What if? It’s a big question in all of our lives. What if I’d told her? What if we’d stayed together? What if I’d got that promotion? What if I’d worked harder in school? What if I had had just one more day with her and the chance to say goodbye? If we’re not careful we can get snowed in by “what ifs”.
We have to keep our heads down to escape drowning in never-meant-to-bes or choking on could-have-beens. The possibilities that we spotted passing by out of reach haunt us as regrets. The second chances we never even noticed are too numerous to contemplate and tease us occasionally in our dreams. Let the “what ifs” talk too loudly and their chatter overpowers the everyday routine. Let them grow too tall and even the little things are given dark significance in their shadow.
Sliding Doors is a film about the little “what ifs” bunching together in mundane ordinary life until they have enormous individual consequences. When it was released in 1998 it was greeted by a mixed critical reception but it has since gone on to gain a dedicated following. It stars Gwyneth Paltrow as fashionable young Londoner Helen, complete with believable English accent, who is fired from her job at a PR company. She heads for home via the tube. The film follows two separate paths through her life; one in which she gets the train and one where she fractionally misses it, unable to squeeze through the sliding doors of the title.
The actor Peter Howitt wrote the script and directs a very grounded take on the idea of parallel universes and an alternate reality. The concept could have been lifted straight from sci-fi but Sliding Doors watches more like a meditation on the nature of fate, albeit with an uplifting rom-com tinge. One Helen, the one that gets the train, finds her boyfriend shagging his ex in her bed, only to fall for a handsome stranger. The other is delayed again and again until she arrives home late and unaware of the affair. She therefore carries on her life as normal, working flat out to support him as he “writes a novel”.
The plot is not all that clever, despite the engaging concept of two storylines running in tandem, and the dialogue is not especially witty or sharp. The real strength of Sliding Doors lies with the overlapping lives of rounded, likeable characters, well realised with accomplished performances. Paltrow is accessible rather than whiny in the lead role. John Hannah is convincingly charming and funny because of the way he says things, rather than what he says. John Lynch is a great actor, as he proves in the upcoming Ghosted, and he doesn’t come off badly here despite playing the cheating Gerry, who is often just left to look bumbling and British on the end of a full on feminine bollocking. Jeanne Tripplehorn plays mistress Lydia as a caricature but she serves a purpose and Gerry’s mate Russell (Douglas McFerran) down the pub is hilarious as the sensible one.
None of it is sublime, even the characterisation is simply above average for the genre. The acting is very good but not career defining. That said I really liked Sliding Doors. Its commonplace tone makes it all feel like it could happen to you. There are some slightly surprising twists in the climax and I was a little moved and amused in places. Its parting message is somehow both more resonant and bearable than most romantic comedies. Some things are inevitable. And there’s always hope.
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I only discovered BlogalongaBond recently. But blimey what an excellent idea. Talking about 007 once a month for two years, and each film in turn; blogging bliss for Bondian fanatics like me.
Then I realised I had just missed the boat for writing about Goldfinger. My first contribution to BlogalongaBond would have to come hot on the heels of a month’s glowing discussion of the world’s most famous franchise’s most iconic entry. How was I going to compete with that? I couldn’t rant and rave about every single classic scene moulded into cliché by endless reference and repetition. As many bloggers said when reviewing Goldfinger, it was THE Bond film and in the eyes of many every one since has aspired to its formula and fallen short of its magical mix.
After watching Thunderball though, I remembered why it’s always been more than the shit part of the National Lottery to me. I loved Thunderball growing up as a boy, and I love it now. For me it is better than Goldfinger. Aside from From Russia With Love, Thunderball is the film that best captures the origins of the character; Ian Fleming’s James Bond transplanted onto the screen.
Thunderball the novel was a return to form for Fleming, who had taken a break after Goldfinger to produce a collection of short stories, For Your Eyes Only. The book introduces the character of Ernst Stavro Blofeld for the first time and provides Bond with an excellent enemy for two other brilliant novels, On Her Majesty’s Secret Service and You Only Live Twice. Of course the films made Blofeld Bond’s ultimate nemesis from the outset, whereas prior to Thunderball, in the literary world of Bond his primary foes had been unorthodox Russian organisation SMERSH. Lampooned in the 60s by Bond spoof Casino Royale, SMERSH sounds unavoidably silly compared to the sinister SPECTRE headed by mysterious Blofeld.
Interestingly the physique of Blofeld in the novels is quite different to that presented in the films. The most memorable portrayal of Blofeld is perhaps Donald Pleasance’s scarred little bald man in You Only Live Twice. In Roger Moore’s time the character is reduced to being dropped down a chimney in a pre titles sequence. Thunderball showcases Blofeld at his best; unknown, all powerful and faceless.
Thunderball also shows off Bond at his best. In a PTS far superior to the aforementioned Roger Moore effort in For Your Eyes Only, we learn everything we need to know about 007. In my view Thunderball’s PTS is also better than Goldfinger’s despite the prevailing view being that Goldfinger’s is the most flawless of the series. As several bloggers pointed out, Bond’s ridiculous duck disguise in Goldfinger spoils the other elements somewhat and to me Thunderball’s PTS is a stronger standalone mini-story, which also ties back to the main adventure.
