The 007 film dilemma in 3 minutes

Image for the official James Bond feed on Twitter

Image for the official James Bond feed on Twitter

As the James Bond film franchise decides what to do next, it faces a bit of a dilemma:

Should it continue to seek more critical respect (Casino Royale and Skyfall) or should it embrace its roots, the way SPECTRE, the most recent 007 film, did?

The last two Bond films were directed by an auteur, Sam Mendes.

In 2012, Eon Productions co-boss Barbara Broccoli told ComingSoon.Net that the franchise didn’t hire journeymen directors: “(W)e’ve never been one to hire directors for hire. We always wanted someone who was a great director in their own right and a storyteller.”

Yet, in the first four movies of the series — which generated some of the most memorable scenes for the franchise — were directed by journeymen Terence Young and Guy Hamilton. Young, in particular, dealt with cost and schedule overruns on Dr. No and From Russia With Love.

Young even had part of his Dr. No fee impounded until costs were recouped at the box office because of the overruns. Bond was a much more modest undertaking in those days.

2012 also saw something that summarizes the divide between respect and tradition.

The British Academy of Film and Television Arts wanted to celebrate the 50th anniversayr of the Bond films. So Tom Jones appeared to perform the title song to Thunderball, the fourth 007 film.

The audiences was full of artistes. Yet they seemed to be having as good a time as audiences did in 1965 when Thunderball first came out.

On some occasions, respect and tradition can coincide. Something to keep in mind as Bond 25 undergoes its journey in development. Here’s Sir Tom in 2012:

The Guardian’s daft 007 proposal

Carmine Infantino's cover to Flash No. 123, "The Flash of Two Worlds."

The Guardian’s proposal for alternate-universe 007s sounds a lot like “The Flash of Two Worlds” story published by DC Comics in 1961.

The Guardian has come out with a story in effect saying don’t choose between Tom Hiddleston and Idris Elba as the next James Bond but do movies with both — at the same time.

The British newspaper cited how, “We are, after all, living in the era of Marvel’s highly successful expanded universe of interconnected movie and TV superhero stories. Star Wars’ take on the concept is moving forward apace, and Warner Bros has 10 films based on the DC Comics back catalogue planned between now and 2020.”

That sets up the meat of the proposal:

But Bond is just as big as any of the above, and right now seems even more suited to being split into multiple strands. Elba fans reckon the Hackney-born Londoner would make the perfect 21st-century 007, while Hiddlestonians see their Eton-educated man as the epitome of traditional Flemingesque toff sophistication. So why not take the opportunity presented by Craig’s mooted departure and give both versions screen time?

Here are two reasons why the Guardian’s idea is daft.

–Expanded universes and multiple/alternate universes are not the same thing.

To use Marvel as an example, the Robert Downey Jr. Iron Man co-exists in the same fictional universe as Chris Hemsworth’s Thor and Chris Evans’ Captain America. The characters have been featured in separate films and have also been in movies together. That’s what Warner Bros. is moving toward with the Batman v Superman: Dawn of Justice movie that opens this week.

What The Guardian is calling for are movies featuring alternate universe versions of Bond. Eon Productions opened the door to this concept when it rebooted the 007 series ten years ago with Casino Royale. The production company decided to start over, but kept the popular Judi Dench as M, with the explanation that Dench is playing a different version of the character than she did previously.

The Guardian is calling for an Elba 007 set in the present time and a Hiddleston Bond set in the time of the original Ian Fleming novels. Unless the two Bonds suddenly develop super powers, like the two versions of DC Comics’ The Flash, the two Bonds can never meet because they’re in separate universes.

Still, some fans might be intrigued with watching alternate takes. So let’s look at the second reason.

–Eon has trouble enough producing one James Bond movie every three years. Do you really expect it to produce, in effect, two series at once?

Michael G. Wilson, Eon’s co-boss, has talked since at least 1999 about how exhausting it is to make Bond movies. Barbara Broccoli, the other co-boss, told the Los Angeles Times in November 2012 that she didn’t want to hurry future 007 installments.

