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And now for the one that's going to get me in trouble with the 007 purists. A deeper look at the World is Not Enough (1999)
Hey folks! I'm planning on watching all 23 of the James Bond films between now and the release of Spectre in November. 007 films have always been my guilty pleasure and I thought it might be worth trying to have a more analytical discussion about them. If you all are interested, I'll be posting one of these discussions/reviews every 1-2 weeks. So here goes!
Preface Before I get into the meat of my review, I'd like to take a moment to deliver a little preface to this piece. While doing my research for the World is Not Enough, I was intrigued to see it rated as such a mediocre film on IMDb (6.4). Curious to get a second opinion, I checked Rotten Tomatoes. Similarly rated (51%). So I began a task that I'm rather excited about. When these reviews are all said and done, I will be posting a sort of debriefing post. In this post, I will be doing an analysis of the films and how they are ranked among different sources. I've found eleven current 007 film rankings including ones from Peter Travers, AMC, Moviefone, and many more. In all ten lists I found, WINE never ranked higher than 13. I've always known that the general 007 community views this film to be in the average-to-lower tier. This was my first time watching WINE since I was young so I went in fully expecting to have a pretty lousy (albeit entertaining) film on my hands. On the contrary. Before you scroll to the bottom to how I stacked it up amongst the other films, keep one thing in mind. I have strived to be fair to multiple facets of the filmmaking process when reviewing these films. Classics like Dr. No and From Russia With Love weren't spared from their technical deficiencies just because they were iconic or had a fun story. Although it's difficult to do so fairly, I also try to judge the films, not necessarily against themselves but against their contemporaries. So obviously the cinematography from GoldenEye will blow Goldfinger out of the water. But I hope to find a decent balance between two contexts (historical and within the series). So while I certainly wouldn't argue that in the context of James Bond lore, WINE is a superior film to, say, From Russia WIth Love, it's imperative to remember that my rankings consist of more than just what makes a good Bond film. It's about what makes a good film, period. With that in mind, let's discuss the World is Not Enough. Story To start things off, the cold open of WINE is fantastic. While it doesn't pack in every Bond trope like GoldenEye did, it still covers a lot of ground. You've got a handful of gadgets including the exploding gun and hidden glasses detonator. The opening scene in the banker's office has plenty of tense dialogue and silly double entendres. It provides an extended look at the inner workings of MI6 and a more personal look at M and her relationship to the plot. The entire sequence is directed with a high level of energy and technical proficiency and it concludes with one of the most entertaining and action-packed boat chases that the franchise has to offer. In general, the script employs several devices that are either new or are using in refreshing ways. For one, it's nice to have a film in which Bond is injured from the get-go and that injury is used throughout the film as a constant reminder that this man is no Superman. Even his typically flawless actions are turned against him at times. One of my favorite moments of the film is when 007 evades a group of oncoming snowmobile paratroopers. He tricks one into flying straight off a mountain bluff and we get the signature Bond smirk as the faceless villain plummets to oblivion… until he activates a backup parachute and begins to turn around and head straight back for Bond. At this point we cut back to Brosnan who delivers a frown with genuine disappointment (and puzzlement?) at his failure. Writers Neal Purvis and Robert Wade (who have penned every Bond film since WINE) continually hold Bond accountable as a real human being. Each situation individually judges how Bond will act or react. He isn't consistently cocksure throughout every scene. Another notable sequence is when Bond, who has allowed himself to get caught up in assuming the identity of a Russian scientist, suddenly and very much unexpectedly finds himself face to face with the villain mastermind of the film. 007 acts very much like a real human would in such a situation. He is caught off guard and knows he must act, despite there being literally no plan, reinforcements, or safety net in place. And Brosnan shows it. His actions are deliberate, though you can see the agitation and fear in his eyes. Part of what sets Pruvis and Wade's screenplay apart from the previous films is their expertise in setting up a twisting and turning narrative. The previous film, Tomorrow Never Dies was particularly guilty of having a plot that consisted of a linear pattern of an obstacle, followed by Bond overcoming it, followed by another obstacle, followed again by Bond overcoming it… and so on. WINE feels much different from that. The characters craftily cross, double-cross, and outwit one another constantly. Bond isn't just skilled at shooting things, he's savvy. He goes undercover (my favorite trick in the espionage bag), fakes his death, and turns villains upon one another. WINE shares villain duties between Renard and Elektra King. Renard is fascinating as he plays more of a role than the henchman, but isn't quite the primary villain. In the context of the villains, he is a welcome change. He is no megalomaniac, he isn't out to purge the world of people he deems unfit to survive, and he isn't just some petty drug lord. He is a man with nothing to lose. The bullet-in-the-head gag is a little campy but it makes for some fascinating character motivation. King is similarly a refreshing take on a reprised role. The female-owner-of-a-deceased-family-member's-company schtick isn't new. It was used with Stacey Sutton (geologist taking over for an oil tycoon) in A View to a Kill. There have also been countless smaller female characters that we are to believe are highly qualified scientists, secret agents, and so on -- including WINE's own Dr. Christmas Jones who we'll get to momentarily. Every one of these characters feels exactly like what they are: a