Steven Spielberg once said that to him, James Bond was a detective, a suave Sherlock Holmes with a gun. For the directing legend Bond was at his best when distilled to this level and he tried to replicate elements of this when creating his Bond equivalent, Indiana Jones. I certainly think that description is a simplification of Bond’s character. But the mighty Spielberg has a point. There’s plenty of sleuthing and relying on Bond’s instincts in Connery’s early films, and particularly Thunderball. It’s something the modern films lost sight of and need to get back to.
Bond is certainly knowing and observational when he unmasks the widow in Thunderball’s PTS as an enemy agent. Connery’s charm, charisma and comedy are turned up to the max and the whole sequence looks stylish. Bond quips and flirts with his female assistant. Then in a brutal, ahead of its time fight scene that the likes of Jason Bourne and the modern 007 are returning to today, Connery kicks his opponent’s ass, savagely strangling him to death with a poker.
The PTS then ends with an outrageous escape via jet pack and gadgets galore on the sleek Aston Martin. These tongue in cheek gizmos aside, the gadgets in Thunderball are at the pitch perfect level. There’s a wonderful scene with Q in which sensible but clever gadgets are introduced that will return to prove vital in the plot. Connery’s sparky dialogue with Desmond Llewelyn is the best in the entire series.
So after the PTS we know who we’re dealing with; James Bond 007, licence to kill, with girls, guns, gadgets and grisly action galore. It’s then that the film introduces the masterly plot that remains durable, relevant, captivating and even slightly plausible today. Goldfinger took Fleming’s immense imagination and made his ideas work better on film than they did in the novel. In Thunderball Fleming’s fantastical schemes once again marvel and delight, and shock and scare, this time sticking closer still to the original story. It’s a testament to the story’s selling power that a major legal tussle over the rights to a remake led to the 1983 unofficial entry starring an aged Connery, Never Say Never Again.
The legacy of the nuclear arms race remains an issue today and the power of rogue atomic weapons to frighten certainly endures. The enormous importance and scale of events adds terrific drama to the story. It’s a drama any Bond film needs and thrives off of; the global significance bearing down on 007’s shoulders as he conquers personal hurdles to unravel it all. Coming up with the perfectly judged plot remains the biggest challenge for those behind new Bond films today because they can’t compete with Fleming.
Thunderball is the first of the films to deal with Fleming’s fascination of the sea and the underwater world. Today it is increasingly difficult to find exotic locations for Bond when holidays can whisk you practically anywhere in a flash. But the colourful realm beneath the waves, glowing in a turquoise tint, remains another mostly inaccessible world. There’s something alien and yet attractive about the monstrous creatures living amongst the sand and sun rays. There’s something dark about anyone who can master this environment and exploit it for his own gain. Something secretive about the tropical depths.
Emilio Largo had a tough act to follow. Auric Goldfinger is the master villain to beat with his distinctive characteristics and fondness for a verbal duel prior to some ghastly fate waiting for our hero. Largo also struggles to impose himself when the magnificent early scene, with one of THE Ken Adam set designs, showing the SPECTRE meeting makes it clear that he is merely a puppet and drone himself. The true power lies elsewhere. This definitely makes him a different kind of villain. He doesn’t compete with Goldfinger but he doesn’t lack menace or do a bad job either.
What about the girls then? For me in Domino and Fiona Volpe we have two of the best Bond girls ever. Pussy Galore, as played by Honour Blackman, is iconic for sure but mainly because of Fleming’s outrageous name. Domino comes across as one of the most beautiful girls that even Bond himself has ever seen in the novel, and Claudine Auger doesn’t do a bad job at all of visually representing this on screen. As for Volpe, she is incredibly sexy and seductive. Her bright red hair set her out as dangerous, but also as red hot. The scene where she is waiting for Bond in the bath and he offers her merely shoes to put on, and the dancing scene at the Kiss Kiss club where she dies, are two of the most memorable in cinematic history for me personally, never mind the Bond series.
During Bond’s scenes with Volpe there are some cracking Bondian quotes from the script and Connery also delivers some of his best lines in the role sparring with Largo: “Do you know a lot about guns?”, “No but a little about women”, for example.
Another reason for Bond’s scenes with Volpe being so memorable for me, particularly the ones at the Mardi Gras, is the film’s score. I think Thunderball is the first time Barry uses the “00 theme” and his variations on the Bond theme itself to provide tense music are catchy and complimentary to the action throughout. Even when the film has aged less well, for example the scene in the health club on the rack and the unintentionally comedic speeded up careering of the boat at the end, the music remains superb. Tom Jones’ title song is no Goldfinger, but it’s undoubtedly addictive and Bondian. And besides I hear poor old Shirley so much that her voice starts to grate.
In the end it’s for those moments in which we see what purists call the “real Bond” that I remember Thunderball. When Connery calmly kills the Professor in Dr.No after he’s had his six shots I knew that was a truly Bondian moment. It marks out the detached killer in Bond’s character so well. He is so used to living his work that he carries it off with a ruthless efficiency that looks effortless and irresistibly cool. There’s another moment like this in Thunderball. When Largo’s chief henchman Vargas is sneaking up on Domino and Bond on the beach, Domino spots him. Bond turns, almost nonchalantly rolling over, to fire a harpoon through his chest. This is the assassin in Bond. The moment’s slightly spoilt by Connery’s quip, “I think he got the point”, but even this dark humour becomes part of the character that fans can love.
Watch Thunderball and you’ve hit the 007 jackpot; never mind the riches of Goldfinger.
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