“Sometimes there are external pressures from a studio who want you to make it in a certain time frame or for their own benefit, and sometimes we’ve given into that,” Broccoli said. “But following what we hope will be a tremendous success with ‘Skyfall,’ we have to try to keep the deadlines within our own time limits and not cave in to external pressures.”

Also, even with a three-year gap between Skyfall and 2015’s SPECTRE, the scripting process was chaotic. So imagine that situation squared as Eon produced twin Bond series. And that doesn’t take into consideration other ideas put forth by The Guardian, including a Netflix series (similar to the Netflix shows featuring other Marvel characters) featuring Moneypenny.

Finally, on top of all that, Broccoli and Wilson are interested in various non-Bond projects. In that respect, they’re more like Eon co-founder Harry Saltzman than they are the other co-found Albert R. Broccoli, who never did a non-Bond film after 1968.

The Ballad of James and Madeleine

SPECTRE promotional art

SPECTRE promotional art

By Nicolás Suszczyk, Guest Writer

“As the daughter of an assassin, she can understand Bond in a way others cannot.”

This is how the official SPECTRE synopsis describes Madeleine Swann, the female lead character of the 24th James Bond adventure, about to hit the stores in DVD and Blu Ray home video formats.

Played by French actress Léa Seydoux, known for movies like Woody Allen’s Midnight in Paris, Mission Impossible: Ghost Protocol and the acclaimed Blue is the Warmest Color, her character was built by scribes Jez Butterworth, Neal Purvis, Robert Wade and John Logan to –- apparently –- give Daniel Craig’s James Bond the first and only happy ending he’s ever had in the series.

The first encounter 007 has with Madeleine Swann is at the Hoffler Klinik in Austria. Posing as a patient, Bond visits her and suspects that Swann, a doctor in psychiatry graduated in the Sorbonne who worked with Medicine Sans Frontiers, is hiding from someone in the clinic. Of course, the secret agent was led there by her disgraced father, none other than his previous Quantum nemesis Mr. White, who took his life right after Bond promised to protect her of the tentacles of SPECTRE.

She first resists to Bond, but ultimately she sees he’s the only one who can keep her alive after her hideout clinic is discovered by SPECTRE agent Mr. Hinx.

Much in the way of previous Bond girls Natalya Simonova (from GoldenEye) and Octopussy, she dislikes 007’s violent life, seeing him as a man who is the same kind as her father: determined to leave him right after he returns for a final assignment to stop Denbigh, the mole placed at the British Intelligence by the organization leader Franz Oberhauser, aka Ernst Stavro Blofeld.

There is, in contrast to the previous affairs of Craig’s Bond, a happy ending this time as 007 opts to leave the wounded Blofeld alive instead of shooting him. As the Special Forces arrest the SPECTRE leader, the happy couple walk together -– holding hands — across the Westminster Bridge.

Madeleine Swann is no match for Vesper Lynd, Tracy Di Vicenzo or even Paris Carver when it comes to exploring Bond’s human side. Yet, the idea of Madeleine’s persona was originally very good and sadly more of her connection with 007 would have been explored a lot better.

“Is this really what you want? Living in the shadows, hunting, being hunted, always looking behind you? Always alone?” the doctor asks a white tuxedo-clad Bond as they have a soft-light dinner travelling in the Oriental Desert Express trough Morocco.

In one of the first drafts of the (leaked) script, the couple had a conversation that included Vesper, Eva Green’s ill-fated character from Casino Royale, the film that opened the arc that SPECTRE has apparently closed.

“You’re not like my father at all. He was cold, but you’re wounded,” the doctor said. As she asks him if he has ever been in love, he replies “Once. She died.” Quickly, he tells her he “dealt with it.”

The Bond-Swann relationship would have had a bigger emotional impact if more deep dialogue was added as the first draft shows. If Vesper Lynd and her death were the main subjects of the first two films of Craig era, the girl who makes him move on should have deep-delved into his emotions.

