Judi Dench has confirmed to reporters at the South Bank Sky Arts Awards, where she bagged an award, that Daniel Craig’s James Bond will be getting his number one girl back in the forthcoming adventure. She confirmed her involvement after the film was officially announced earlier this month. Pressed for any inside news at all about the production, the chief of MI6 remained characteristically secretive. All she would say was how excited she was to be working with Daniel Craig again, and Sam Mendes, who has directed her in theatre.
This will be Dench’s seventh Bond film as his severe, disapproving boss, M. Prior to her appointment for Pierce Brosnan’s 1995 debut, Goldeneye, M had always been a man. Producers, writers and directors all grappled with the idea of M as a woman. Perhaps ultimately the decision was made because no man could live up to the figure of Bernard Lee, who simply became the embodiment of Fleming’s creation of M in the first eleven Bond movies.
Since her first moments on screen, reprimanding Bond’s bravado and warning she’ll only use the 00 section sparingly, Dench appears to have justified the filmmaker’s decision and won over fans. Producer Barbara Broccoli, daughter of Cubby, said of Dench’s casting:
“Our instinct was if we were going to cast M as a woman, we needed to find an actress who could be totally believable and not cartoonish. Our fear was that it would be laughable and the big thing was to get someone of the calibre of Judi Dench to play the role. And because M is the only authoritative figure in Bond’s life, the casting of a woman as M gave the relationship a whole new dimension.”
Dench’s opening scene with Brosnan in Goldeneye left the audience in no doubt that a female M was not laughable, at least in itself. The script was wise not to gloss over the fact as if nothing had happened, with Bond’s teasing lines humorously, but brutally knocked back by M: “If you think for one moment I don’t have the balls to send a man out to die, your instincts are dead wrong”. She also tells Bond he’s a “relic of the Cold War”.
Director Martin Campbell was aware of the pros of having Dench as M. He was told by studio head John Calley prior to Goldeneye, after floating the prospect of a female M, that “You need a star! You need someone with incredible screen presence, how about Judi Dench?” Campbell was so impressed with her performance in his first film that there was no question of dropping her, despite the complete reboot of the franchise, when he helmed Daniel Craig’s first outing Casino Royale in 2006. Costume designer for that film, Lindy Hemming, hailed Dench as a “brilliant piece of casting” and reveals in The Art of Bond by Laurent Bouzereau, that they made M’s costume “a bit more sexy” for Craig’s first film. Bond changes with the times and by this stage, not only was it modern for women to be in positions of power, but it was the norm for them to be expressive and natural in these roles.
What more can be done with Dench’s character though? Even Daniel Craig is slowly outgrowing the franchise, so surely Dench cannot stay in the role indefinitely? This could even be her last film. Glowing comments about her performances as M, like those above, make it difficult to consider replacing her though. Would M become a man again, played by an actor of similar clout? In The World is Not Enough, Pierce Brosnan, according to director Michael Apted, repeatedly asked for M’s role to be “beefed up” to give him more screen time with Judi. This led to the ambitious plot of M being kidnapped by terrorist Renard, played by Robert Carlyle. If M were to leave, she’d need a suitably huge story.
Bond needs a proper adventure and challenge anyway, after the gap between the disappointing Quantum of Solace and the as yet untitled, Bond 23, due to start filming later this year for a 2012 release. Casino Royale made it clear the best stories come when built upon Fleming’s original tales in a modern context. One tantalising, but difficult to execute, story never realised by filmmakers is a brainwashed Bond attempting to assassinate M. This comes from Fleming’s final Bond book, The Man with The Golden Gun, and was never used in the drastically altered film of the same name. This set-piece in the novel is the highlight of an otherwise disappointing final bow for the literary 007. It would need revamping, rooted as it is in the Cold War era of Soviet mind tricks, but you get the feeling a gritty, deluded Bond storyline would suit Daniel Craig’s hungrier acting abilities down to the ground if properly set-up. It could also be fantastic and bold on film. But the problem for the franchise would be how could Bond continue as 007 after being demoralised and duped into trying to kill his own boss?
Whatever the script writers Neal Purvis, Robert Wade and John Logan come up with, the trend has been more and more M in recent years. I look forward to some frosty and prickly dialogue in Bond 23.
