Of course, it helps to have Javier Bardem as a flamboyant baddie with a personal grudge that's right up there with Dr. No and Goldfinger, or cinematographer Roger Deakins providing such visual elegance. It's not just a matter of making Bond more relevant. Sam Mendes has deconstructed Bond so well with screenwriter John Logan in order to elevate him dramatically. You have to know the rules before you can break them. Or in this case, transcend them. As a result, Mendes has not only made a great Bond movie but also a great movie. Period. Forget Bourne. Bond is now as thematically rich as "The Dark Knight."
Having just written the book "James Bond Unmasked," I can report that "Skyfall" explores Bond's character more fully than ever before. But unlike his predecessors, Daniel Craig's 007 had the benefit of an origin story and a character arc with "Casino Royale." Here we find him more polished and less ruthless, but still conflicted, even world-weary. However, Craig's Bond experiences a different rite of passage after being struck down in the middle of a thrilling fight atop a train in Turkey during the pre-credit sequence. He loses his mojo and goes into hiding before a resurrection that finds him coming to the defense of M (Judi Dench) and MI6 when their world collapses. But more about Bond's existential crisis in my follow-up piece when "Skyfall" opens November 9.
This one's about M, who's the real Bond lady of "Skyfall." Her past has come back to haunt her and Bond wisely takes her home to Scotland (metaphorically back in time) where he can fight on his own terms. Dench has owned M in the modern era and her seventh appearance is a summary statement about their familial relationship. I love how M takes the time to quote Tennyson's "Ulysses" (her husband's favorite poem) during an inquest about the efficacy of MI6 in the modern world: