The opening minutes of Sensation are not a stimulating thrill ride or a feast for the senses. In fact, they could be described as bleak. I’m going to be careful not to mislead you here; I don’t want the word bleak to imply that the early scenes are moving, or interestingly dark. Instead, I mean bleak as in “without hope or expectation of success or improvement”. The world of central character Donal is defined by its dullness and the fact that it is never likely to change. His uneventful life has left him numb, and so emotionless that when he discovers his father dead on the stair lift, he uses the remote to bring the cold corpse slowly down, rather than rushing up.
You may find that, as I did, the start of Sensation will induce that “where have I seen him before?” feeling. This was the most pressing thing about the film for its first quarter of an hour, that nagging frustration that is impossible to shake. So I paused the film, utilised a well known internet search engine and discovered that lead actor Domhnall Gleeson, who plays Donal, also played Bill Weasley in the last few Harry Potter films. Cue the knowing nod that accompanies the phrase “I knew I recognised him!”. Curiosity quenched, I could now begin to concentrate on the film itself.
Following the funeral of Donal’s father we watch a young man shuffle through a very lonely existence. The really disheartening thing about Donal’s grief is that it is so minimal. He had clearly been expecting his father’s death and we do not really witness any sadness relating to it. It’s also clear that Donal’s loneliness goes back far, far further than the eventual demise of his sick dad. His best friend Karl, who lives in a caravan on Donal’s farm land, suggests that the funds freed up by his father’s death might be the making of Donal. But Donal has no idea how to use the cash wisely in the nothingness of the Irish countryside. His only half plan is to move to Dublin.
This complicated, but essentially sympathetic portrayal of Donal, is offset by hints towards a darker side of his character. That initial moment where he waits for the stair lift’s grim and personal cargo to descend is both shocking and repulsive. It’s symbolic of Donal’s laziness, lack of drive and dangerous naivety. Whilst Donal’s problems are real and capable of inspiring sympathy, his only solace is sordid and shameful. Ignorant of girls and relationships, Donal is fascinated by sex. However, his perception of sex is skewed by the internet. His only experience of it comes from the online world, where he sports the nickname of “Sweetdick” in a chat room. He masturbates furiously, in a way that seems to be a brutal release. He seems to have little awareness of intimacy, although a dim desire for it grows once he has satisfied his raw lust.
Suddenly not lacking in cash after receiving a sizeable inheritance, Donal’s first port of call is a website advertising escorts. One of them, called Courtney, has been recommended to him by an online chat room buddy. At first, he tentatively asks for an hour with her, only to be persuaded over the phone that the “full girlfriend experience” will be worth his while (and hers, financially). They meet in a restaurant, where she is surprised that he actually wants to eat. She reassures him that seduction is not necessary, but Donal orders a chicken kiev anyway. That’s where the civilized behaviour stops though. Back at his farm, Donal rapidly enjoys what he’s paid for. As Courtney says later, this is not Pretty Woman.
But the parallels are certainly there. Donal has money, albeit not on the scale of Richard Gere’s millionaire, but enough to make him of use to Courtney, whose real name is Kim. When events ensure that Kim and Donal get to know each other personally, they begin to form an ambiguous bond. Their feelings are tested and disguised because of the shadowy, theatrical business of the sex trade. Donal starts out wanting to help Kim rescue herself. He then falls for her, before ending up seeing her as a commodity.
Boiled down to its basics, Sensation is a simple story about two very different, lonely people crossing paths. It stands above this classic blueprint because of the strength of its characterisation and acting. Donal is volatile and unpredictable because of his troubled youth, and Kim is determined and twisted because of her profession. You’re never quite sure where their true loyalties lie. In this way Sensation is realistic, with its incorporation of modern themes and the lack of trust between a group of people who have recently joined forces in a backstabbing industry. However, Sensation also has many weak points. Its fringe characters are less well acted and unconvincingly drawn. The ending is rushed and more than a little predictable, and sections of the film drag. In my view, this is an excellent effort from writer/director Tom Hall. It is occasionally funny, although not to the point of laughter, and ultimately touching, despite a difficult subject matter.
Battle of the Bonds: Michael Fassbender vs. Daniel Craig
Ok so I know technically Michael Fassbender isn’t a Bond but there was no way I was calling this anything else. If you’ve seen the new X-Men film you’ll know Fassbender essentially gives a super powered performance of our favourite suave secret agent. My review points out as much here.
Critics up and down this green and pleasant land are saying they’d like to see Fassbender play Bond in future. Some are even calling for the head of Daniel Craig now, just two films after Craig successfully rebooted cinema’s longest running franchise to acclaim from commentators and audiences alike. But the problem is Casino Royale was almost six years ago. Since then we’ve had the action packed disappointment of Quantum of Solace, in which Craig was still good but hampered and limited by a mostly naff script. We’ve also had the crisis of MGM delaying the release of Bond 23. All the while Craig has been ageing, the poor thing.
I am a huge fan of Craig’s interpretation of Bond but even I have to admit that he’ll be under pressure if Bond 23 doesn’t vastly improve on Marc Forster’s Quantum of Solace. Sam Mendes is at the helm and the signs are good but then most of us Bond fans were saying that on the web about the last one. Forster was supposedly a director who could tell a story but we were left with some decent action at the start, which felt like it was still part of Casino Royale, followed by a disappointing story with flashes of average action that was an unsatisfying epilogue to the reboot at best.
Because of the delays then, as well as the unstoppable onslaught of human decay, Fassbender has the edge on youth. His career is also shifting into a top gear; at a time when Craig’s is also attracting big enough projects that could tempt him away from Bond should the 23rd instalment prove be a sinking ship.
