30 years or so. What innovation occurred IMHO (other than technical) was a re-do of previous genres, but to better effect because the directors/crew learned from the past instead of just trying to copy it.

In that case, I'm afraid I agree with you more than I wish, and in many ways. I think it is even why there is next to no glamour, nevermind the celeb business with the tabloids. There's no such thing as a movie star in the old sense. I think there was original work through about 1979, and that there might be again with the shift in all areas going on right now, but that may be wishful thinking. I've continued to watch things when they hit DVD, but there hasn't been a Hollywood movie I've paid for in theaters for 2 years, and I was annoyed I went to those anyway.

Edited to add: Of course, there have been many exceptions even so, and 'Milk' with Sean Penn does sound like something important. With 'A Christmas Tale' from France and 'Milk', we could have fewer still holiday films of substance.