Introduction:
So the year 2002 marked the
fortieth anniversary of James Bond. As such the creators decided that the film
they delivered that year would be a celebration of all things 007. It would
look back at the previous 19 films and point toward the future of the
franchise. It would be the first James Bond film of the new millennium, and it
would be one to remember. The thing is, most people remember this movie as one
of the worst of the franchises long history. What happened?
Summary:
Britain’s best secret agent
James Bond (Pierce Brosnan) is sent on a dangerous mission to kill the unstable
North Korean Colonel Moon (Will Yun Lee). He succeeds, but only after blowing
up half an airbase and then getting himself captured. 14 months later Bond is
freed during a prisoner exchange, but he’s a little grumpy that his cover was
blown in the first place. M (Judi Dench) revokes his license to kill, but that
doesn’t stop Bond. He’s off and running on the trail of traitor.
The trail takes him to Cuba
where he meets agent Jinx Johnson (Halle Berry) who is tracking down the
diabolical Zao (Rick Yune). The two agents tangle for a bit, but Zao gets away,
but not before leaving a clue. Somehow, he is tied to the rising superstar of
the industrial world Gustav Graves (Toby Stephens). The more Bond and Jinx dig
the more they discover that Graves hides a deadly secret, one that could
threaten the world. It comes down to a car battle in an ice palace, a fencing
battle from hell, a man with diamonds on his face, an invisible car and some of
the worst sexual innuendo I’ve heard in a long time. Can James Bond survive
this mess to Die Another Day?
Good Points:
- The first half of the film works as a solid bit of entertainment
- Rosamund Pike makes for an excellent femme fatale
- David Arnold’s score is a fun mix of techno and orchestra
Bad Points:
- The second half of the film spirals into a mess of excess
- Halle Berry is lost without a map
- Special effects take over the film, much to its detriment
Overall:
The 20th James
Bond film tries so hard to please. It attempts to be everything to all kinds of
fans of the franchise. But it is such a tangled mess of conflicting styles,
concepts, goals and execution that the final product is honestly a train wreck.
It is never boring, but it never gels either. There is a bit of fun in playing
the “spot the previous film reference” game, but this is easily the weakest
film of the Brosnan era.
Scores
(out of 5)
Visuals: 2
Sound: 5
Acting: 3
Script: 2
Music: 3
Direction: 3
Entertainment: 2
Total: 2
In Depth Review
Graves and Bond have their very own Duel of the Fates. |
But Die Another Day may represent the first time that the expectations
the studio put on itself ended up scuttling the film before it got a chance to
evolve. First you had the 40th anniversary of the franchise looming.
Next you had the fact that this was the first Bond film of the new millennium
and the first post 9/11 Bond film. Then you had the fact that the previous Bond
film, The World is Not Enough did
not live up to audience expectations. Then you had the idea that the new Halle
Berry character, Jinx, could be ripe for a spin off franchise. Add to this the
fact that 2002 was a year packed with some serious box office power. Lord of the Rings: The Two Towers, Harry Potter and the Chamber of Secrets
and Star Trek: Nemesis were all
fighting for the piece of the megaplex pie. Those three films were going to have
huge special effects extravaganzas. And since The Phantom Menace and The
Matrix had raised the bar for visual effects and action in 1999, the James
Bond franchise didn’t want to look old.
The pre-credit hovercraft chase is one of the best action scenes in the film. |
I’m going to focus on the
good points first, because the bad points are all tied to the fact that the
expectations ended up forging the move in it’s bad direction. The good points
managed to shine through, but just barely.
My highest score was for the
sound, something that has been top notch in all the Brosnan films. With all the
over the top visuals, explosions and gunfire, the sound crew had plenty to work
with. The soundwork is exciting, supports the action perfectly and really rocks
the subwoofer when it needs too.
Since Tomorrow Never Dies, David Arnold has been providing the James Bond
film scores and he’s done a really solid job. His best scores tend to be the
ones where he gets to work on the theme song and the incorporate them into the
score, giving each film a unique musical identity. Both The World is Not Enough and Casino Royale are excellent scores because of the way he used the title songs as
supporting themes. Unfortunately, Arnold had no input into the Madonna song for
the film. He ended up crafting a nice love theme for Jinx, and used the James
Bond theme in some creative ways (I love the Latin tinged adaptation of the
Bond theme during the Cuba sequences). But the biggest element of the score is
the fact that Arnold fused the techo/electronic sound he had been fleshing out
in the previous two scores into the front of the mix. Nearly all the action
scenes utilize electronics, stutter editing and synthetic warping of the
orchestra. It is a fun experiment and one that I actually enjoy quite a bit. It
took the Bond scores into a fresh and fun direction, very fitting the time. A
lot of film music fans put this score near the bottom of Arnold’s output. I do
have to say that of the five scores, this would rank as the fifth, it is still
a really fun score. But do yourself a favor and seek out the extended version
of the score that includes many excellent tracks that were left off the
commercial release.
