James Bond in review - Quantum Of Solace (Marc Forster, 2008)

"I don't give a shit about the CIA or their trumped up evidence; he's my agent and I trust him!"

It was never going to be an easy task following up the unexpectedly brilliant Casino Royale, Daniel Craig's Bond debut, with the 22nd official outing in the series. Bond's heart has been broken by the woman he loved, he has been betrayed by a criminal organisation to which he has only one lead and, perhaps the toughest of all, Craig must show that's he's not a one 'Bond' hit wonder by pushing the envelope in the series' first direct narrative sequel.

Bond and Camille walking purposefully through the desert

Taking the helm on Solace is German-born Marc Forster, a director with a keen eye for character and making locations characters of their own. Solace is, in many respects, unlike any other Bond film in the series. The film is set to breakneck pace (blink and you'll miss the action) with the shortest run time of the series and the most abrupt, dynamic editing techniques are deployed. Craig's Bond is seeking vengeance and going against authority - it's Licence to Kill with Craig instead of Dalton. In fact, it's much more than that. Daniel Craig is yet to totally convince Judi Dench's ever steely M that he can be trusted out in the field; that his emotions won't interfere with his job. The pressure is definitely on Craig to nail his second performance as Bond after a decidedly brilliant debut and needless to say he surpasses expectations.

Bond and Greene fight to the death in the burning Hotel Perla De Las Lunas in the desert

Bond is essentially a bleak character by Fleming's pen and Craig personifies this better than perhaps any of his predecessors in the role. He has his brutal moments - stabbing a contact in Port au Prince and surveying him as he slowly dies, disarming MI6 guards in a lift or dispatching M's aide Mitchell in a dramatic chase. Paradoxically, we feel for this lonely character in his reflective moments - holding a dying Mathis in his arms, shielding Camille from a burning hotel. Bond is still a conflicted soul. As Camille delicately supposes, he is still imprisoned by his thoughts and feelings for Vesper.

"Take a deep breath, you only need one shot. Make it count."

In many respects, Casino Royale and Quantum of Solace work brilliantly as an introduction to 007. We have seen the violent side of the character, we have seen the brief moments of solace and comfort and we now have the chance, with Bond 23 around the corner, to see a more playful side to Craig's Bond. As a stand alone film Solace succeeds in its own merits boasting stunning locations and some fine dialogue but more importantly, as a sequel and a character progression it is a vital addition to the series. James Bond, we 'need you back'.

James Bond in review - The Living Daylights (John Glen, 1987)

"I take it this is not a social call 007?"
"Correct, you should have brought lillies"

Perhaps there is no better quotation to describe Dalton's no-nonsense approach to Fleming's world famous secret agent. Moving sharply away from the humour that became almost a character itself in the later Moore Bond era, it is clear to see that Dalton's careful research of Fleming's Bond of the early novels was time well spent. From the moment you see Dalton on screen in an upper body shot inquisitively and solemnly watching the body of 004 plummet to ground from the rock of Gibraltar, we are instantly aware that this is a very different Bond - a 007 not to be messed with.

Dalton's Bond waiting for Koskov's sniper

The Living Daylights provides Dalton the chance to take Bond in a realistic, thriller-like direction. The dialogue is some of the sharpest in the series, the supporting cast are, on the whole, great, and Dalton's Bond if only for a brief tenure, becomes a one woman man. The film doesn't take itself too seriously. Jeroen Krabbe hams up his role as Georgi Koskov, becoming a theatrical villain who gets his comeuppance in a genuinely amusing scene at the end of the film. Dalton is also on hand to provide some carefully timed one liners that are more zone out and you'll miss them than Moore's unavoidable, extroverted clangers.

