Cinema: Quantum of Solace

Right, so the time has come for a bit of an embarrassing confession: I enjoy the Bond movies.

*sighs*

Yes, it's true. The humble and ram-shamble author of the modern feminist partakes in liberal doses of ridiculous testosterone, minimal plot, fast cars and faster women, chiseled men and stilted dialogue. From my youth, I can remember the seemingly endless marathons on cable television of View to a Kill, Octopussy, Goldfinger and Thunderball. Oh, yes. Roger Moore was my mother's favorite, until she remembered Timothy Dalton (like anyone else remembers him, let's be honest). Sean Connery seemed like the essence of everything suave and cool in the universe to me at the age of 8 (just for reference, Cary Grant was the essence of everything romantic and wonderful in the universe-- catch me on the right night and this might still be true). Dad liked the cars and the gadgets and the guns (at least, I think he did-- it's not like he spoke from his recliner in the living room, so who knows) and my brother and I would run around the yard later pretending to be assassins. Good, wholesome fun.

Now, with this out of the way, let's talk about the latest installment: Quantum of Solace. I'll confess to have been hesitant about Craig at first, just like everyone else. A blonde Bond? I wasn't sure. Casino Royale counted as a good movie in my book, but a good Bond film? There were moments of genuine tenderness, and I wasn't sure how this was going to wear in a tradition with such touchstones as Diamonds Are Forever. Still, as time trudged on, I like it more and more. And who would have guessed, slightly bloodied and sardonic men are wildly sexy regardless of follicle pigment.

A while before going to see the film, I was exposed to the theme. Now, being a good Michigander, I have great affection for the White Stripes and Jack White, but I just wasn't sure. In fact, I fairly hated it the first time I heard it. However, I listened to it again, and then I found myself wanting to listen to it yet again. Long story short, it grew on me in an astoundingly short time, and now I quite fancy it. Something about "a man on your side/ a person that you trust/ is just/ another way to die" that really appeals to me. And it's got a great beat to pump into your ears as you stride down the street. Try it, I dare you. You'll feel like a badass, I promise.

So, I went to see the film, and I'll tell you, it was worth it. Technically, it's a lovely film to watch, the production values are astronomically high. It's beautiful. And all the different locations sure as hell doesn't hurt. The scoring is fantastic. I'll go out on a limb and say it's the best score yet (specifically for this beautiful little bit they do with Tosca-- don't want to spoil it for you it you haven't yet seen it, but it's fantastically done). My tender ears make me hypersensitive to movie scores (not that you have to be, the levels they play the movies at nowadays will rattle your fillings) and this one is particularly effective. Subtle, that's not what one usually associates with Bond, but in the score, it scores.

As far as all this criticism over a loose and rolling plot, the stretches without dialogue, the departures from the original short story-- shove off. I mean, really, what did you expect? It's a Bond film. Seriously-- You Only Live Twice. 'Nuff said. What one should look for are girls (this one has two), gadgets (a bit thin on Bond, but check out the office and M's comm skills, that's madly interactive) and chase scenes. This one converts in all three mediums of chase-- car, boat and plane. Check, please.

Daniel Craig is lightly bleeding within the first minute of the movie. That's what I'm talking about.

Some of my friends in real time have said that it feels like the middle movie in a trilogy. Fair enough. I personally just think it did a fine job of tying up loose Vespa ends. Well done.

And really, this is all that I wanted:

Thank you, Mr. Bond. Shall we do this again in a few years? Oh, yes, please!