When a franchise becomes over-extended, it becomes a parody of itself. It reflects incredibly poorly upon Quantum of Solace that the most memorable moment of the film is a reference to an earlier James Bond story: like Auric Goldfinger covered Jill Masterson in gold, Dominic Greene covered another one of Bond’s failed loves with crude. (Similar to how Halle Barry’s emergence from the ocean is more a nod to Ursula Andress and Doctor No than a part of Die Another Day.)
The visual is striking because of the earlier scene that it parodies; Agent Fields appeared far too briefly for the audience to form any connection with her and her death is more or less meaningless in a film where many characters wind up like her.
The problem is symbolic of the film’s faults. If the explosions would slow down for a second, the audience could better relate to Bond and his desire for revenge after Casino Royale. Sean Connery and Roger Moore’s Bonds tried to unravel the mystery of S.P.E.C.T.R.E., Daniel Craig’s protagonist is charged with exposing the Quantum criminal syndicate, led by Mr. White. Although Bond is focused on revenge in this film, the screenwriters missed the point that the story is supposed to be a mystery.
For the film to be truly excellent, there are two alternatives. The first option is that the audience connects emotionally with Bond and wants him to avenge his lover. When Bond succeeds, the audience realizes that his passion has misguided him; despite achieving his goal, he gains less than “a quantum of solace” and continues as the tragic hero that Ian Fleming designed. Or Bond gradually uncovers clues that lead him towards Quantum, permitting the audience to become familiar with the characters and increasing the desire to see the resolution.
Either way, there is not enough exploratory dialogue and dramatic scenes for the audience to connect with Bond and get a better idea of the criminal organization that he is trailing. Quantum of Solace is a cool medium that requires extensive audience participation to make sense of and fill in the blanks.
Nonetheless, the film is well directed. Marc Foster makes some interesting dialogues. When there is a shoot-out at the opera house, cutting the sound puts the viewer in Bond’s perspective. The shots fired, breaking glass, and crashing tables would become so overwhelming that his body would ignore them in order to get out of the building alive.
Quantum of Solace offers some interesting political commentary. Over the years, Bond films have featured villains endeavouring to control the gold markets, the media, and now the water supply. In this movie, alliances shift more quickly. Countries don’t seem to care if they must do business with a criminal if it meets their needs.
When Bond tells “M” that oil isn’t the motive for this situation, she asks him if he is sure and shows him Fields’ body. It’s not that she is covered in crude that is the message, it is the fact that Quantum can get to anyone, anywhere. Like Mr. White says, they have people everywhere. The message from the murder is that Quantum is the organization in control.
Apparently, Daniel Craig will complete at least a trilogy as James Bond. He performs well as a character who is supposed to be largely disconnected from his emotions. There are some intense actions scenes which are more or less consistent, although done to excess. Craig performs many of his own stunts and his character shows the scars of a life as a spy.
Screenwriting in the Bond franchise remains a concern. Although one of the screenwriter in the last two movies possesses an Oscar, there were serious flaws in Quantum of Solace. This is the second movie in the past three Bond films where 007 has been suspended and stripped of his “00” status, forced to regain the trust of “M” and her organization.
How many time musts Bond team up with a woman out to kill the same man that he is investigating? Aren’t there other ways to meet people? Surely, there a new directions to take the next film and hopefully the final chapter of the Quantum mystery will prove more satisfying. *