Maryam D'Abo in a publicity shot for The Living Daylights as Kara

Bond is characteristically a private man who keeps his emotions to himself and gets the job done efficiently and successfully. Dalton further develops Fleming's Bond by making him fallible. As Dalton himself expressed in a press interview whilst filming The Living Daylights, Bond is "not a super hero", he is a tainted man with a harsh outlook on life. He is relatable in that sense and easy to root for. As characters in the film go, Caroline Bliss' Miss Moneypenny probably provides the biggest disappointment. The younger secretary to flirt with Dalton's younger Bond was a sensible idea but Bliss seems so inappropriate on screen in the short scenes she is in that Bond afficionados can't help wishing Lois Maxwell was still in the role. Maryam D'Abo's portrayal of the cellist Kara Milovy is a better female character in the film, obviously, but still hit and miss. At moments she provides some good comedy, remarking to Bond that they are free for Bond to retort that they are still stranded in a Russian airbase in Afghanistan, and she is the only Bond girl to be able to call Bond a 'horse's arse!' Other times she looks a little uncomfortable and very timid opposite Dalton's hard edged protagonist. She becomes a worthy leading lady when she leads the pursuit after 007 with Kamran's men in the desert, informing them bluntly and powerfully "You owe him your life!" Kara obviously respects Bond and is therefore respected by the audience as a credible love interest for Dalton's 007.

The note attached to 009's body - Smiert Spionam (Russian for 'death to spies')

Essentially this is back to basics Bond. It takes a lot for a director to come into a leviathan of a series like Bond and some gumption to introduce a new actor playing 007 and John Glen succeeds well, giving audiences perhaps the most intriguing Bond film of the five that he helmed as director. There are no hollowed out volcanoes or super tankers, just believable characterisation and an intelligent screenplay. A promising debut for Dalton... Timothy Dalton.

James Bond in review - Thunderball (Terence Young, 1965)

"You seem to be unbeatable Mr Bond!"

Over the ensuing years following its 1965 release, Thunderball has been divided amongst Bond fans. Some see it as laboured with underwater sequences and lacking the style and sophistication of the previous three films, others see it the way many saw it on its release – as the biggest Bond of all. The thing that surprised me the most, upon rewatching the film, is that despite a sometimes overly complex plot and some labouring moments, Thunderball is one of the more entertaining of the Bond films, perhaps the most entertaining of the Connery films.

Paula, Domino and Fiona chill out on the Thunderball Bahamas coastline

The elements all gel – the villains are excellent, we get to see one of the only group meetings of SPECTRE agents plotting their schemes in the series, the Bond girls are some of the best in the series – and most beautiful – and Sean Connery actually feels at ease in the role, relishing the humour and the sun of the Bahamas. Add to this mix the return of Terence Young as director and another terrific score from Bond veteran John Barry and Thunderball looks and sounds brilliant. The cynics of Thunderball all latch onto the length of the underwater scenes in the film. It’s surprising therefore to discover that these scenes make up less than 25 minutes of the two hour screen time. The scenes themselves, in particular the climactic underwater battle – Bond versus Largo – is brilliantly filmed and draws the film to a fine conclusion. Domino ultimately defeating her tormenter is a nice touch and the frenetic editing on the Disco Volante adds to the excitement.

Largo, SPECTRE agent number 2

The real treat of the film is undoubtedly Luciana Paluzzi’s Fiona Volpe. She is one of the best villainesses in the series and clearly relishes the role. It seems ridiculous to even try to picture her as Domino, the heroine of the film, the role that she originally auditioned for. She is so perfectly sadistic in the role of Largo’s right hand woman and gets all the best dialogue – “do you like wild things Mr Bond James Bond?” is perhaps one of the most rhetorical questions in the series and one of the best humorous moments.

Bond and Domino

Connery’ s 4th Bond is an entertaining romp. Some great characterisations, one of the most sadistic villains brought to life in a brilliantly sly manner by Adolfo Celi and a narrative that flows well, keeping the audience excited. With Goldfinger and Thunderball, the mid-60s saw the launch of Bond mania. A coffin with the initials JB teasingly opens the film playing on the notion of Bond’s death and two hours later he once again saves the day and gets the girl. It is easy, on reflection, to see how Thunderball is one of the biggest Bond box office successes. His name’s James Bond and for nearly 50 years we’ve been “admiring [his] form.”