Show the audiences how Vesper was important then and why Madeleine is important now. A contrast between the two characters and how Bond slowly recovers what he lost during that black day in Venice nine years before. In the same way the connection between SPECTRE and the previous villains isn’t fully explained, the importance of Madeleine can’t overshadow the image of Vesper in an emotional context.

The barn scene between Bond and Tracy in On Her Majesty’s Secret Service, or the Pierce Brosnan-Izabella Scorupco scene at the Cuban beach in GoldenEye, or Bond’s love declaration to Vesper at the Lake DiGarda in Casino Royale, just to name a few scenes. These are wonderful examples on how to explore Bond’s feelings.

SPECTRE is a celebration of all things Bond in terms of excitement, perhaps the closest one to “a classic one” so far. Daniel Craig is a wonderful actor and the role now fits him as a tailored Tom Ford tuxedo. Léa Seydoux also has great acting talents as she proved in movies such as The Lobster, Blue is The Warmest Color and La Belle Personne.

The James Bond and Madeleine Swann relationship is not wasted at all. But, surely, should have been better exploited and contextualized.

SPECTRE box office and its future implications Part II

SPECTRE promotional art

SPECTRE promotional art

By Gert Waterink,
Guest Writer

SPECTRE while one of the most popular movies of the year, won’t be as profitable as 2012’s Skyfall. SPECTRE cost more to make and appears headed to fall short of Skyfall’s $1.11 billion box office.

Part I looked at some factors that may have contributed to this. What follows is an examination of additional issues.

Too liberal producing style?
Current Bond producers Barbara Broccoli and Michael G. Wilson seem to apply a more liberal working ethos as compared to their father/stepfather Albert R. “Cubby” Broccoli. The creative control over the Bond franchise has become much more a “shared responsibility” between the producers and the biggest cast- and crew members involved.

Daniel Craig is now a co-producer, a title no other Bond actor achieved. Connery wanted to be a full partner, but Cubby Broccoli resisted. Directors seem to have gotten more freedom with their desired cast and crew choices. And now bigger (and more expensive) stars have joined the Bond family and their wishes seem to have become more important too.

The Bond producers had to take some radical measures to rejuvenate the Bond franchise. With Skyfall and Casino Royale, this more liberal producing style really helped. But it does have its flaws, too. Creating the “perfect Bond film” has always been precarious.

With a more liberal producing style, you make that notion prone too much to more different interpretations. One actor wants the film to become a perfect closure in case he leaves the franchise after SPECTRE whereas a producer is adamant on continuing the Bond franchise.

The ambition to make a “perfect Bond film” with SPECTRE was there. For the most part it worked (I gave it 4 out of 5 stars! 7th out of 24 on my ranking list now!). But in the process, the different interpretations of such resulted in a slightly less coherent film near the last 20 minutes of the film.

The Sony leaks
The Sony leaks are a perfect example of a very unwanted bit of publicity. They created a strong narrative that was driving the attention away from the actual film.

Once actor Idris Elba was mentioned by former Sony executive Amy Pascal, the questions from movie journalists shifted away from the actual production of the film. Idris Elba became the “main object of desire” as opposed to current Bond actor Daniel Craig. And perhaps this facilitated some of the negative remarks made by Daniel Craig himself (“I’d rather slash my wrists”).

Secondly, the entire writing process of SPECTRE became public. While this shouldn’t be directly damaging to a film – the production crew of Mission: Impossible Rogue Nation started principal photography without a finished script — it didn’t help the publicity of SPECTRE. Within the movie journalism community, “unfinished draft screenplays” were easily read as or changed into “final screenplay is all over the place.”

No one can prove if the Sony leaks damaged the publicity of the film, but it did shift the attention away from the tightly scripted Publicity & Advertising campaign that Sony/MGM/EON envisioned, making the P&A budget more prone to risk.

