At one point in 'Die Another Day', M (Judi Dench) says to
Bond (Pierce Brosnan) 'While you were away, the world changed'. 'Not for
me' replies Bond, before returning to what he does best: getting the gadgets,
getting the girls, and getting the bad guys.
For like all the best Bond films, 'DAD' documents how little - and how
much - the world has changed. It harks back nostalgically to a time when
the United Kingdom exercised considerable influence over the rest of the
world - and yet also catches up with the realpolitik of the present day.
Its protagonist is a throwback to a lost age of old-school chivalry and
sexism - and yet he must contend with a new world where empowered women
are no longer always his enemy. It repeats faithfully the many formulae
established by its predecessors - and yet somehow makes these formulae
seem up to date for a new audience, while showcasing the best state-of-the-art
special effects that money can buy. In other words, the James Bond of
'DAD' is like an ice-bound dinosaur, thawed out to run riot through a
whole new generation.
At first Bond seems to be in newer, darker territory. In the opening
set-piece, Bond is shown, unusually, to fail rather than succeed in his
mission. There is a further break from tradition in the credit sequence
which follows, where the usual bevy of Bond beauties is intercut with
alarming images of Bond being tortured. After a lengthy internment in
North Korea, Bond re-emerges into a world where he is no longer wanted,
but is nonetheless still needed. 'It's called the future, so get used
to it', as Q (John Cleese) says.
Soon Bond is back on form, exchanging cheesy innuendo with Jinx (Halle
Berry) and Miranda Frost (Rosamund Pike, a recent graduate of Wadham college),
and embroiled in a plot involving conflict diamonds, DNA replacement,
and the mysterious 'Icarus Project', taking him from Hong Kong to Cuba
to London to Iceland, and back to North Korea.
Although Ian Fleming's original Bond stories have long been exhausted
by the movie series, screenwriters Neal Purvis and Robert Wade display
a reverential and often witty grounding in Bond lore. Jinx is first seen
emerging in a swimsuit from the waters, parodying Ursula Andress' entrance
in 'Dr No'; before getting his new gadgets, Bond makes fun of Q's 'old
relics' (including the jetpack from 'Thunderball'); there's a laser torture
scene straight out of 'Goldfinger'; arch-nemesis Gustav Graves (Toby Stephens)
says 'Diamonds are for everyone'; and in Cuba, Bond poses as a birdwatcher
(Fleming named James Bond after an ornithologist).
Lee Tamahori's direction is pacy and assured, and he understands well
that in a new world, you don't always have to teach an old dog new tricks.
Great fun.
Anton Bitel 17.11.02
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