James Bond in review - Licence To Kill (John Glen, 1989)

"I want you to know this is nothing personal. It's purely... business"

Sanchez's chilling words to an ill-fated Leiter couldn't be further from how you would describe the 16th Bond adventure. Daring, provocative and the highest certified film by the BBFC in the series, Licence To Kill harkens back to the roots of the 007 character created 37 years previously by Fleming as Dalton injects a brilliant sense of humanity and a no-nonsense attitude to the British secret agent we've come to love.

Timothy Dalton is the new James Bond

Licence To Kill works on many levels not least of all as an intriguing, intricately detailed and engrossing thriller, but almost as a stand alone film - a rogue agent on a personal revenge mission against the man who murdered and mutilated his friends. In his second and unfortunately final appearance as 007, Dalton shines. He will never be like his predecessors just as Moore never consciously tried to emulate Connery but it is fair to say that our current noughties Bond, Daniel Craig, owes a great deal to Timothy Dalton. Both give very human portrayals of Fleming's character; characters who show emotion, pain, anger, frustration and loss through their detailed, meticulously crafted personifications of James Bond. You can imagine Dalton having to ruthlessly kill if the situation demanded it, which you would never believe of Roger Moore's Bond.

Carey Lowell is beautiful and determined as Pam Bouvier

Not only is this film a chance for Dalton to shine but Desmond Llewellyn's Q gets his longest screen appearance in the series, injecting some well timed and not too blatant comic interludes into the serious proceedings. The stand out character of the film is clearly Robert Davi's sadistic villain Sanchez, a man who rewards loyalty- at a price. Just don't double cross him or you'll end up like Krest. Much like Moonraker I have never given much time to Dalton's second Bond outing perhaps largely because of its critical responses and insistence from ardent Bond aficionados that the film strays too far from the established Bond formula and is too real in its depictions of violence. On closer inspection, this is ironically the finest move made by the Bond producers since they decided to bring Bond back down to Earth in For Your Eyes Only. This and Eyes Only present John Glen at his directing best and whilst The Living Daylights introduces Dalton's Bond to the screen with style, it is not until Licence To Kill that he really does prove his worth.

Robert Davi is one of the series' best villains since Robert Shaw

Had the box office not been populated by Batman, Lethal Weapon and Indiana Jones - incidentally all focussing on heroic protagonists - Bond 16 would have achieved bigger business on general release in the summer of 1989. Regardless of this, the film is one of the best of the later Bond films and arguably the best Bond of the 1980s. It holds up brilliantly after more than 20 years. "How many times can one man leave you breathless?" Well, in answer to the demanding teaser trailer voiceover, lots! Relive one of the grittiest and all out entertaining Bonds of the lot - "bless your hearts!"

James Bond in review - From Russia With Love (Terence Young, 1963)

"Take it easy '07. My escape route's only for one!"

After President Kennedy confirmed From Russia With Love among his top ten reads, producers Broccoli and Saltzman decided to follow the successful Dr No with an adaptation of Fleming's 5th Bond novel. Remarked by Connery himself as high on intrigue and light on technology and gadgetry, From Russia is perhaps the greatest Bond film in the series to date. Though many would disagree, opting instead for the following film Goldfinger, it is arguably with the second Bond adventure that plot and characterisation gel so effectively without the necessity of having grandiose set pieces and ridiculous names that serve humourous purposes.

Bond and Tatiana meet and soon get to know each other very well, oblivious to the fact that they are being watched by Grant and Klebb

The plot is intricately woven and the actors play their characters to perfection with absolute conviction - yes, I'm talking about Robert Shaw's unbeatable Bond baddie Donald Grant. Connery is on brilliant form in his first three Bond films in particular but he clearly relished making this film and it shows on screen. It couldn't have been too bad a shoot to have the creator himself, Mr Fleming, on set to give Connery the seal of approval and to offer his advice on adapting his novel for the screen. Connery appreciated the intricate plot and having Bond rely on instincts rather than gadgetry, a move that the producers seem just as happy to develop with the recent 'it could actually happen' ethos of the Daniel Craig Bonds.

