In defense of Spectre

With Bond 25 filming nearing its end, much has been written about Spectre’s flaws. But what did that film get right? Turns out, a lot.

As we near the filming of Bond 25, much has been written about Spectre’s flaws — including my own such criticisms. Scott Maslow at GQ has gone so far as to suggest what the franchise needs to fix as a result of that film, and who knows what Danny Boyle and John Hodge might have up their collective sleeve. Plus, if you were to peruse the discussion boards at MI6 Headquarters, you’d think that Spectre was not just a bad Bond film, but maybe even the worst ever. Let’s just say that Sam Mendes has not endeared himself to many Bond fans.

That said, however, not all was lost with that film. Four months ago, I criticized parts of the film; but let’s now flip that around. What did Spectre get right? Actually, a lot. While the film was a disappointment, it was far from a disaster.

The pre-title sequence

Has there been a better one? The Spy Who Loved Me is often discussed as the best, due to Rick Sylvester’s iconic ski-base jump. But for pure excitement and spectacle, Spectre’s pre-titles sequence might top it. Mendes’ single tracking shot (no matter that there are wipes) so expertly moves us from the global to the personal. Then, Bond’s subsequent helicopter fight with Sciarra ups the ante.

The Bond vs Hinx train fight

The train fight has been staple of the Bond franchise ever since Bond vs Grant in From Russia with Love. It set the standard. But Bond vs Hinx, on the train through Morocco, is every bit as good. What works so well is that we know that Bond is in trouble, here. At one point, as Hinx attempts to crush his skull, Bond groans loudly, in discomfort. Rarely have we seen Bond like this, so vulnerable, but it works.

Thomas Newman’s score

Skyfall was nominated for a Oscar and won a Grammy. It was a tough act to follow, for sure. But Newman still presents some memorable moments, here, too. Consider that he was tasked with creating two separate Bond girl themes (for Lucia and Madeleine) and managed to make each unique and distinct.  The Bond theme / Latin rhythms theme used in the pre-title sequence was another highlight.

Christoph Waltz

Yes, Waltz is on record as saying he was not pleased with what he brought to the table as Blofeld, but maybe he is being too hyper-critical. Sure, he had little screen time, but Waltz still managed to leave an impression. His introduction, during the Spectre meeting in Rome,  set the right tone. When he says, “Cuckoo,” we almost wonder if it is self-referential.

Ben Whishaw

Whishaw was a revelation as Q in Skyfall. In Spectre, he is much more comfortable. He functions as Bond’s foil and deliver’s the film’s best line: “I told you to bring it (Aston Martin DB5) back in one piece, not bring back one piece.”

Locations

Bond films are known for their locations, and Spectre continued that trend. From Mexico City to Rome to Austria to Morocco, changes in scenery, climate, and architecture added a sense of spectacle to the film.

“Writing’s on the Wall”

Reactions to Sam Smith’s theme song were mixed. The song’s Oscar win for “Best Song” didn’t change that. But now, nearly three years later, the song resonates, and Smith’s falsetto seems far less problematic. It’s a beautiful song.

Cinematography

Hot van Hoytema had the unenviable task of following Roger Deakins. Nevertheless, van Hoytema’s camerawork was topnotch. From the murky brown hues of Mexico to the bright white snow of Austria, van Hoytema used to color to add atmosphere.

No, Spectre was not on par with Skyfall,  certainly not in box office returns, but it was not a disaster, not certainly not a film that EON needs to completely run away from.