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Film Review: Quantum of Solace

Quantum of Solace (2008; Directed by Marc Forster)

Marc Forster’s Quantum of Solace, despite its marbles-in-the-mouth title, is quite probably the leanest and meanest James Bond adventure. It’s also the most audacious attempt at repositioning the prevailing political subtext of the archetypal spy movie franchise to the left side of the political spectrum.

The Bond films are an action-movie property whose reification of its deep-state intelligence agent protagonist and his cloak-and-dagger espionage activities aligned with the consensus political ideology during the Cold War period from which they arose. But those assumptions became more strained after the fall of the Iron Curtain: the neoliberal-era Pierce Brosnan installments became increasingly paint-by-numbers action blockbusters while stretching credulity with its villains and their non-state-aligned diabolical plots, and the jocularly casual Britishness of Bond’s MI6 would come across all wrong in a time when the state’s vast intelligence apparatus seems ever poised to be turned on its own citizens as equally as on its enemies.

Quantum of Solace sees James Bond (Daniel Craig) seeking mostly-disavowed personal vengeance against the killers of his paramour from Casino Royale, Vesper Lynd, but in the process, he exposes and tears to shreds a black-money collusive feedback loop between resource-hoarding transnational corporations posing as environmental stewards, cruel Third-World military dictators, and a shamelessly self-serving CIA. Even speaking of such a shadow conspiracy of powerful forces trading the fates of millions for suitcases of cash smacks of shaggy-haired left-wing crusading and overheated, biased Oliver Stone projects. But in Quantum of Solace it pretty much lands, and might have stuck, too, had its follow-up Skyfall (while undeniably a beautiful film under the behind-the-camera supervision of director Sam Mendes and cinematographer Roger Deakins) backed up its ideological thrust and not reverted to a cynical Cheneyist 1% doctrine of national security absolutism in the face of (conveniently) ever-present threats.

Daniel Craig’s iteration of 007 debuted in Casino Royale as an efficient, almost heartless killing machine (often, it must be said, at the cost of his equally deadly charm), and that brutal efficiency, when taken quite near to its logical extreme as in Quantum of Solace, makes Bond a representative instrument of the national security superstructure. Quantum of Solace, with a screenplay by Paul Haggis, Neal Purvis, and Robert Wade, openly acknowledges the historical role of intelligence agencies (specifically the CIA) in masterminding destabilizing political power plays around the world (but specifically in South America), and it also references British imperialism and its dire effects across the globe. In order to make James Bond a species of inadvertent social justice warrior in such a milieu, he must be disassociated from that superstructure and its mucky history as much as possible.

Hence, 007 goes rogue in his quest for Vesper Lynd’s killers, against the orders of his steely superior M (Judi Dench), who becomes progressively more frustrated with the growing body count produced by her star agent. Careening from a furiously visceral car chase in Italy to a white-knuckle pursuit over the rooftops of Siena during the Palio, from a Haitian harbour to a black-tie open air Austrian opera and finally to Bolivia to stop a coup and a sweeping corporate resource theft, Bond joins forces with a Bolivian agent with a grudge (Olga Kurylenko) to target a would-be dictator (Joaquín Cosío) and a flashy CEO and secret power-broker (Mathieu Amalric). The action sequences are pulse-pounding affairs (although those early in the film in Italy set too high a bar for sheer exhilaration to be matched later on), and Bond does get around to seducing one beauty who crosses his path (Gemma Arterton), although this is included perfunctorily, as a necessity for these kind of films to rush through, as in most of the Craig-era Bond movies.

Whatever ideological course-correction back towards orthodox national-security discourse norms its sequel performed, Quantum of Solace manages to be a robust progressive critique of plundering elites and power-brokers as well as a propulsively exciting action blockbuster. Its political themes coalesce in internally consistent ways and give James Bond, ruthless tool of faded British imperial muscle, a certain Robin Hood edge of righteous justice. It makes a strong case for an alternate potential path for the character, which is not something you could have said of, I don’t know, Moonraker or what have you. This, at least, makes it a unique and notable entry in the half-century annals of Bond films.

Categories: Film, Reviews
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