Month: November 2015

The Sound of the Devil: Talking with Nicolas Winding Refn

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When I called Mr. Refn this morning, he was dropping his kids off at school. It’s hard to imagine the Danish auteur behind hyper-violent operas like Bronson, Drive, and Only God Forgives as Daddy, there’s a certain kind of pleasant meekness about him which is every so often imbued in his films and, even more, his soundtracks. That kind of vulnerability is also present in the documentary his wife, Liv Corfixen, made My Life Directed by Nicolas Winding Refn, where we get to see the director at a point of vulnerability that is, as the title suggested, only a window that Ms. Corfixen really gets to observe.

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Ghost in the Shell: Sam Mendes’ “SPECTRE”

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Spectre-Oberhauser-played-by-Christoph-Waltz

Bond: Everyone needs a hobby…

Silva: So, what’s yours?

Bond: Resurrection.

Skyfall (2012)

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The dead are alive.

SPECTRE (2015)

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You only live twice;

Once when you are born

and once when you look Death in the face.

– Ian Fleming, after Basho.

The ideological purpose  of the last three James Bond films have lingered like the smoke trail from a freshly fired gun, and traveling in reverse, it’s only then that the intangible line becomes more solid. Sam Mendes’ SPECTRE is that bullet, firmly establishing that the Daniel Craig Cycle is, and always has been, about James Bond not only as character, but as icon. For Craig’s tenure as 007, it’s not merely about rewriting an imaginary canon, but deconstructing James Bond the cultural institution and construct as a whole.

SPECTRE gives you two directions, neither necessarily mutually exclusive: either Craig’s Bond films are about the emotional arc he travels, or it’s about the relevance of bothering to construct an emotional arc for him in the first place. Read the rest of this entry »

You Were Expecting Something Else?: Re-ranking the Bond Themes

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Quantum-of-Solace-1640As I intimated back in 2012, “The Bond Sound” as we know it is mostly a cultural construct that was borne more out of John Barry’s orchestrations from the 1960s than much else to do with the theme songs in and of themselves. But, another few years and another couple of Bond tracks later, and I guess I should regroup and rerank them all, because that’s what you do when a new thing comes out, right? Listicles, man, listicles. My grading criteria shifts from son to song because I was rejected from SPECTRE membership, but it’s on two levels of consideration: a) is this a good song? And b) is this a good song for the Bond films? Because this is what you do when you have a lot of time on your hands. Read the rest of this entry »