A matter of perspective - A critical look at SPECTRE - The Bond Bulletin
Nov 9, Dave Bautista just some idea of what's driven him to walk into the S.P.E.C.T.R.E. annual general meeting and gouge a guy's . Why not have Bond spend the movie tracking sinister S.P.E.C.T.R.E head Blofeld, and then . But the white cat in the scene where Blofeld reveals himself might be a step too far. Nov 7, The new James Bond film, Spectre, leaves lots of questions behind. Spectre By Dave Bautista, Monica . a name reveal and we did enjoy the pre-emptive reveal of a Chinchilla Persian cat as Blofeld's pet. the female SPECTRE operative played by Brigitte Millar in the meeting scene, could turn out to. Nov 8, Is SPECTRE the ultimate Bond film and will it leave you shaken and stirred? The death of his superior “M” was a signature scene where many . to face with SPECTRE when he infiltrates a secret meeting of the menacing terror group. A brutal and gruesome display of convincibility by Mr. Hinx (Dave.
Monica Bellucci makes her debut in the franchise as the oldest Bond girl to date. She is in it for literally just five minutes, during which she only goes to bed with Bond and gives him information before he sends her to the U.
Embassy for her safety. White's return featured heavily in promotional material, but he only appears in a single scene and shoots himself in the chin in that scene. White is given a bit of backstory and his demise is treated sympathetically.
All There in the Script: Hinx's name is never mentioned on-screen. Neither is Estrella's the girl seen with Bond in the opening sequence. The "Nine Eyes" intelligence sharing agreement is presented as a game-changing development. The Five Eyes agreement not only already does this, it has been operational for decades. Oberhauser's facility is housed within a crater formed by a meteor, and he had the meteor itself put on display. When Bond and Swann arrive, he launches into a speech about how the meteor had waited up in space, silently biding its time, before becoming an unstoppable force that changed the face of the Earth.
Bond shoots back that the meteor actually did stop, and right where they're standing, in fact. You can see some of the wind come out of Oberhauser's sails. Outside of the film, the analogy still doesn't really hold up - the meteor, other than being an inanimate object that can't "bide its time", was in fact completely at the mercy of the forces gravity from the sun, planets, and other astronomical bodies around it. More prominent, however, are birds: Mr White describes Bond as "a kite dancing in a hurricane", one of the love interests' names is Madeleine Swann, Mr.
Swann and Bond defeat Hinx, then Swan asks forcefully "What do we do now? Spectre is the nefarious organization Bond is battling. Played for creepy effect with Blofeld, who always seems to know when Bond will show up, even outfitting rooms in his Supervillain Lair with personal photographs for his 'guests'. The third act is widely regarded as the weakest portion of the movie even by its fans.
A leak of the script during the Sony hacking scandal revealed that the studio executives regarded the original ending as even worse the suppression of an important document, deemed rather boring for the plot of a Bond movie and the film ended up having five or six writers, one of whom was Daniel Craig himself.
Doesn't help that the one we ended up with, a nighttime chase in London between the hero and the leader of the resident Nebulous Evil Organizationwhich culminates in the latter being captured, while the hero and his allies prevent said organization from gaining control of encrypted data files- was very similar to the finale of Mission: The high-tech restraints on Bond's chair suddenly snap open immediately after Madeleine throws the bomb.
It only takes one shot to the conveniently exposed fuel line to blow up the whole compound, while the two escape on a helicopter guarded by only a couple of mooks Bond snipes from afar with ease, even though he had been through some high-level Cold-Blooded Torture mere moments before. Bond's car chase with Hinx. No gunfire, no explosions, and Bond is never in any real danger. The action even stops for a couple minutes so Bond can call up and have a chat with Moneypenny while he's trying to avoid Hinx.
This is a fairly unusual case, because the arc seems to have been unwelded just to weld it back together. Le Chiffre was clearly established as having worked for Quantum and being killed for being unreliable in the first two films, but references to those events in this film seem to imply that MI-6 thought they were independent villains.