Reviews
The Sony leaks also made its way to review aggregate sites like Metacritic and Rotten Tomatoes. It is not hard to find some reviews in which the narrative of the Sony leaks are part of the reviewer’s arguments for the quality of the finished film. Simply put: The ongoing narrative of the leaks made its way into reviews. Make no mistake, P&A departments take great pride in good reviews. They are especially important during award screenings.

Conclusion
It is only logical now that the next Bond film won’t and can’t be as expensive as SPECTRE. With such high cash investments ($350 million) and in comparison low box office returns ($820 million through this weekend), the factual, real profits will be simply too low.

Bond films are an A-brand in the movie business, so financial flops are out of the question. But they can become worrisome investments. The Bond producers know that and have downscaled the production budgets on numerous occasions. Take for instance the movies that followed You Only Live Twice and Moonraker, This will happen now with Bond 25. The rumors that director Guy Ritchie, who is now quite cheap in the market, comes onboard, should therefore be taken seriously.

Barbara Broccoli and Michael G. Wilson need to be careful with using (older) Bond films as a template for future success. The Bond film series is 53 years old. So what may look very familiar, and fun, to Bond fans, might look bland or unimpressive to general audiences. Every new Bond adventure therefore needs to feel entirely fresh. It needs to be a good Bond film but also a good film regardless of the franchise tag.

In an era where movies have shorter cinema runs, it should especially appeal to non-fans. Skyfall has proven that. Although it seems difficult to produce such a movie, I think it’s easier than certain filmmakers want us to think.

Also, the Bond films don’t have the advantage of an extended cinematic universe. It needs to be an instant hit every three years. Unlike Marvel, the Bond franchise can’t get publicity assistance from, let’s say, a Felix Leiter spin-off. With a tighter focus on the above factors, –-original/fresher action, focus on hit scoring anthems and music, tighter creative control & perhaps downscaling on casting/crew budgets -– one can better fight off those unwanted external factors like these ghastly Sony leaks.

PS: I do think it’s a very good idea to include Ian Fleming’s “The Man From U.N.C.L.E.” in the negotiating process if MGM and EON Productions will sit together with Warner Bros. for a co-financing/distribution deal. There’s no harm in sharing financial risks between Napoleon Solo and James Bond.  :-)

SPECTRE box office and its future implications Part I

SPECTRE promotional art

SPECTRE promotional art

By Gert Waterink,
Guest Writer
SPECTRE has grossed more than $820 million globally since it premiered in late October. That looks like a very solid box office figure. And it is, just like its predecessor, Skyfall, one of the most successful non-3D, non-Sci-Fi films of the year.

Looking at the leaked production budget of SPECTRE, the team of Sony Pictures/MGM/EON Productions were obviously preparing for another certified $1 billion blockbuster. With a budget of around $350 million ($245 million plus a publicity and advertising budget of $105 million) SPECTRE is almost as expensive as Avengers 2: Age Of Ultron ($330 million: $280 million plus $50 million P&A), the upcoming Star Wars: The Force Awakens ($400 million: $200 million plus $200 million P&A) and Pirates Of The Caribbean 4: On Stranger Tides ($410 million, including P&A).

But so far SPECTRE’s actual global box office gross doesn’t compare at all with the latter three blockbusters. Last year box office pundits were putting SPECTRE, quite logically, in the field of certified $1 billion blockbusters. And I actually thought the same.

I predicted in December 2014 that SPECTRE should be able to gross $90 million more than Skyfall, thus reaching almost $1.2 billion globally.

As it stands now SPECTRE only broke even when it grossed passed the $700 million mark. There’s an outside chance that the film will gross $900 million globally.

Production budgets have never been an issue for Bond movies. Still, the earnings of SPECTRE are OK-ish at best and disappointing from a more negative viewpoint. So could these slightly disappointing earnings have been prevented? And what should be done now? Will there be a more radical downscaling in the production budget of Bond 25?

Like with previous Bond films, a lot of factors have to be taken into account to understand why it became such a huge success…or why it underperformed in the case of SPECTRE.

