back into the Dark Ages by firing off an EMP feels like an afterthought when compared to a blood feud he wants to settle going back to atrocities committed against his family by Britain at the outset of the Cold War. The fact that he hijacks a Russian nuclear satellite to send the U.K. His goals reach beyond the machinations of your stock Bond villain bent on world or territorial domination or consumption- when it comes down to it, all Trevelyan really cares about is getting his pound of flesh from Bond and England. What makes Goldeneye really stand out though is the motivations of its villain and double agent Alec Trevelyan. He’s saved by his love interest, Vesper Lynd, quickly enough still, Casino Royale pushes Bond to his breaking point often, raising the stakes each time. How can he revive himself with only seconds to spare after he’s given a drink laced with poison? Through the system installed in his brand-new car, of course! …Except the wires aren’t hooked up correctly, so down goes Bond. With that knowledge always present, any tension is a welcome breath of fresh air, because how can you create suspense surrounding a character who will make it through any situation he’s presented with? Campbell, Purvis, Wade, and Haggis get it right because it’s not about if Bond will make it out alive, it’s how. Hell, in the ads for Skyfall, we see 007 being shot and apparently killed, but no one among us actually thinks he’s dead for good.
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The way Campbell and screenwriters Neal Purvis and Robert Wade (who have been around the series since GoldenEye, surprisingly) & Paul Haggis build tension is exemplary for a simple reason: we all know James Bond is going to survive. I suppose one of the best aspects of Casino Royaleis how it toes the line between reality and overwrought silliness, maintaining that balance throughout. No, Skyfallwas unleashed unto the world, a film that simultaneously pays tribute to the franchise, the character of Bond, creates a bold, original story and helps remind audiences that there is always a place for 007 at the theater. 50 years after the release of the first official film, Dr. James Bond is always recognizable, and yet he can adapt if need be. Even within the films themselves, the plots have almost always reflected new geopolitical paradigms, as well as cultural morays and trends in pop culture. Whether the reasons for concern were changes in the actor playing the part, the loss of a producer, turbulent waters for the studio’s finances, changes in screenwriters, or the lack of anymore Ian Fleming material upon which new adventures can be penned, the series has always quickly learned to get back on its feet to thrill and amuse audiences the world over. Time and time again the legendary James Bond film franchise has learned to adapt and survive.
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These elements and contributors all push the movie closer to the recognizable “Bond formula”, more so than its predecessor, Dr. John Barry supplies the fine score by utilizing Monte Norman’s theme, and Sean Connery stars in his second of six 007 films.
Screenwriters Richard Maibaum and Johanna Harwood return, as do director and editor Terence Young and Peter Hunt. SPECTRE’s Persian-stroking nemesis/mastermind Ernest Blofeld makes his first appearance and so does Desmond Llewelyn’s gadget-friendly Q (starting a run that continued until his death in 1999). Although it is the second in the series, and although it feels like no Bond film that followed, it is the film that solidifies all the Bond elements into a formula – a template that carries on, even today. Skyfall is the closest to be considered, at best – almost equal to what was achieved in ’64 – but From Russia With Love is still unparalleled. 50 years later, and with twenty-three “official” entries, From Russia With Love represents the very best of the Bond franchise.
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