GoldenEye

                                                               

"Bond, only Bond"  Alec Trevelyan in GoldenEye

GoldenEye, released in 1995, is pivot point Bond film.  GoldenEye, along with The Spy Who Loved Me (1977), and perhaps Diamonds are Forever (1971) came out after a divisive predecessor. As a result these follow-ups have had to bring in a general audience as the series might be in trouble if two films in a row underperform. 

Now as a refresher, I am very fond of Licence to Kill (1989) but the majority of audiences did not like both the dark storyline and Timothy Dalton’s intense approach.  If the series was going to continue a reset would need to take place.

A lawsuit at MGM delayed production for several years and the new film was not announced until 1993.  In April 1994 Timothy Dalton announced that he would not play Bond again.  I was disappointed as he had been my favorite Bond but I also knew that a new actor would probably be a safer choice.  Several candidates were discussed in the media.  My preference was Ralph Fiennes, who I had just seen in Schlinder’s List who I thought would be believable as an assassin.  

In June 1994 Pierce Brosnan was announced as the new Bond which I felt was a wise choice.  The public had long favored him and there was also a feeling of cosmic justice since he had been cast several years earlier for The Living Daylights but he had not been in it due to a contract problem with NBC.

 

GoldenEye was revealed as the title, taken from the name of the house in Jamaica where Ian Fleming wrote the Bond books.  The press questioned whether Bond, who was originally as a very sexist British agent fighting the Cold War, would still be relevant in the 1990s.  I did not think that would be a problem as the rivalry between the East and West had never been more than a small part of the plots.  Although Bond was traditionally a sexist character this facet had been downplayed in the recent films.  When it was revealed that the plot of GoldenEye would send Bond to post-Cold War Russia I thought it was shrewd of the producers face the new world head on. 

As always, I discuss spoilers.  During the Cold War Bond and Alec Trevelyan (006) are on a mission to destroy a Russian chemical plant.  The mission is successful but Trevelyan is supposedly killed by General Ourumov.  Nine years later Trevelyan, having faked his death, resurfaces and steals the Goldeneye, which is two satellites with an Electromagnetic Pulse which could wipe out any computer or electronic in an area which it attacks.  Trevelyan has teamed with Ourumov and Xenia Onatopp.  Trevelyan’s parents had been betrayed by the British government after World War II and he wants to use the Goldeneye on London to get revenge.  Bond is sent to post-Cold War Russia to investigate the theft and teams up with a Russian computer programmer named Natalya to stop him.  Bond faces off with Trevelyan at his satellite dish in Cuba.

Barbara Broccoli and Michael G. Wilson, daughter and stepson of original producer Cubby Broccoli (of Eon productions), took over the main producing duties for GoldenEye and Cubby, now nearing the end of his life, had a backseat role.  Each had gradually assumed more responsibility over the years and Wilson co-wrote the five Eon Bond films of the 80s. Barbara Broccoli’s presence has added a much needed women’s voice to this male dominated series.  

Though he is not my first choice, Pierce Brosnan is well cast.  Admittedly Brosnan projected more confidence in his subsequent films but the groundwork for his intelligent and nimble Bond was built here.  In the Mi6 scenes Brosnan looks right at home and he is strong in the dramatic scenes.  He was 41 during filming which is a much better age than he would have been in The Living Daylights.  Brosnan’s Bond does not seem dangerous but he is quite capable and will not hesitate to kill in battle.  Brosnan runs fast and often turns lightning quick which works well with the fast editing in the action scenes.  He is elegant, extremely well dressed much of the time and charming in the romantic scenes.  Interestingly his hair is longer in this film than the others. 

The cast includes Judi Dench as the female M, Sean Bean as Trevelyan, Gottfied John as Ourumov, Izabella Scorupco as Natalya Simonova, Famke Jenssen as Xenia Onatopp, Samantha Bond as Moneypenny, Alan Cumming as Boris, Jon Don Baker as Jack Wade, Robbie Coltrane as Valentin Zukofsky and Desmond Llewellyn as Q (for the 15^th time).

Martin Campbell, who later directed the two Zorro movies and Casino Royale, helmed the film.  Campbell, cinematographer Phil Meheux and editor Terry Rawlings, all new to the series, create an exquisitely filmed entry.  The pace is quick because the shots often feed into each other across scenes.  For example a plane crossing right to left in the Severnaya sequence as the scene closes cuts to a bus driving right to left across the street in London creating a fluid experience.  Scenes are often punctuated by something dropping on the floor.  This approach gives room for the dramatic scenes to play out at a normal speed.  The tone is lighter than that of Licence to Kill.  Although many more people die in GoldenEye, the deaths show much less blood and suffering.

Series veteran Peter Lamont returned as the production designer.  I like the updated version of M’s office (the browns are lighter and the furniture is more modern) and the park with the broken statues.    