Technically they only appear once, in the opening epigraph, but the entire film seems to be themed around the phrase "The Dead Are Alive. During the torture scenes, the descriptions of what drilling into specific parts of the brain will do are suspect at best.
Higher brain functions like facial recognition are spread out over an area, so whether damaging such a tiny area would give the described result is already questionable. Furthermore, even the general area of the brain is all wrong.
In the film this is said to be the result when the drill goes into something at the base of the neck. That area in the human brain controls basic functions like motor functions and autonomous muscles. Facial recognition has been mapped around the temple, which was ironically the previous location the drill went.
Of course, all that talk might just have been to heighten the victim's horror, as the film itself seems to lampshade this as Bond has no problem recognizing people after his torture. However, this also brings the question of Bond somehow not being incapacitated by the procedure itself.
Most people wouldn't be able to function for a while after having something drilled into their head, much less go into action.
Bond drives from London to Rome, a trip that would take at least a full day, in what apppears to be a quarter of that time. The Rome car chase scene is a little strange if you're familiar with the local layout.
Note that the cars turn right when they reach the Vatican, right again onto Via dei Corridori, then left onto Via del Mascherino In order to get anywhere near the water, they'd have to immediately circle back towards Castel Sant'Angelo. Even then, the riverside sequence was shot by Ponte Sisto, which is further south. While trying to instruct a reluctant Madeleine in handgun self-defense, James points his pistol at the wall of the next train compartment over with his finger on the trigger keeping in mind that compartment walls on a train are about as effective as paper in stopping a bullet.
Madeleine exhibits a good deal more sense when she expertly drops the magazine out of the gun, ejects the round in the chamber!
During the opening sequence, the helicopter at one point rises up 90 degrees and does yet another barrel roll in this fashion.
While not physically impossible with a properly and heavily modified helicopter, there is no indication that the one depicted in the film has been so modified. The helicopter in question is being flown by Chuck Aaron, the only pilot in America licensed to perform such stunts. There is CGI, and artistic license, but that is to do with the elevation of Mexico City - the air is too thin for that sequence. So it was filmed at lower level, and CGI'ed in.
Also the close ups of the fight scene were filmed on a static rig albeit one that could rotate 'because obviously those shots were impossible. Aaron said his job was made more difficult by the fact he was having to do the stunts while the stuntmen were fighting in the back.
Madeleine seems to smile both at Bond and at the camera in the DB5 when they drive off at the end. M uses it with Bond to relate that British intelligence is in the middle of a big shakeup and a merger with MI5 has already taken place.
When the building is destroyed early in the film, Bond chases a man through the Day of the Dead parade. The parade is still going on as if nothing happened, and the people on the street are still watching the parade as if it's more interesting than the nearby explosion and sound. A dark, moody, melodramatic ballad akin to "Skyfall. Back for the Dead: White returns for a single scene a little into the film, at the end of which he commits suicide. Both Bond and Hinx demonstrate they are this in their car chase through Rome.
Played for Laughs when Q showed Bond a Cool Car prototype he has made, and after explaining some of the neat features it has, promptly tells Bond that the car is assigned toand not him. Then subverted when Bond steals the car anyway. Lucia Sciarra walks into her garden. Two menacing figures loom behind her and take aim. She braces herself as we hear two muffled gunshots Most of the heroes, meanwhile, are clean shaven.
The finale takes place in the old MI6 building at Vauxhall Cross, which is now abandoned and scheduled for demolition after the attack in Skyfall. Big Brother Is Watching: Unusually for a spy movie, the film is against this concept and even deconstructs it.
M even wonders whether C's surveillance plan will be able to deal with morally difficult situations, especially if someone who just sits with such technology would be capable of pulling a trigger and killing someone. If the data gathered isn't kept secure, then it's a double-edged sword, as SPECTRE had bankrolled the formation of the Centre for National Security, and with this, they can have unlimited backdoor access to all the data gathered from "Nine Eyes" and use it to destroy their enemies, namely A very subdued version when the Spectre mooks are milleseconds away from gunning down Lucia Sciarra.