The Action
Personally I liked the action sequences in the film, as it felt like a wonderful throwback to the tongue-in-cheek car/helicopter/airplane chases from the Moore/Brosnan era. They were infused with lots of funny gags and witty lines. The “love affair” between the Aston Martin DB10 and the baby blue Fiat 500 caused unexpected laughter from my side. I recognized it as “Bond-esque.” But that’s the kind of action that perhaps didn’t work as well with “normal” audiences.

The freerunning sequence in Casino Royale introduced action that hasn’t been done before in a Bond film. Moreover, the stunts in Casino Royale and Skyfall felt like they were culminating into bigger dangerous consequences. It doesn’t mean that you have to get rid of gadgets and a sense of fun, but in terms of cinematography, editing and execution, the action in SPECTRE could have felt fresher and more original for a broader audience while still maintaining the grittiness and danger of the previous films.

Some examples: Skiing, snowboarding or perhaps even paraskiing could have maintained the “physicality” from the previous three films, thus adding more high-stakes danger to the action. One could think of a snow variant of freerunning (think of filming this with GoPro camera equipment). Also, the car chase could have felt like a tighter non-stop rollercoaster thriller, like what Peter Yates executed so wonderfully with Bullitt, or John Frankenheimer’s tightly scripted stunts in Ronin.

Overall, the stunts in SPECTRE worked perfectly within the Bond frame and did add some wonderful humor. But it could have captured the imagination of those people who are not so familiar with Bond slightly better. A missed opportunity? Perhaps Murder On Wheels (Ian Fleming’s idea for an episode of a never-made Bond television series) will give the Bond producers some inspiration?

Music as Incentive
Adele’s title song for Skyfall gave Bond its third Oscar in 50 years. The title song, co-composed by Paul Epworth, is bound to become a future evergreen. Although this can’t be proven yet, the hit success of “Skyfall” became a welcome publicity incentive for actually watching the film.

One can say that it’s almost impossible to fabricate similar free publicity for SPECTRE. The producers tried this however with another big name in British music: Sam Smith. Although I appreciate the song –it works very well with the main titles– the people didn’t like it as much as Skyfall. Perhaps the Bond producers should have applied some tighter creative control on the music department as a result of Skyfall’s success. Sam Smith is no Adele. Nor is he a Paul Epworth. But perhaps Paul Epworth could have been brought back with a different artist?

Marketing is the sole keyword nowadays in picking a Bond song performer. Ever since John Barry left the series, Bond themes have been (mostly) produced separately from the actual soundtrack. But especially now one can also see its limitations with regard to publicity. And the publicity potential therefore wasn’t fully exploited. Because in the end you still need to have a smasher of a Bond song.

To be continued

007 movies listed by number of tickets sold, 1995-present

Skyfall teaser poster

Skyfall teaser poster

The BOX OFFICE MOJO website has tools that let you look beyond unadjusted movie box office. You can also, for example, get a listing (for the U.S. and Canada, at least) of the estimated number of tickets sold.

There are various formulas for adjusting box office figures for inflation. But tickets sold is basic. So we decided to take a look back at the number of tickets sold for the eight 007 films of the past 20 years. Home video was firmly established, as opposed to the early years of the Bond series, where it didn’t exist and movies could get re-released.

Using this measure, 2012’s Skyfall, by far, sold the most tickets among 007 films in the region. After that, there’s less difference that the unadjusted box office figures might suggest.

What follows is each movie’s total U.S.-Canada tickets sold, with the number in parenthesis the number for its opening weekend. The average ticket price for each year is also listed. The total figure for SPECTRE is through Nov. 23.