Eric Serra’s composed the controversial heavily electronic score.  Serra was recruited on the strength of his score for The Professional, but that film is a dramatic thriller with just a couple of big set pieces.  The Professional has many cues which seem to come from the heart of Leon, the main character.  Bond films have more scope and audiences expect a more orchestral sound.  Serra’s music detracts from the action in a few of the sequences but less than I remembered.  I think it is most egregious in the pre-title sequence when Bond is in a gunfight with the soldiers on the runway.   This scene is carefully constructed with several specific beats (Bond comes off the belt, shoots several soldiers, spots the plane and runs after it, etc.) and the soft repetitive percussive beat feels out of place.   The scene needs something more orchestral and faster to give it the energy the action is calling for. 

The teaser trailer is superbly edited with a modern version of the Bond theme.  The electric guitar in particular made a classic theme sound cool which surely helped attract teenagers.

I attended the world premiere of the film at Radio City Music Hall on November 13, 1995.  As a film and a Bond fan this was an incredible experience.  Before the film began the orchestra was playing instrumental versions of the Bond theme songs. Desmond Llewellyn kicked off the proceedings by coming up on stage and saying “All right, now pay attention”.  He then introduced Pierce Brosnan who subsequently introduced the two leading ladies, Sean Bean, and Martin Campbell, who nervously joked that he hoped there was enough audience left to buy tickets.  The screen was enormous and if there was one drawback to the experience it would be that it was a little tricky to connect with the characters on screen after seeing the actors out of character right beforehand.

Below are some observations of the film itself:

The gunbarrel is shiny and Brosnan’s turn and shoot is spot on.  The gunbarrel music is a slight disappointment which dampens some of the enthusiasm.  The closing circle of the plane flying toward the dam (with a shadow included) is a magnificently framed establishing shot.  The bungee jump off the dam (filmed in Switzerland) is wisely unscored so we can hear the wind.  On the screen at Radio City Music Hall the effect was mesmerizing.  It feels like a companion to the jump in The Spy Who Loved Me.

The first close up Bond in both GoldenEye and Tomorrow Never Dies is of him punching someone out.

Trevelyan coming out of the shadows is a little foreshadowing.  What is his plan?  Ourumov only pretends to shoot him so this must have been worked out beforehand.  However did Trevelyan shoot the other soldiers and scientists beforehand or was that faked too?  Was the plan to capture Bond?  If so, they should have explained.  If it was to kill Bond then why do the fake shooting? They clearly did not anticipate that Bond would change the timers.

Bond crossing to the conveyor belt behind the canisters is wily.  The backscreen projection as Bond catches up with the plane is obvious.  If it had not been shot from so close the filmmakers might have gotten away with it. 

When the base blows up all the soldiers who were just outside are gone.

Daniel Kleinman’s fantastic titles show the fall of communism which occurs between the pre-title sequence and the main body of the film.  The two headed girl with the cigar foreshadows both Janus and Xenia, who smokes thin cigars.  Tina Turner’s song is a little similar to Goldfinger in tone, and includes a touch of the Bond bass line.  When she sings GoldenEye a few times an actual golden eye appears.  Originally Ace of Base sang a version but for some reason it was not used.  I prefer Turner’s.

Bond seems to be driving fast in the mountains to entertain himself, but why is he near Monte Carlo?  The female evaluator is an audience surrogate but it is a little disconcerting to have Bond openly flirt with Xenia and then seduce the evaluator immediately afterwards.  The music is appalling.

Bond fits in perfectly at the elegant Monte Carlo casino.  Meheux and Campbell frame a terrific shot as he sits down at the table into camera.   Bond’s game of baccarat with Xenia and delivery of the Bond, James Bond line recalls his introduction in the first Bond film, Dr No.

Xenia’s scene with the Admiral is pretty risqué.  Jenssen clearly has a ball as this extreme femme fatale.  The actor who plays the Admiral, Billy J. Mitchell, was in the rival Bond film Never Say Never Again.

Bond’s disarming of the attacker on the yacht with the towel is quick, ruthless and ends with a fine visual quip.  Brosnan’s expression smoothly changes from a combative hard look to a humorous expression toweling off.  When Farrell’s body falls out of the closet the grin on his face is different as he falls than in the close-up on the floor.

Severnaya feels like a real office and we get to know Natalya and Boris.  Derrick Meddings’ model work when the Goldeneye (not a very Russian name) is used fooled me. Izabella Scorupco shows Natalia as frightened but never hysterical.

Moneypenny is reintroduced as more plucky character in one largely unbroken shot with Bond as she rebuffs his flirty remarks.    

Bond’s scenes with M establish the new dynamic.  I was unfamiliar with Dame Judi Dench but liked the idea of Bond working for a woman.  M is new on the job but well qualified.  She wants to keep Bond in his place but sensibly respects his talents.  Bond observes the chain of command but perhaps feels she is unworthy.  M has many biting remarks but her line about the sexist, misogynist dinosaur is the filmmakers’ challenge to themselves to prove the series is neither.  

These versions of M and Moneypenny are two strong women who are constants in Bond’s life. 