Bond kills them both Just in Timebut unlike most examples of this trope, Lucia was sadly resigned to her fate rather than pleading for her life and isn't grateful to Bond at all. The newly formed Joint Intelligence Service is headquartered in the Centre for National Security, a brand new and privately funded skyscraper intended to replace the damaged MI6 building. Even those who don't know any Italian can decipher that he's wishing her "Good Luck". Hinx, very similar to the one in Thunderball.
Now, with the much anticipated release of this 24th film of the series, the veil of secrecy has finally been lifted. The following analysis tries to answer this question. A thorn in the flesh of many Bond fans across the globe. Traditionally, the gunbarrel had always opened every single film until and with SPECTRE, it finally assumes its correct place again. News reports and pictures from Mexico promised a spectacular and visually stunning pre-title sequence. A truly magnificent setting to open the 24th James Bond film.
And as expected, it pushes all the right buttons. First, there is a long continuous shot following a costumed Bond and beautiful Mexican Estrella from the busy street parade into their hotel, up the lift and into the hotel room. While Bond Girl Estrella seductively lolls on the bed, Bond quickly removes his costume in fact too quickly to be believableready to jump into action.
What ensues is an action sequence that leaves you shaken and stirred. The sequence builds momentum through ingenious visual effects and expert camerawork. Suddenly, a helicopter approaches and thunders over the massive crowd of parade participants. A fight breaks out while the helicopter takes off. It spins dangerously in the air, seems out of control. You hold your breath and watch in awe.
Bond triumphs after a nail-biting opening, in his hand a ring he took off Marco Sciarras finger. An octopus is engraved. Fans know, it is the symbol of terror organization S. Bond is tradition and the films have always profited from staying true to their original framework. The main title sequences have their own iconic status in pop culture and are often copied in spoofs or advertising. They represent miniature works of art with a theme complementing the film, whether they have been filmed for real like in the earlier Bond films or with a great deal of help from computers in recent years.
However, it is not that simple altogether. While SPECTRE is definitely a fun and entertaining extravaganza, it also suffers from several weaknesses, downgrading it in comparison to other spy thrillers like the latest Mission Impossible. Cinematography and production design are impeccably stylish. Not only did the opening sequence make that clear, but also the scenes set in Rome which feature striking contrasts.
Bond's new supercars revealed in latest Spectre video
Black designer clothing paired with the white columns of fascist Mussolini architecture. Once all the funeral guests have disappeared, only the grieving widow of Sciarra and Bond remain. Monica Bellucci plays Lucia and seeing her standing in front of her late husbands grave is nothing less than a powerful image. It is composed, artistic.
Does it seem odd that Bond sticks to her heels, eliminates two assassins who have the order to get rid of her and then seduces her? Most of them ended up dead.
The tear running down her cheek nicely demonstrates her inner discord. He leaves her with the advice to get in contact with him for protection. Could this be a possible option for a return of Lucia Sciarra in Bond25? It almost feels like the casting choice had been made to feature yet another famous name in the already stellar cast rather than make her character spice up the storyline. The meeting room setting is dark and moody, warm orange and black tones dominate the scene.
Not in terms of acting but because he stays hidden in the shadows. Everyone at the table gets up from their chairs, they observe with bowed heads. This is the moment Bond fans have been waiting for.
One contender comes forward.
Video: Bond's new supercars revealed in latest Spectre video - Telegraph
Suddenly, a door opens and a broad-shouldered man enters to challenge him. When asked for his qualification, he brutally kills his opponent, crushing his eyes in the process.
A brutal and gruesome display of convincibility by Mr. Hinx Dave Bautista who is never actually mentioned by name in the film. A turn of events: Now his face is revealed and he looks directly at Bond as if he had sensed his presence.
He reappears when Bond and Madeleine are brought to his Moroccan hideout, an odd looking facility in a meteor crater.
The much debated revelation of his character name Ernst Stavro Blofeld, which he took from the bloodline of his mother, is presented without any drama or suspense. His behaviour in the torture scene is awkward and unintentionally comedic. As he said himself in an interview, Waltz mainly plays himself.