GoldenEye (1995): 24,403,900 (6,024,100); average ticket price, $4.35

Tomorrow Never Dies (1997): 26,911,200 (5,477,800); average ticket price, $4.59

The World Is Not Enough (1999): 24,853,800 (6,991,900); average ticket price, $5.08

Die Another Day (2002): 27,584,000 (8,101,900); average ticket price, $5.81

Casino Royale (2006): 25,428,700 (6,234,100); average ticket price, $6.55

Quantum of Solace (2008): 23,449,600 (9,405,100); average ticket price, $7.18

Skyfall (2012): 37,842,000 (10,977,000); average ticket price, $7.96

SPECTRE (2015): 18,085,500, through Nov. 23, (8,176,900); average ticket price, $8.34. UPDATED FIGURE: 22,996,5000 through March 27, 2016.

UPDATE: Out of curiosity, we went back to the earliest days of the series. Remember, these movies had re-releases, in some cases several re-releases. But in the cases of Goldfinger and Thunderball, you get an idea that Bond was a *very* big thing in the U.S. in the mid-1960s. Also, there was a big decline, relatively speaking, when You Only Live Twice came out. At the same time, Twice sold almost as many tickets in the U.S. and Canada as Skyfall did. Anyway, here’s a sampling:

Thunderball (1965): 74,800,000 (no opening weekend figure available)

Goldfinger (1964): 66,300,000

You Only Live Twice (1967): 35,904,000

On Her Majesty’s Secret Service (1969): 16,038,400

Diamonds Are Forever (1971): 26,557,300

Live And Let Die (1973): 19,987,500

Moonraker (1979): 28,011,200 (2,832,000 opening weekend)

Octopussy (1983): 21,553,500 (2,826,200)

Licence to Kill (1989): 8,732, 200 (2,210,300)

UPDATE II: To give that Thunderball figure some perspective, the top box office movie in the U.S. and Canada so far this year has been Jurassic World. It sold about 79 million tickets, according to Box Office Mojo. While comparisons that far apart are dicey, it’s fair to say Thunderball was in the same general league in its day. But before Bond fans brag too much, The Sound of Music (released the same year as Thunderball and also re-released several times), sold more than 142 million tickets.

The Chronicles of SPECTRE: SPECTRE (2015)

Christoph Waltz in SPECTRE

Christoph Waltz in SPECTRE

By Nicolas Suszczyk, Guest Writer

SPOILERS AHEAD!
No analysis of the chronicles of SPECTRE would be complete if we didn’t examine the latest James Bond outing, SPECTRE, the fourth 007 film starring Daniel Craig and the second directed by Sam Mendes.

Back in December 2014, when the film title and cast were announced, Mendes told the press that Bond fans “knew what it was about” as the title was revealed. It indeed featured the old Bond nemesis, the organization Sean Connery and George Lazenby’s portrayals of 007 fought in the 1960s, the one lead by Ernst Stavro Blofeld with Dr. No, Emilio Largo, Rosa Klebb and Fiona Volpe as proud agents loyal to the cause.

But of course, much like the classic Bond elements and characters throughout these four Daniel Craig entries, the organization has been rebooted and adapted to the 21st century.

James Bond kills Marco Sciarra, an Italian SPECTRE agent operating in Mexico, where he planned to blow up a stadium. Bond attends Sciarra’s funeral in Rome. Bond meets Sciarra’s widow, Lucia (Monica Bellucci). The woman leads 007 to a meeting at the Palazzo Cardezza, where Sciarra’s replacement is discussed.

Harkening back to the SPECTRE board meeting in Thunderball and the Blofeld’s briefing with Rosa Klebb and Kronsteen in From Russia with Love, the organization leader joins the meeting as the members stand up in respect.

Back in 1965, SPECTRE had to steal atomic bombs or start a war to rule the world. In 2015, this new SPECTRE attempts to control the intelligence services worldwide through the Nine Eyes program championed by Max Denbigh (Andrew Scott). Denbigh is also known as C and is the leader of MI5 –- now merged with MI6 –- and a headache for M (Ralph Fiennes) and Bond.

