evilthecat said:
I think a problem is that there are a lot of different perspectives of what "we" want.
That's true, and I think we're coming at it from different angles.
I've always seen, and a part of me believes this given we're still dealing with artists who did more than often just toss the original source material in the fire and make ultra silly parodies of itself, that the insane nationalism of Moore's depiction was itself an indictment of a British conceptualization of its own exceptionalism and ownership of the world.
Even Connery was depicted as childlike from his very first scene when ordered to exchange his chosen sidearm for one deemed service regulation for his operations.
Less heroic and more indignant.
Maybe, but critique requires distance.
If you simply remade a Moore-era Bond film, you'd have to make it absurd somehow or people would just read it as sincere and either think it was a return to the series' high point, or a creepy tonal mess, depending on their personal interpretation and view. To function as a critique, you would have to specifically draw attention to the things you were supposed to ignore or gloss-over in the Moore-era films, like that James Bond is incredibly callous about killing people, or the fact that very few of the women he has sex with have any established reason to want to have sex with him (but do anyway, because porn logic).
Like, I can see the fun in going back to those movies and just laughing at them, but you're ultimately laughing at the lack of self-awareness. You can't really recreate that in a self-aware way.
I'm not saying port all its attitudes. Because no one actually wants to see Japanification Bond scene again even if You Only Live Twice is considered to be a fan favourite.
But if you can import the campy silliness of the Moore films and what I believe is probably the best biting social satire in the Bond films to date (even if one believes they were unintentional, which it couldn't have *totally* been) ... particularly in terms of its irreverence of the Cold War and the East-West polemic.
I don't think you can just call it '20/20 hindsight' ... particularly in how it handles Cold War politics at the time. There had to be introspection there of just how silly it all was.
But people treat him as a sympathetic hero, just as (much to my embarassment) most people in the UK are still emotionally predisposed to see blatant imperialism as a good thing or a point of nostalgic pride..
This is my point. Bond's role in the narrative is to be the good guy, or the sympathetic hero if you will, but the reality of his characterisation is actually kind of unpleasant. Any new treatment or interpretation of the character will need to negotiate this somehow, whether that is by giving the character a more sympathetic characterisation or by making it clear that you're not entirely supposed to like them.
Because while it may be strange, people do need to be told that they aren't supposed to like this character, or they will.
But this is problematic. Because even in the last film with constructing the imagery of this 'deeply flawed' characterisation of Bond .... it's still not reflective of the social realities of soldiers coming back from Afghanistan or Iraq. With brain damage induced behavioural and motor skill problems from persistent blast force exposure and general longterm war exposure soldiers across the Western world have experienced and will continue to be diagnosed with up to 15 years after they have returned.
It's an equivocation, and does not deal with the subject of what it means to fight with credibility to begin with. Not unless they want to show
the reality of what it's like to be near high explosive. The accelerated cerebellar damages of axonal shearing events. The twitching, the vomiting, the confusion, the growing incapacity to hold a cogent string of thoughts together as time goes on.
We still have modern James Bond films that think explosives are merely deflagration events rather than something that lifts you off your feet, gear and all, and crushes you into the ground or flings you into walls and other cover you were hiding for dear life behind. Pulling and pushing at you, and your vulnerable internals, and distorting the shape of your very organs and vascular system momentarily.
And people aren't going to want to see that James Bond either, when the reality is people literally don't see that violence and typically survive or do so and 'simply get over it'. No... you're permanently damaged. You don't get to see that sort of stuff and just
live. People just end up keeling over and dying from full body exposure to multi-level injury events.
So if you're already going to have this depiction of a person that somehow falls from a bridge after being shot, 180 metres into the fucking bay, and construct a mythology 'he just neexed some time off...' rather than; "Well this guy is written off from action. What other agents do we have?" ... well 'deeply flawed' isn't exactly flawed enough, or sympathetic enough.
It's mythology. In its most naked form.
And ifeople are going to mythologize and nationalistically attach virtues to it, I've always believed that the satire should be rooted in reality of just how overbloated something actually is.
The SIS is one of the most heavily resourced government bureaus on Earth. It is literally 2000 people with 3% of the total budget set aside for every branch of the NHS. And that's only the public government budget, not shadow allocations with joint military operations. That demands Moore level satire. It demands laser wristwatches, invisible cars, gas dispersing briefcases and yoyo circular saw wielding bad guys to fight.
If the reality is almost otherworldly, the depiction of it should be fucking Moonraker levels.
It demands it, because after the grins fade away and they turn to their government officials and ask; "So how much money do you guys actually get and
what do you spend it on? ..." Suddenly that is
incredibly uncomfortable for the powers that be.
That's what all good movies should do. Otherwise no one actually wants to recognize that it's not paying for some guy named 'James Bond' to save them from some ridiculous threat beyond all sensibility, it's
paying for mercenaries in Africa to protect oil interests, or committing war crimes in the ME.
Nothing about Craig is
sympathetic or
even broken. Because he's not reflective of how SIS
has ever operated and
will ever operate.
The most inexcusable thing of the Craig films is the actual plotline that was actual about the 'dangers' of trying to rein in its budget and powers. How fucked is that? I personally thought that would cause Britons to riot in the streets from how grossly out of fucking touch that sentiment is in SPECTRE or Skyfall... The audacity of treating Vesper in Casino Royale as some officious bean counter--FUCK YOU! 2000 SIS personnel somehow cost the British taxpayer *72 million pounds a day in just baseline operational expenses* ... I would demand an audit of the entire organization if I was the Minister of Defence!
That is a stupid amount of money.
Bond doesn't need sympathy. He needs a public magnifying glass of
outright satire. Make SIS as
silly as fucking possible because
its existence is as (tragically) silly as you can possibly get.
And even if that doesn't work out as it should, at least
James Bond will be fun again.
60s Batman > The Dark Knight.
If Bond isn't fighting something on the scale of
Unicron any 'flawed characterization' of James Bond isn't
flawed enough... needs more satire.