Tuesday, December 4, 2012

Skyfall (UK/USA; Sam Mendes, 2012)


     Numerous times during the picture, M (Judi Dench) describes the world in which James Bond operates as existing in "the shadows" of the one perceived by the general population. Fittingly enough, this hidden world of top secret operations is brilliantly evoked by often having the actors stand in front of an excessively bright background and therefore transforming them into mere silhouettes, literally pitting shadow vs. shadow when done during fighting sequences. Additionally, seeing as the use of silhouettes is prominent in many of the series' opening credits sequences, the shadow motif extends the artistic nature of the credits to the film itself. This stylistic interpretation is only one of many elements of sophistication the photographic team of Sam Mendes and Roger Deakins brings to the Bond table. While I find the debate over whether or not this is the 'best Bond film ever' irrelevant, I can say with confidence that, form-wise, this was the most satisfying experience I personally had watching a Bond film. I must admit, however, that I'm far from being the biggest Bond fan out there. On the other hand, I have been a long-time fan of both Mendes and Deakins (especially his extensive work with the Coen brothers), their new collaboration being what initially triggered my interest for the picture and the reason why the result is one of the most memorable installments featuring Ian Fleming's troubled spy.

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