Under the argument that the 00 section is obsolete and new technology and drones can do the same job a man can and better, C convinces the head of nine intelligence services from across the world to join the integrated network. Many of the services were “convinced” after some terrorists attempts occurred in their countries, perpetrated, of course, by SPECTRE. One of them was Sciarra’s ill-fated plan to blow a Mexican stadium during the crowded “Day of the Dead” celebration.

“World domination, the same old dream,” James Bond said when Dr. Julius No explained his plan to topple American rockets from Cape Canaveral to dominate the world.

The same old dream is back with a twist now. Worldwide domination is, this time, more subtle. It will be achieved through moles in the intelligence services and by having SPECTRE controlling everything.

It’s fair to assume the redefinition of SPECTRE for these times has been done in a brilliant way.

Guerra, a Spaniard member, offers to take up the late Sciarra’s assignment: eliminate a certain “Pale King.”

Another agent, the muscular Mr. Hinx, shows the leader he’s more suitable for the job. Hinx blinds Guerra with his thumbs and breaks his neck. At this point, 007’s cover is blown by the leader himself: Franz Oberhauser (Cristoph Waltz), his foster brother.

Later, James Bond is captured by the villain while visiting his lair inside a crater in Morocco, the control center for the Nine Eyes program. The SPECTRE chief provides 007 a painful torture taken from the pages of Kinglsey Amis’ Colonel Sun 007 continuation novel. As a white Persian cat approaches the captive secret agent, Oberhauser reveals his new name: Ernst Stavro Blofeld.

Cristoph Waltz’s incarnation proves to be the perfect adaptation of the mastermind for the 21st century: sinister, deadly, shadowy and creepily funny at the same time. Forty-eight years after Donald Pleasance showed his bald and scarred face to Connery’s Bond inside that volcano lair in Japan in You Only Live Twice, Waltz is equally cold-blooded and reminiscent as the iconic villain.

This time, the screenwriters (John Logan, Neal Purvis & Robert Wade and Jez Butterworth) added a twist. This Blofeld is Bond’s foster brother. This Blofeld killed his father (Hannes Oberhauser, whose connection with the young 007 can be read in Ian Fleming’s Octopussy short story) in revenge for the latter’s preference for the “orphan with the blue eyes.”

Through this series of essays we saw how, after Thunderball, Blofeld eclipsed SPECTRE as the main villain.

In this case, the new Blofeld is linked to the events of the three first Craig films with villains Le Chiffre, Dominic Greene and Raoul Silva being agents of SPECTRE. The terminally ill Mr. White was a high ranking member who disobeyed Blofeld and now he’s hiding on his Austrian retreat.

The dialogue between Bond and his old enemy exposes how threatening this new SPECTRE is.

It has no compunction in killing innocent relatives of their targets or former associates –- White’s daughter Madeleine and Sciarra’s wife Lucia, for example.

And, in the same way Telly Savalas’ Blofeld was responsible for Tracy’s death at the end of On Her Majesty’s Secret Service, Waltz’s Blofeld declares himself as “the author” of all of Bond’s pain by showing his implication with the demise of Vesper Lynd and (Judi Dench’s) M.

“My wounds will heal, what about yours? Look around you James: everything you stood for, everything you believed in… are ruined,” Blofeld points out revealing a scar affecting his right eye –- Bond’s doing during his escape from his imprisonment in Morocco.

SPECTRE has been redefined in an exceptional way for this new era. The “four cornerstones of power” under the acronym weren’t mentioned, and as a matter of fact one of the script drafts linked the name to a platoon integrated by Oberhauser and Mr. White during their wartime activities.

Nevertheless, this new SPECTRE deals with counterintelligence, terrorism and revenge. The Nine Eyes is the organization’s way of infiltrating the worldwide secret services while using terrorist attacks to convince those nations undecided to join C’s network. On the other hand, its leader has a personal vendetta against 007.

To those who wondered why the previous Bond villains looked a bit weak, the answer is in the return of threatening organization and 007’s greatest nemesis of all time: Ernst Stavro Blofeld.

Follow

Get every new post delivered to your Inbox.

Join 235 other followers