That Same Old Dream: Dr. No (1962 – James Bond #1)

Over the course of 2019 and into 2020, in the run up to the 25th James Bond movie, I am going to be deep diving into every Bond film in depth, revisiting one of my favourite franchises.

We start at the beginning with 1962’s Dr. No…

It struck me watching Dr. No just how much the most recent James Bond film to date, Spectre, called back to the very first cinematic outing for 007.

In Spectre, Bond pursues an urbane, calm and collected super-villain who wears Nehru jackets, like in Dr. No. Said villain in Spectre only truly reveals himself fully in the third act, while charming Bond and his female companion with a luxury suite and fine clothing, like in Dr. No. Given the villain in question is Ernst Stavro Blofeld, arguably the most iconic bad guy in the Bond lexicon, it is easy to suggest Spectre is first and foremost inspired by Donald Pleasance in You Only Live Twice, but Christoph Waltz’ modern take on 007’s arch enemy has far more in common with Joseph Wiseman’s Doctor No, certainly when it comes to performance and style. Dr. No may not be a film which perfectly nails the historic James Bond movie formula but there is not one of the twenty-four films that follow it across half a century that do not owe a debt to this somewhat quieter beginning.

It is easy to dismiss Dr. No as a stepping stone to the embarrassment of riches to come in From Russia With Love or Goldfinger, but that is to lend a disservice to a picture steadily growing finer with age. A picture that puts in place a range of Bond movie aspects that without question made the franchise a global, beloved success.

Read more…

Alias – ‘Page 47’ (1×15)

Page 47, unexpectedly, turns out to be the first Will Tippin-centric episode of Alias.

As the show moves into the second half of the first season, JJ Abrams and his team of writers (including this episodes’ co-writer Jeff Pinkner) are working hard to try and draw together and assemble the disparate threads coursing across Season 1 in the wake of the game-changing The Box two-parter, which amped up the threat to Sydney Bristow’s life and career while dealing with the series’ biggest revelation to date. The Coup served as an epilogue concerned with the knock-on effects and consequences of those episodes while equally working to tie off loose ends dangling across the first thirteen episodes. Page 47, in some sense, does the same.

Looking back at Season 1, it really does quite acutely feel like pre-The Box and post-The Box in how the writing staff approach their storytelling. Not that serviceable episodes such as Page 47 are vastly different but they feel more unified in terms of where the primary storylines are headed. Before The Box, Alias worked consistently to figure out what kinds of stories it wanted to tell, having Syd face a litany of rent-a-baddies on a consistent basis. The missions felt more throwaway, the Rambaldi mythology more separate, and characters such as Anna Espinosa less defined. After The Box, something changes. Everything feels more in line with a plan and a direction.

Read more…

Mission Impossible II (2000)

Mission Impossible II is a film that remains eternally fascinating to me, particularly as the demonstrable nadir of, otherwise, one of cinema’s most consistently entertaining blockbuster franchises.

The better entries of the Tom Cruise-led modern adaptation of Bruce Geller’s iconic 1960’s espionage TV series are easier to write about, in many respects. You have the Euro-centric, Hitchcockian suspense and classic retro thrills of Brian De Palma’s first 1996 take on the material, and once JJ Abrams and Bad Robot get their hands on the property from 2006’s Mission Impossible III onwards, the franchise becomes a much slicker fusion of all-American spy thrills, combining modern technology, action spectacle and ‘spy-fi’ theatrics. Abrams’ III is an adaptation of his TV series Alias in all but name. John Woo’s II is the clear, harder to define aberration.

In a way, it also remains the most interesting.

Read more…

Christopher Nolan, Dunkirk and his Cinematic Ideology

Across the last week, since the release of his latest movie Dunkirk, much has been written about Christopher Nolan, as always happens whenever he puts a picture out. Nolan may be the most divisive mainstream, heavyweight filmmaker working in cinema today. Some believe he’s a genius. Some believe he’s Stanley Kubrick reborn. Some even believe he’s a rampant Conservative and his films are nothing more than ‘Tory Porn’.

You would do well, incidentally, to read the writing of my friend and super-talented pop culture writer Darren Mooney on Nolan recently, as its insightful, filled with wisdom and there’s every chance he’s not done on the subject yet, simply because the gaggle of voices weighing in on Nolan once again has reached fever pitch. Is Dunkirk a masterpiece? Or is it yet another piece of super-overrated cinema from a filmmaker who can’t see past his own delusions of grandeur? For me, it’s the former, but this is coming from someone who has always considered Nolan to be, if not the greatest living cinematic auteur, then at least among the top five.

What interests me is the accusation he is a Conservative filmmaker when a titanic weight of evidence suggests quite the opposite. Do read the above linked article with the accusation, much as partly I’m loathe to link to it – despite having been written by someone very pleased with their prose, someone with visible disdain for modern film criticism and a level of bitterness toward politics in general, it nonetheless outlines an argument with a level of brevity. Frankly it’s not a piece worth dwelling on and picking apart because some of the arguments are lunacy, but what it does is raise an interesting question: just where does Nolan, and his films, stand on the political spectrum?

Read more…