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Big news. Bond is back. Well he’s on his way. After all the financial uncertainty surrounding the fall from grace of MGM, the 23rd Bond adventure, and Daniel Craig’s third outing as the suave secret agent, will be released on the 9th of November 2012. Yup it’s still quite the wait for 007 fanatics, myself included. But on the plus side a larger gap between films in the past tends to produce more satisfying results.
The recent road has undoubtedly been rocky for the seemingly unsinkable franchise. Few ever seriously feared it was the end of Bond forever, but it was looking a real possibility that Daniel Craig might not get the chance to make amends for the disappointments of Quantum of Solace in the famed tuxedo. The actor who kicked 007 back into shape with a leaner, moodier spy in 2006’s Casino Royale reboot, following Pierce Brosnan’s dismal, ludicrously fantastical final straw Die Another Day in 2002 (complete with invisible car), has been in great demand and taking on heaps of work. This year Cowboys vs Aliens is an anticipated release and Craig is also due to play a key role in David Fincher’s reworking of Scandinavian hit The Girl With The Dragon Tattoo. He’s now finally confirmed to reprise his role as Bond to the relief of most fans.
Elsewhere production problems have also hit the most important ingredient; the script. Peter Morgan, writer of Frost/Nixon and The Queen, was signed to work on the 23rd adventure last year, only for his involvement to end before it really began due to the MGM crisis. Now attached to the project are regular scribes Neal Purvis and Robert Wade, as well as new addition American John Logan. Logan was responsible for the script for Edward Zwick’s Tom Cruise epic The Last Samurai and also helped with Ridley Scott’s Gladiator screenplay. He’ll replace Paul Haggis, who’s been the third contributor for the first two Craig movies. The fan community will have mixed reactions to the departure of Haggis. On the one hand he seemed to make a real difference for getting back Bond’s Ian Fleming roots in Casino Royale. But recently he’s only masterminded turkeys as a director in Hollywood and has sought to take his new emotional additions to Bond too far, with rumours of his preference for a plot involving a baby and lost son in 2008’s Quantum of Solace, which were rejected.
Most of the blame for Quantum of Solace is now pinned on director Marc Forster. He talked a good game about the importance of story prior to the film’s release, only for the 22nd film to look great and start well, but to ultimately lead to a disappointing villain and rushed plot. The criticisms aimed at him are probably too harsh and a recent article in The Telegraph makes a good point that Bond is not a director’s franchise; the producers, the writers and the cast are more influential to a film’s success. However considerable interest and opinion was still inevitably generated by the eventual confirmation of Sam Mendes as director for Daniel Craig’s third Bond picture. Mendes too was in doubt after initially agreeing to direct the picture, due to other work commitments, with an adaptation of Ian McEwan’s On Chesil Beach starring Carey Mulligan rumoured in the press and fuelled by comments from the author. Many Bond fans view Mendes as too arty like Forster and would rather see the film in the hands of a seasoned action director like Martin Campbell, who helmed Goldeneye and Casino Royale.
Having said this most fans recognise the franchise needs to continue along the new path set by Craig’s Casino Royale, whilst being considerably better than Quantum of Solace. The problem now is the lack of original Ian Fleming source material to work from, which leads to weaker, predictable plots. There’s a difference of opinion as to the best way of overcoming the weaknesses of Quantum: does the franchise return to a more classic format with a dastardly villain hatching world domination, to coincide with the 50th anniversary of first Dr No in 2012, or do something new again? Whatever the answer, with a release date now firmly set in stone, the rumour mill will once again start churning at full speed. So far the only concrete casting rumour is that of Simon Russell Beale in a “good guy” role. But these shall only multiply until every attractive actress around is linked to the untitled film. And of course that’s the biggest question of all; what will the latest 007 adventure be called? Only a handful of Fleming story titles remain unused; The Property of a Lady? Risico? My money’s on the former. Bring on 2012!
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Peter Morgan may or may not see his script for the 23rd James Bond film become a reality, and it may or not be a picture directed by acclaimed director Sam Mendes, but Morgan has certainly not struggled to make films about former Prime Minister Tony Blair. Equally serial impressionist Michael Sheen has not found it hard to play the charming leader, taking on the role in previous dramas The Deal, The Queen and now The Special Relationship. Sheen has made a living out of playing real people, from the chaotic camp of Kenneth Williams to the masculine self assurance of football manager Brian Clough and he has always fitted snugly into Blair’s recognisable suits and effortlessly donned his trademark grin. As with Morgan’s previous examinations of Blair The Special Relationship looks at a particular period of this remarkable man’s life through a narrow lens with a small cluster of essential characters. This is the story of Clinton and Blair; the President’s influence on the Prime Minister, the wives influence on the two men’s friendship and the advisers grappling with how best to make use of such ideological and personal bonds.