The opening shot of the lab scene is a Steadicam that leads to Q’s entrance in a wheelchair.  It is great to see Llewelyn even though he is clearly reading cue cards.  The line “The writing’s on the wall” is an unexpected foreshadowing to the song from Spectre, 20 years later.

Bond arrives in St. Petersberg accompanied by a nice piano cue.  Joe Don Baker is far better cast here as CIA liaison Jack Wade than he was as a villain in The Living Daylights.  Wade’s colorful clothes and outgoing personality are humorous but also cover up that he knows the lay of the land.  The Muffy joke is a little forced.  Wade is a clear substitute Felix Leiter, who the producers probably did not want to use as they would have had to make one of two decisions if they did use him.  1) They would either have to show Felix without a lower left leg which would remind audiences of Licence to Kill, which was a controversial film, or 2) ignore the events of Licence and have Felix walking normally which would anger other fans.  It was likely easier to just use another character.

The relationship between Bond and Zukofsky represents the adjustment of the series to a post-Cold War world.  Robbie Coltrane has the right mix of menace and humor.

The steam room scene between Bond and Xenia is about as sexy as you can get in a PG-13 film.

Some of the staging is contrived, such as Bond slowly reaching to pick up his gun so Xenia has time to get up and kick him.  The following scene punctuates this in which Xenia is looking unsatisfied, while Bond is smiling glibly, is fun. 

The broken statues in the park where Bond and Trevelyan meet not only represent the former USSR but also their friendship.  Serra’s mournful piano score underscores the melancholy.  Trevelyan’s contained anger and Bond’s feelings of betrayal are played at just the right note.

The helicopter is a cool mousetrap, the likes of which are rare in the series nowadays.  The escape (and bird’s eye framing) are lifted out of Die Hard 2 from a few years before. 

Natalya is my favorite leading lady of the Brosnan Bonds.  She is intelligent, capable and warm but also resilient and does not take any nonsense.

Bond’s escape from the interrogation room is solidly improvised.  Campbell stages an exciting rush through the facility is excitingly shot though it seems Bond is gunning down innocent soldiers who are only doing their jobs.   The score is better in this sequence.

The music changes from Eric Serra’s score to a last minute John Altman orchestration around the time Natalya is re-captured which runs through the entertaining tank chase.  Originally Serra wrote a faced paced electronic song which is on the soundtrack.  Altman’s piece is a little simplistic but has the much needed brass sound.

Trevelyan’s menacing train fits him more than the facility at the end since he seems more sleek than a supervillain with a big lair and dozens of minions.

“He’s going to derail us” is one of the funniest moments in the film.

The contrast between drab St. Petersberg to the Caribbean is striking.  Natalya’s enthusiasm for the Caribbean seems authentic.  The staging of the plane landing in front of the car is one of those touches that make Bond films special.

Wade says they are 90 miles from Cuba which would hint that they are in Key West but it looks like somewhere else (I believe that all the Caribbean scenes were filmed in Puerto Rico).

The scene on the beach between Bond and Natalya is lit beautifully and sets up a more introspective look at the characters that has been followed since.  Natalya calls out Bond’s coldness and seems to want him to avoid violence like Madeline Swan in Spectre.  Bond allows only that it keeps him alive and Natalya points out the cost to him.  Dramatically it would have worked better if the first kiss between them took place here.

In the scene where they are in bed Bond looks a little sad, perhaps knowing that it will not last.  There seems to be genuine affection between them. 

The plane crash is scary and a string cue plays as Bond wakes up disoriented.  Xenia has a fabulous entrance in her final scene.  Xenia is determined to finish him off here (and get her orgasm which she was denied earlier). Bond thinks quick to get out of the jam when Natalya distracts her. 

When Bond and Natalya are shot at across the base of the dish the bullet sounds like from one of the 60s Bond films. 

Bond and Trevelyan’s psychoanalysis of each other works because of their shared history.  Trevelyan’s final dig at Bond should have hurt him more as it seems to reference the events of On Her Majesty’s Secret Service.    

The editing of Boris handling the pen and Bond’s attempt to count the clicks is fun. 

The chase on the catwalk is tightly edited.    

The fight between Bond and Trevelyan is one of the series’ best which surprisingly does not get more attention.  It recalls the great fight in From Russia With Love though that one had the train setting and included a lot more grabbing and pulling but less punches.  Here the men are evenly matched whereas in FRWL Grant is a little stronger than Bond.   

The height of the dish is not as scary as it should be as the use of greenscreen was noticeable. 

Bond's last line “What could possibly go wrong” seems a little forced.

The Experience of Love needs a different adjective for the final word of the title.

GoldenEye was a triumph with many Bond fans and with critics and re-established the series.  Brosnan’s popularity as Bond played a huge role.  The fall release date also helped since it did not have compete against summer blockbusters. 

In early 1997 a terrific first person shooter based on the film debuted on the new Nintendo 64.  It followed the plot of the film closely and there was a multiplayer option that added a new element.  Teenagers spent hours playing James Bond which I think helped draw them into future films.

In the end I enjoyed this revisit to GoldenEye and can see why it has remained so popular among fans. ***