The greatest Bond face-off with Robert Shaw's deliciously evil Red Grant on the Orient Express

Everything is close to perfection here. Peter Hunt's editing is incredible and in certain scenes that need no introduction (look at the image above), groundbreaking. John Barry gives us the pleasure of the alternative 007 Theme for the first time; his dynamic and versatile score lending the film musical class and furthermore enhancing the viewing pleasure. Terence Young returns to the director's chair and remains the best and most able Bond director the series has seen so far and series stalwart Desmond Llewellyn gives birth to the gadget master Q that he will continue to play for a further 16 films in the series. Add to this intoxicating mix the first pre-credits teaser sequence that has become a motif of the series ever since and Robert Brownjohn's brilliant titles screened over the undulating bodies of belly dancers and you have a Bond film that stands the test of time and makes for one of the most intriguing stories in the series.

James Bond will return.....

The second James Bond gun barrel in sparkly HD

James Bond in review - Dr No (Terence Young, 1962)

"If you carry a 00 number it means you're licenced to kill, not get killed

[...] You'll carry the Walther"

It's that age old thing. When you're beginning what will inevitably become a film franchise, just how do you begin in style? A good director's guide would be to study the attention to detail, panache and charming subtlety brought to the proceedings in this first film adaptation of Ian Fleming's world famous secret agent. Dr No is the perfect cocktail of elegance, sophistication and glamour, with some great humour thrown in for good measure. When asked what were the three main ingredients of Dr No, director Terence Young was later quoted as saying "Sean Connery, Sean Connery, Sean Connery" which in all honesty is the general fan consensus. The truth however is that Connery was a relatively unknown actor prior to Bond; his biggest film, which producer Broccoli and his wife saw prior to casting him, was Darby O'Gill and the Little People in 1959. Fast forward just three years and Connery begins what will undoubtedly be the most profitable years of his career as the 007 that a generation remembers. From unknown to world famous character. It was Terence Young who was to thank for modelling Connery to fit Fleming's character persona of the novels. The man is debonair, a womaniser and utterly charming and this is well evidenced on screen.

Sean Connery introducing himself at the Chemin de Fer table with the immortal line

It is fair to say that films were not like this in the years preceeding its 1962 release. Women were not presented as provocatively as Miss Taro draped across a bed wearing only a towel or displayed with such vivacity as Ursula Andress' Honey Ryder, the benchmark for Bond girls to come, emerging iconically from the sea sporting that indelible multi purpose white bikini. Bond broke new filmic ground and the success of the first few Connery films is largely the reason for the massive popularity of Bond nearly half a century later. All the characters are very well rounded and nothing is over the top, especially where humour and lavish sets are concerned, as they would become in later entries in the series. Connery's portrayal of Bond is, at times, a little timid and unassured in his debut outing but that is understandable - the success or failure of the film would ultimately rest on his head, the protagonist, the man with his face on all the billboards. Connery manages to make an indelible mark on audiences and it's no real surprise that the film, made on what can only be described today as a shoestring budget of £1 million, made around 50 times this in ticket sales.

Ursula Andress is still the woman to beat as the beautiful Honey Ryder

Dr No is ultimately a pleasure to watch, particularly if you are watching it in its new HD transfer from Lowry. The quality is crisp, the style is quite inimitable and the passion of the filmmakers is infectious. Every penny was clearly well spent in making sure that Bond would live to 'die another day.' Bond mania was about to begin and it hasn't given in yet, thankfully.

James Bond will return... (in the next review)

Bob Simmons, stunt performer, doubles for Connery to achieve the first opening gun barrel shot of the series