Blair’s devious tabloid spin doctor Alastair Campbell slammed Morgan’s latest drama before it premiered on BBC2 on Saturday night as a complete work of fiction bearing almost no relation to the facts and events as they happened. Now whilst it must be true that Morgan wielded creative license to craft a number of personal scenes between the two leaders and the leaders and their wives, as he cannot have known the content of such intimate chats besides glimpses from memoirs, Campbell’s utter rejection of the drama’s credibility may be down to his own less than flattering portrayal. The special media adviser appears to be a brash, sneering and crude presence throughout. He represents the dark side of Blair he had to embrace in order to haul Labour out of Opposition in a new media age, a dark side of tabloid manipulation and sinister back stabbing and sordid scandals. Campbell is less of a character in Morgan’s drama than a commentator providing rolling coverage of the headlines at the time, highlighting the worst of public bloodlust and opinion, slipping in details that both provide background and represent the scale of the struggle Blair faces to get things done, when faced with an indifferent public more motivated by the shape of a President’s penis than his foreign policy commitments.
In fact given the political nature of the subject matter it’s hard to get to know any of the characters in The Special Relationship, because we don’t know them and neither did Morgan writing the script. We recall the events of the time, remember the urgency they tried to convey in their speeches and are familiar with their managed images in front of the flash bulbs. But even when we see Dennis Quaid’s brooding Clinton, seemingly drained by scandal and the web of lies he has entangled himself in, it’s impossible to deduce the sentiment of the man, he’s presented as a blank, an enigma of a stress deliberating how best to handle the political fallout. Hillary is arguably the most lifelike character in this drama and she is sensitively played. The restrained emotion is there, visibly only just in check but her ambition and necessity trap her in her situation. She doggedly soldiers on.
The events, somewhat inevitably, are major characters in themselves in this historical drama. That’s not to say we don’t get insight into character; it’s clear early on that despite Clinton’s insistence that Blair owes him nothing he expects good old Tony to tow the line. Initially he does so, movingly and hesitantly sticking his neck out over the affair, but when Blair makes a stand on Kosovo Clinton is not prepared to be in Blair’s debt, he was always managing the upstart Brit whatever the praise. It’s when the plot gathers pace over the Kosovan crisis that this drama comes into its own, engaging far more than the early, plodding set up of the Clinton-Blair relationship. Blair refuses to be politically positioned like a pawn by Clinton and the stage is set for confrontation. Churchillian like speeches full of inspiration captured the mood of the new millennium, a mood of optimistic cooperation in which every nation with a moral compass could play its part and make a genuine difference, a mood banished by 9/11 and the subsequent retaliation. It’s odd to think that Clinton’s America, although led by an adulterer, was more trusted and respected around the world and that Blair was able to harness goodwill felt towards it.
Blair’s boldness wins over the American press, with gushing approval ratings calling for him to run for the Presidency. Throughout the piece however the more experienced Clinton urged Blair to consider his legacy, not just fickle opinion polls, and whilst it may seem triumph in Kosovo secured it for Blair we all knew it was to be eclipsed, and the drama ends ominously with his heart and mind in the right place, committed to a pragmatic, meaningful relationship with new Republican President George Bush, but ultimately to underestimate and be sucked into a damaging legacy he would never shake off. Popularity would pass by Tony Blair just as it passed for Bill Clinton and both men arguably spurned opportunities to make use of it. The Special Relationship of progressive centre left leaders, leading the world in a unified, positive banishment of right-wing politics to the dark ages never truly materialised. Morgan’s drama ends by asking topical questions raised by the release of Blair’s memoir; did Blair waste his legacy and was he ever the politician he claimed to be, given his current support for the coalition, or was he just a self-centred man grabbing his place in history with both hands, wherever he had to reach to? Whatever the answers, despite Clinton’s warning to Blair that rhetoric alone is not enough, both leaders had moments in this drama that demonstrated the enormous power of words in the hands of a politician and leader, the power to ignite, transform and inspire, but also sadly, to disappoint.
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