Daniel Craig in SPECTRE’s main titles
By Nicolás Suszczyk, Guest Writer
Sam Smith and Jimmy Napes got the Oscar award for Best Original Song in 2016 Academy Awards edition. It was the second triumph for the James Bond series had in that category.
In the 20th century, Bond songs were beaten by the likes of “The Way We Were” (winning over Live And Let Die) or “You Light up My Life” (winning over Nobody Does It Better from The Spy Who Loved Me) and “Arthur’s Theme (The Best You Can Do),” which won over For Your Eyes Only. For that matter, 007 classic songs such as Goldfinger and Diamonds Are Forever weren’t even nominated.
The spell was broken three years ago when Skyfall received the academy’s nod over songs like the solid “Suddenly,” from Les Miserables.
In September 2015, when Sam Smith introduced his performance of the song “Writing’s On The Wall” for SPECTRE, it divided the Bond fans between the ones showing appreciation and the ones turning a big thumb down – not to mention a great deal of bullying towards the 23-year-old singer for his falsetto voice, hidden under the shadows of the social networks.
“It’s the quickest song I’ve ever written,” Smith said, claiming he and Napier finished the job in just 20 minutes. (Later Eon Productions co-boss although Barbara Broccoli said it took much more time than that.)
Despite Smith’s vocal register, “Writing’s On The Wall” featured an unmistakable Bondian sound reminiscent to “Thunderball” with a touch of the recent “Skyfall.” A melody so accurate that it looks like composer Thomas Newman barely retouched the original instrumental for the scene where James Bond and his love interest Madeleine Swann get steamy on a train going through the Moroccan desert.
The song that supposedly took Sam Smith and Jimmy Napes less than half an hour to write described a vulnerable state of the rebooted James Bond. Bond lives with the memory of his beloved Vesper (Eva Green’s character in Casino Royale) and his boss-turned-mother figure M (Judi Dench, who bid farewell at the end of Skyfall).
It takes a lot for a man to admit his weakness – particularly a man like James Bond– and this song achieves to do it in a powerful way, as Daniel Kleinman’s main title visuals show our hero naked, wrapped around octopus tentacles coming out of the villain’s back while kissed by beautiful women.
While the artist voice sounds fragile, the seven main notes of the tune explode in power. A power expressing enough strength that the instrumental intermezzo (around the three minutes of the full version of the song) wasn’t cropped out during the usual editing to make a four minute composition fit into a short main title sequence. It was masterfully used to emphasize the artistic visuals.
Sam Smith had the coveted Oscar statue on his hand and dedicated it to the LGBT community he is part of. Among other contenders, he triumphed over Lady Gaga’s “Till It Happens to You,” introduced by U.S. Vice President Joe Biden during the ceremony.
Some people may not agree, not even Bond fans, about this recognition. But it is truly deserved because the song isn’t focused in the victorious figure of agent 007, but in the depths of the hidden soul of James Bond: his fears, his vulnerability and his overdue need for love.
And this was done with a melody that synthetizes the film, twisting like the sinuous octopus tentacles that symbolize the effect of SPECTRE wrapping into the soul of the man behind the spy, and a voice that shouts what the spy covering the human being will never openly tell.
The emotional complexity of the lyrics, the music and the voice is something that a spectator with an artistic eye can appreciate and enjoy while listening to “Writing’s on The Wall.” When accompanied by Kleinman’s ravishing main title sequence, it’s the way the song was meant to be appreciated.
Filed under: James Bond Films, James Bond Music | Tagged: "Writing's On the Wall", Adele, Barbara Broccoli, Daniel Kleinman, Jimmy Napes, Oscars, Paul Epworth, Sam Smith, Skyfall | Leave a comment »