NO TIME TO DIE

NO TIME TO DIE (2021)

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Eon Productions / Dir. Cary Joji Fukunaga

Overlong, mushy, the villain not present (or terrifying) enough, his demise non-spectacular – although Bond’s is? Lacking tension or suspense – movement too far against type – Bond not only decommissioned but losing his 00 number? It starts well, and Paloma (Ana de Armas) is fantastic. But to move too far in the opposite direction is to lose momentum. In parallel, a reasonable but forgettable Theme Toon suffers in comparison with Louis Armstrong. Again: why? ‘OHMSS’, the film that ‘No Time To Die’ wanted to be?

Plus, a central character again falling through ice. No! Craig’s other efforts are commendable. And ‘Quantum Of Solace’ is a great film too – greater than this. Unlikely, the director’s intention, but to kill-off a slushy and schmaltzy James Bond almost leaves this viewer relieved.

Photo: gregwilliams.com/ana-de-armas

What it is is that it is too close to reality for an audience craving escape – the greater part of its appeal. Once the subject matter matches or crosses-over what it parodies, it dies. ‘Carry On Emmanuel’ – no joke – another example at the tail-end of a franchise. We don’t want Bond on his knees, begging forgiveness, human, failable. It misses the point. It is the pretend world that saves us.

As a series that became a mirror of its time – is it now or more so? – my feeling with the Craig films is these are good action thrillers that don’t quite cut it as Bond. Somehow, something came together with ‘Spectre’. Not dismissing the mother-fixation with Judi Dench’s M, on her departure, even that is lacking (its obvious pseudo-sexual frisson). I enjoy the Roger Moore 007s as the fun intended. Connery had ‘something’ on screen, again evident in Hitch’s ‘Marnie’. However, it is the entire style of the presentation and era that cannot be replicated. ‘Licence To Kill’ with Timothy Dalton is a terrific Bond film. I question how many times the wheel may be reinvented.

A female friend lauds the emotional development of the character. However, my aunt loves “James” because “he just gets on with it.” There is the appeal to both men and women – for different reasons. In ‘OHMSS’, an emotional depth is reached but underplayed as a finishing touch. I suspect that a Post-Feminist Bond is in danger of losing his mystique.