Enough build up. Let’s compare a few necessary requirements for an actor playing a 00 agent. Bonds do battle.
Eden Lake (2008)
Town Creek (2009)
Fish Tank (2009)
Inglorious Basterds (2009)
Jonah Hex (2010)
X-Men: First Class (2011)
Jane Eyre (2011)
Casino Royale (2006)
The Invasion (2007)
The Golden Compass (2007)
Flashbacks of a Fool (2008)
Quantum of Solace (2008)
Cowboys and Aliens (2011)
Dream House (2011)
The Adventures of Tintin: The Secret of the Unicorn (2011)
The Girl with the Dragon Tattoo (2011)
Round 1 – Acting Chops
Going from both men’s biggest hits and breakthroughs to the mainstream in 2006 (300 and Casino Royale) to the present day, it’s probably Fassbender with the more impressive list. There were meaty roles for him in Hunger, Fish Tank and the upcoming Jane Eyre. Hunger in particular alerted directors everywhere to his talent. The film carries a 90% rating on Rotten Tomatoes and is “anchored” by Fassbender’s performance, according to Empire Magazine. Working with Quentin Tarantino is no bad thing for a CV either.
Craig on the other hand followed up his cold and commanding debut as Bond with the critically panned The Invasion with Nicole Kidman and average kids film The Golden Compass, which was supposed to launch an all conquering series to rival Harry Potter. Flashbacks of a Fool was a favour to directing friend Baillie Walsh, in which he gave a performances as a washed up actor fallen from grace. It was good but not the main role in the film, as the rest was told in flashbacks to childhood and in any case it wasn’t a big hit. He pulled off an impressive accent in Edward Zwick’s Defiance and generally convinced as a leader. Only recently has Craig got some really appetising projects on the go though, working with the likes of Spielberg for Tintin, David Fincher for Dragon Tattoo and Harrison Ford and Jon Favreau for Cowboys and Aliens.
Verdict: Even with that lull for Craig, it’s difficult to separate the abilities of these two.
Round 2 – Sex Appeal
I am definitely the wrong person to ask about this. But there’s no doubt that Bond has to be able to inspire a certain longing in the ladies, with a mere gesture or flirtatious glance. Both actors have charisma and cool credentials. Fassbender dresses up smart in the latest X-Men, as well as donning casual hard man leather jackets and camp superhero costume, cape and all. In Fish Tank his character’s raw masculinity was irresistible to mother and daughter alike. Inglorious Basterds saw him with slick and precise hair and a uniform. After starring as Mr Rochester as Jane Eyre later this year, further legions of women will join the ranks of his swooning admirers, with the earliest recruits hooked by the sight of his muscular and barely clothed physique in 300.
From what I’m told Craig is not a bad catch either. Certainly upon news of his casting as Bond and following the first viewings of those notorious blue Speedos, the females in my social circles could talk of nothing else in fits of giggles for days. Perhaps they’ll like the sight of him in a Cowboy hat.
Verdict: I really don’t know, they both seem to be handsome chaps and I imagine it comes down to personal preference. However if I had to make a decision, I’d say that Fassbender’s mixed Irish/German heritage makes him more exotic. Plus he seems taller. I hear that’s good.
Round 3 – Who would win in a fight?
Fassbender fought like a lion on speed in 300. And as I’ve said he had very little on. That’s impressive and a Spartan warrior takes some beating. However Bond doesn’t fight with swords, well not very often. He’s got to be able to beat a man to death with his fists, win shootouts and take out bad guys in witty ways. Fassbender did a lot of grunting and killing in 300 but where were the one liners? And in Inglorious Basterds he got shot almost immediately after some lengthy chit chat. Bullets are meant to swerve to avoid 007.
Or in Craig’s case, merely puncture his huge pecs. Craig has proven himself already as Bond, especially physically. His stunts and fight scenes have brought the series up to date. Some have criticised the mimicking of Bourne-esque action, which is valid for Quantum of Solace but off the mark for Casino Royale. In the past Craig has blown up enemies of Israel in Munich and taken on the Nazis in Defiance. Judging by the trailers he’s going to kick some Cowboy/Alien ass this summer too.
Verdict: Fassbender needs more time to learn the ropes but unless he’s got his metal moving powers still, looks like Craig will knock him out.
Round 4 – Staying true to Ian Fleming’s original
In X-Men: First Class Fassbender proves he can speak menacingly in Spanish, French and German. He is ruthless and suave and all action. He has a taste for the ladies and strong principles which he stands by. He is loyal. All of these qualities and more that Fassbender displays as the young Magneto, travelling the globe conducting his own private espionage, are those of Ian Fleming’s original spy. If Bond producers Barbara Broccoli and Michael G. Wilson were ever bold enough to take Bond back in time, Fassbender would be perfect for another reboot. His British officer look in Inglorious Basterds, combined with his Magneto, creates a pretty cool version of James Bond licence to kill.
It’s unlikely the producers will ever take Bond into the past and a Cold War world again because they feel that would tarnish the earlier films which covered that ground already. Bond needs to find a way to carry on in the modern world whilst retaining the best elements of the original. And Daniel Craig’s version of the character found that path with Casino Royale. His more human and more brutal portrayal took Bond back to his literary roots with tremendous results.
Verdict: Impossible to split. Fassbender has the potential to be a classic Bond as Fleming imagined him but Craig has already proven himself as a Bond inspired by the books as well as the films.
So at the end of that battle we know nothing new. It’s a draw on points. Basically Fassbender might be a good Bond when Craig steps aside but for now he’s doing a good job. What happens next all rests on Bond 23.
What do you think? Would Fassbender make a better Bond than Craig?
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