Quantum of Solace (2008)
At the time I was disappointed about the lack of a gunbarrel, but 17 years later it’s all I know. We have the beautiful tracking shot across the lake which is our only breather before the frenzy starts. This is Bond’s own driving as the weapon, with the sequence serving as a grittier spiritual successor to The Spy Who Loved Me’s Sardinia chase.
The editing works the most effectively here, replicating the adrenaline and quick reaction times needed when driving at high speed. One of my favourite pre-title sequences and car chases in general. Freeze framing Bond as he opens the boot signals there’s a more daring, less traditional approach this time.
While neither the title sequence or song are among my favourites, I admire the decision for something new, young and rockier. That’s where the Craig era was before Skyfall and Bond’s career fast forward happened. David Arnold follows up Casino Royale with another solid soundtrack. If he doesn’t return to the franchise in the future he went out with a good one.
When the film does slow down we have strong character moments. Bond drinking the alcohol and pretending he doesn’t care about Vesper is one example. Mr White cackling like a traditional villain saying Quantum have people everywhere taps into the good cheese of yesteryear while establishing the threat level of the new organisation. It’s a small moment but does a lot for our imaginations.
Mitchell is one of those hidden people, revealing himself during his assassination attempt of M. The editing is too much for me here, but that’s not to say the sequence is without merit. I like the moment where Mitchell’s gunshot is shown to kill an innocent bystander, which is the type of realism we don’t often get to see. Bond pulling the rope and shooting his fellow combatant is a strong image, and brings a sense of momentary peace after a flurry of chaos.
It doesn’t last long as Bond goes after Slate. There’s heavy Connery vibes with the sunglasses and short sleeved shirt. I rate this fight highly, even if I sense an overt Bourne influence. Bond waiting for Slate to bleed out is a pretty confronting image, and the camera returning to the body before Bond leaves shows the unglamorous reality of violence. The movie is saying the man who attempted the sink drowning of Fischer is still there.
I like the way Camille is introduced in the car without any extended introduction and tries to shoot Bond. It puts their relationship into uneasy territory from the get-go. Bond’s acquisition of the motorbike is a cool takedown and I like the flippant nature he has about the whole thing.
Greene being introduced without fanfare is also an interesting choice. It’s not long before you’re feeling sympathy for Camille and hating her tormentors. Much like the Sienna chase I’m not that keen about the editing style with the boat sequence. The ending with Bond handing over the unconscious Camille is classic Bond though, and from here on out QoS has great flow.
The opera sequence stands the test of time. Stealing the tuxedo and ripping off the doorknob are perfect representations of what Craig’s Bond is all about. The facial ID phone camera shows the gadgets never really left despite them being toned down for the early stages of the reboot. White remaining seated while the others stand up demonstrates what sets him apart and why he was carried over for another film. The bodyguard falling off the roof again has The Spy Who Loved Me vibes.
The establishing shot of Talamone is gorgeous and could be the best we’ve ever had. That’s how good it is, and the way Craig sits on the speedboat is fantastic. A sequel to Casino Royale needed Mathis and for the limited screen time he has Giannini doesn’t disappoint.
A recurring theme is Bond drinking large quantities of alcohol, which he does at Mathis’ villa and then on board the plane. That’s enough to know he’s hurting inside and medicating perhaps more than usual. I like that element and think it adds atmosphere and depth to the movie.
The introduction of Fields provides humour and the competing subtitles during the taxi ride is something you wouldn’t and didn’t see in the past. Despite being a rougher incarnation, Craig still has expensive tastes and won’t stay in dive hotels. Being unable to find stationary is a brazenly obvious pickup line and that was the intention. The image of Bond kissing her back is one of the more sensual we’ve seen in the modern era and best shows the traditional playboy side of Craig’s Bond, especially before he started pursuing Madeleine Swann.
The Greene Planet fundraiser has a good vibe. Greene is shown to be the slimy liar and abusive partner he is. The police stopping Bond’s car and shooting Mathis is controversial for its dumpster burial. I see it as Bond continuing to lose friends and choosing to harden his heart, holding his feelings inside and having no choice but to go on. It’s a good scene and would be mirrored with Felix in No Time To Die.
I’ve always liked the films that depicted Bond as a pilot. I like to think the character can do it all, or can at least learn fast. The smoking engine provides a real world equivalent of the traditional smoke screen, and given the size of the DC3 Bond does all he can. I still think the free fall sequence doesn’t quite suit the Craig era but it’s not something I’m that bothered about anymore.
The Spy Who Loved Me’s residual energy is again felt with Bond and Camille’s walk through the desert, and the dirty duo entering hotel evokes Die Another Day. Goldfinger gets a big shout out with Fields coated in oil on a hotel bed. It’s a brazen homage but one I feel is deserved. I see Craig as Connery’s true successor and this liquid gold confirms we have a modern update on the classic.
The fight inside the elevator and the editing is probably how audiences felt about the Connery style at the time. Bond getting picked up by Camille again brings their relationship full circle from where it began, this time as trusted allies. Wright’s second stint as Felix was as good as the first - standing unbothered as chaos erupts around the bar is particularly great.
Greene’s desert base is serviceable and I think it could’ve been better. The unstable fuel cells dialogue gives the game away before they even get a chance to explode. Greene gets to be his most intimidating inside here though, being in full control while eating an apple.
I’m not that keen on fights being intercut alongside each other, but Quantum makes it work for the most part. This finale deals with themes of rape and potential suicide when faced with a fiery death. Greene swings that axe like an uncoordinated madman but that’s what I expected. That’s dangerous in itself.
Leaving Greene in the desert with a can of motor oil is the definition of cruelty. We don’t see the agony he endures but we can imagine it. Camille’s final scene with Bond shows she wasn’t there to be a love interest but rather a kindred spirit, someone who was also dealing with pain and seeking closure.
The confrontation with Yusuf goes a way to evolve Craig’s Bond, leaving his target alive this time and recommitting himself to active duty. Craig’s “sit down” and general demeanour brings to mind Dalton at his best and for that I treasure the scene. Interesting to note the sand of the desert is replaced by snow.
In hindsight I would have removed the gunbarrel from the ending and cut to the end credits, but that’s history. There is an untraditional, edgy rebelliousness that I don’t mind and think permeates the overall spirit of the film. Quantum of Solace gets more right than it does wrong and is undeserving of harsh criticism. It is very contemporary and based on the pioneering daring of yesteryear.