sexy pinup model playing a scientist in the world's biggest budget but ultimately most unsatisfying porno. You can't help but roll your eyes when former Playboy model Gloria Hendry cries and whines about not being a proper CIA agent. Sophie Marceau, who plays King, is an entirely different matter. When her character demands satisfaction for the merciless murder of her father, Marceau has the aplomb to pull it off. But it's not all perfect. Marceau still falls flat at times. Her tender moments still feel as forced as many of the actresses of films past. Her rapport with Brosnan is so-so at best. At least it's not as bad as… well everything involving Denise Richards and Dr. Christmas Jones. I don't know any of Richards' other work so I can't properly judge her as an actress but the writers did her no favors when it came to the stupid dialogue and the fact that even 30 years after Pussy Galore, a lesbian will still throw 25+ years of sexuality to the wind as soon as Agent James Bond comes along. Make no mistake, this disaster of a character was a complete group effort. The costume department didn't do her any favors either when they dressed her up like the spitting image of Lara Croft, Tomb Raider. Sadly most people think primarily of Dr. Jones when they reflect negatively on this 19th installment of the 007 franchise. There is of course plenty of camp to be found elsewhere (helicopters with enormous buzz saws, flying snowmobiles, and weak 2nd- and 3rd-Act dialogue) but ultimately I feel that this film receives a bit more criticism than it deserves. Look and Sound All aspects of the technical side of WINE are on par with the previous two Brosnan entries (GoldenEye, Tomorrow Never Dies). I found the camerawork to be especially exciting during the action sequences and the lighting doesn’t disappoint. Once again I am totally in love with the set design. I am particularly fond of David Arnold’s score. It frequently reprised classic Bond themes during action sequences to heighten the excitement. In a way it almost allows most of the campier elements of the film (the boat “driving” up London alleys, for instance) to be accepted as part of “classic 007” tradition. A recurring pitfall of WINE was the uber-‘90s sound design. The film had a nasty habit of using generic tech-y sounds every time a computer or monitor was used. A minor gripe, sure, but it really got silly after a while. Callbacks, Recurrences, and Tropes WINE covers some pretty traditional Bond tropes. There are, of course, the title song, wild title sequence, and gun barrel sequence. There is a great ski chase (which I believe brings us to six), a card game (number 11, though really Bond didn’t play cards in Diamonds are Forever, I still count his casino trip), and a peculiar henchman. The gold-toothed Mr. Bouillon doesn’t have a significant or particularly memorable role, but it’s good to know that such henchmen are still around. We also get the 11th instance of “shaken, not stirred,” (fifth uttered by Bond himself) and the 14th instance of “Bond, James Bond.” The returning cast includes Judy Dench returning as M, Samantha Bond returning as Moneypenny, a rare reappearance (just the fourth) of Chief of Staff Bill Tanner, and the second of Robbie Coltrane as Valentin Dmitrovich Zukovsky. The most notable recurrence is Desmond Llewelyn in his final performance as the perpetually exasperated, always quick witted, gadget guru, Q. Llewelyn decided to retire after 17 appearances in the Bond franchise, spanning 36 years. In a horrible twist of fate, he died in a car accident mere weeks after the release of the film. His involvement in the James Bond franchise is one that can never be overshadowed. The only person who was in even remotely as many Bond films was the original Moneypenny, Lois Maxwell. Maxwell had started only one movie prior to Llewelyn but had retired 14 years prior to him. The fact that in 1999, we watched as the ever-bemused Q chided Pierce Brosnan’s James Bond is astounding to me. This is the very same silver haired, tweed jacketed Q who once amusingly lectured a young Sean Connery on the proper usage of an ejector seat button in 1964. If you ask the average film goer to name a few key aspects to a James Bond film, it’s likely that the term “gadgets” will be in nearly every list. The gadget briefing scenes were a standard for any 007 film worth its weight and Q was there nearly every step of the way. It is profoundly endearing to hear Llewelyn utter Q’s catchphrase, “now pay attention, 007,” to James Bond one final time. And one can’t help but smile as he sagaciously gives a few last pieces of advice before departing (both the scene and the franchise), with a smirking Agent 007 watching him go. Overall Impression All in all, I am baffled as to why this film receives as much criticism as it does. Certainly it has issues. Dr. Jones is an entirely worthless character, belonging with the Mary Goodnights and Tiffany Cases the of the world. There are moments of silliness, but nothing more audacious than anything found in the ‘80s. People claim that the script is convoluted or boring. I say that it is a vast, vast improvement over its predecessor, Tomorrow Never Dies — and again, just about anything we’ve seen for a few decades (with some exceptions). All in all, I rather enjoyed the film and look forward to seeing if any other WINE fans would like to emerge from the closet in agreement or if I am just entirely off my rocker. To the comments section! Quick Hits
Category
Score
Note
Writing
8
Complex, twisting, turning, engaging. Dialogue weakens considerably in Acts 2 and 3.
Directing
8
Snappy camera movement compliments the action well.
Acting
7
Brosnan is at his best, Marceau is more good than bad, but this category suffers greatly from Richards’ performance.
Cinematography
8.5
Nothing groundbreaking for the time, but a thoroughly solid showing nonetheless.
Bonus Category! So for each movie my wife and I will be enjoying a spirit or cocktail that relates to the film. I know we've now done a few of these in a row, but they're just so darn easy, iconic, and tasty. Martini -- shaken, not stirred. • 4 measures vodka • 1 measure dry vermouth • Lemon (garnish) Combine vodka and vermouth in a shaker. Shake over ice. Garnish with lemon, if desired.
So what do you folks think? How does the World is Not Enough fare in your opinion?
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