Not making Zao the main villain was a missed opportunity. |
It’s hard to talk about the
acting, which has some good points, without touching on some of the less than
stellar points of the film, so I might as well dive in. No one had a clue about
the actual movie they wanted to make. This is one of the messiest James Bond
films to actually hit theaters (and be from the “official” studio as well).
That’s saying something, because Octopussy
is still looming out there. But Die
Another Day tries to do too much and just can’t manage any of it well.
Never argue with a woman wearing a tank top and wielding a sword... just some good advice. |
Right there, you’ll know
where you stand, because Moonraker is
certainly one of the most polarizing of the James Bond films. I think that if
the film had been more focused on bringing on the large-scale amusements and
humor, it might have worked, but things get muddled quickly. The first half of
the film deals with Bond getting captured, tortured and then treated roughly by
MI6 when they get him back. It’s a very dark turn for the series, and one that
bothered a lot of viewers. I thought it was an interesting development and
could have yielded something really interesting (like the similar sequence in Casino Royale), but Die Another Day glosses over the
torture and soon heads into the fantastical with lasers blasting from
satellites and enemies using gene therapy to change their entire bodies. This
180 creates a real disconnect and no matter how good the acting is, there is
little that can be done to salvage the film.
Robinson Caruso... I mean James Bond confronts M. |
Rick Yune is actually a
really good villain, and he gives Zao a real sense of menace. Even when he’s
covered in diamonds and pale with blue eyes, the actor is able to make the
character work. The creators really missed the boat by not going with Zao as
the main villain and have him battle against Bond at the end. But maybe having
two bald main villains in back to back movies was too much to ask.
When your villain ends up in a dorky looking Power Ranger suit, the movie may have gone awry. |
Faring a bit better is
Rosamund Pike as the traitorous Miranda Frost. She makes for a solid femme
fatale, and her interplay with Brosnan has some good moments. The script ends up
failing her and creating a character that just doesn’t seem to fit in this
movie. Her final duel with Jinx is pretty good, but I’m always disappointed
when Frost dies. I really wanted her to bump off our leading lady.
Halle Berry does her best Ursula Andress. |
Speaking of ripe dialogue, Die Another Day is just swimming in bad
puns, horrible innuendo and pathetic quips. I know the writers were going for
their own version of Moonraker, but
I’m not sure if they were making fun of the cheesy dialogue or just trying to
come up with the worst of the worst. The line between witty and crass is crossed
way too often. When I saw this movie in the theaters, I remember many audible
groans as some of the lines were delivered.
When writing "James Bond gets chased by a giant laser to the edge of an ice cliff", you should realize the film has gone awry. |
Director Lee Tamahori does
some odd things with the movie. Part of it is due to the muddled mess of a
screenplay he had to work with. So I can’t put all the blame on him. But his
use of slow motion, stutter edits and strange zooms don’t pull you into the
action or add to the thrills. They just call attention to themselves. There are
also moments in the film that have no transitions. Done correctly, this can
work in favor of the film, creating tension and moving the movie along at a
faster pace. But in Die Another Day
the lack of transitions creates confusion at best and raises questions at
worst. You start questioning the reality of the movie and it pulls you right
out. Since the movie isn’t working in the first place, it really doesn’t take
much to break that forth wall.
But he does manage to
capture some wonderful vistas, the early scenes are filmed well, and I like how
he worked with light and shadow in the Cuba love scene between Jinx and Bond.
Q's laboratory is filled with references to the older Bond films. |
That may be the reason why it never clicks for me. It tries so hard to please that it just can’t manage anything well. It is the weakest film of the Brosnan era, and for many fans were left with a very bad taste in their mouths. The ended up dismissing all four films from that actor. It’s a shame too, because I don’t think Brosnan got the James Bond script that really let him shine. He could have been one of the best actors to play the role, but time and again the films just never get the mixture quite right. And once we saw the Daniel Craig films, it became really apparent; Brosnan was the Moore of his decade.
Moneypenny finally gets her kiss. |
I remember almost nothing about this movie, which I suppose is a review in itself. I agree Pierce is better than his scripts. Actors are at the mercy of the scripts. Gore Vidal always argued that the writers (and the producers who give the green light) are the real auteurs, not the director who in old Hollywood was just "somebody's brother-in-law." The exceptions were the directors who also were writers (e.g. Stanley Kubrick or Woody Allen). Of course, Gore was a screenwriter in the 1950s, so perhaps he was prejudiced.
ReplyDeleteAs for not arguing with sword wielding tank-topped women, we all have to learn that the hard way.
Yeah, these days I'm hearing more and more that the producers and committees of suits are in more and more control of the final product. Scripts get rewritten during the shooting, musical scores get rejected and new composers brought in all the time (usually due to someone thinking they have a wonderful gift for music and thinking the current score is all wrong). Directors end up feeling like they are guns for hire.
DeleteI was going to argue that point with you, but realized all the examples I could think of were directors who helped write (or wrote) the screenplays as well - David Lynch, David Fincher, Satoshi Kon, Hayao Miyazaki, even J.J. Abrams. These gents all have very distinctive styles and themes and all of them are usually involved with the writing process.