The image above is from the movie Skyfall and it is damn lovely. Skyfall in general is a damn fine film. It is my second favorite James Bond film, and while featuring a nigh-nonsensical plot, it also happens to have one of the best Bond villains, an excellent look into the emotional core of Bond himself, and some of the best action scenes of any film, period. But I want to focus on that damn lovely shot — or should I say shots, because Skyfall is filled with fantastic compositions and exquisite lighting. It is no surprise that Skyfall cinematographer Roger Deakins landed himself an Oscar nomination for the film. Continue reading
Hi all, this is J. We’re going to be doing something a little unusual with a few posts over the coming days that dig into a series of films that are decidedly not on the Sight & Sound 250 Greatest Films of All Time list: the canon of James Bond. Although perhaps I shouldn’t have said “we” — this one is all me, because if Daniel Craig ain’t in it, S. ain’t watching it.
I’m guessing it was around 1990, although I can’t be certain on this. It would have not been long after we got cable television for the first time, and I was plunked in front of a television with a screen little bigger than that of the laptop upon which I am typing. Bouncing from channel to channel I landed upon a bizarre scene of two men stalking each other through a psychedelic funhouse while a little person sprung traps and pranks to liven an already deadly game. It was the opening scene to The Man with the Golden Gun, and 11-year-old me was in. Continue reading
The devastation of Poland, Nazis, gross censorship, Nazis, infidelity, Nazis, espionage, Nazis, dead body disposal, and some more Nazis. Certainly doesn’t sound like much of a hoot, but director Ernst Lubitsch knew better. Radio comedy king Jack Benny and screwball comedy veteran Carole Lombard star as a Joseph and Maria Tura, a husband and wife team of actors in a Polish theater troupe. Due to the Nazi blitzkrieg and Maria’s dalliance with a young bomber pilot, the pair become caught up in a life or death ruse to silence a German spy and protect the Polish underground from the Gestapo. That all sounds like the plot of a super serious spy thriller, and that’s kind of the point, as To Be or Not To Be uses the look, beats, and fake facial hair of a wartime spy flick but turns everything on its head into a dark but supremely silly farce. The film was something of a bomb when it opened in 1942; apparently American audiences weren’t quite ready to laugh at the conflict they had just decided to finally join. But the movie has endured, most likely because, like Chaplin before him and Mel Brooks after him, the German-born Lubitsch knew that humor and satire are particularly powerful weapons in undermining the allure of Hitler and his minions. Countless movies since World War II have shown that the Nazis are among the most reliable cinematic villains; To Be or Not To Be demonstrates with aplomb that they can also be some of the best straight men in a comedic blitz. (99 min.) Continue reading