CINEMA
Cada vez que un nuevo título se añade a la saga del detective 007, con éste van 25 a lo largo de casi seis décadas, reflota la discusión acerca de si Sean Connery, en las seis oportunidades en las cuales le cupo asumir el rol, fue el verdadero James Bond y, consecuentemente si quienes tomaron luego la posta solo alcanzaron a componer caricaturas del personaje o, en el mejor de los casos, deslavadas imitaciones condicionadas por la obligación de no quedar malheridas de entrada en su comparación con las faenas de Connery.
On some occasions there was even the impression that such controversy about the incarnation of the character created by the novelist Ian Fleming, turning his personal experience as a spy at the service of His Majesty during World War II, was one of the essential elements of the strategyFrom campaign for the launch of the erratic turns to the spy screen licensed to kill, in the same way as in the opportunity, the announced pass of Daniel Craig to his winter barracks has been the focus of innumerable rensions about withoutTime to die episode, which by the way, would give the impression of announcing the delivery of the witness to a successor, prolonging such a legend, because it is already, in tune with the times that run, when the seductive tasting, markedly, markedlymisogynistic, from Bond could diminish the blockbuster impact of the episodes to come.
That said, it is clear that Craig, in his five appearances in charge of the emblematic character, and nevertheless some notorious offers, it was probably who made the greatest effort to resume some of the essential features of the latter - to also regret having composed it with aGreater load of rudeness and smaller refinration, bias that was indistinctly taken as a necessary update or by unforgivable misrepresentation - at a certain distance above Roger Moore (7 times), Pierce Brosnan (4), Timothy Dalton (2) andGeorge Lazenby (1), the latter in the Secret Service of His Majesty (Peter Hunt/1969), a title with which the script of the new chapter has several similarities due to the way Bond is emotionally impacted, stirring his memories, by theevents that have to face.
After Specter (Sam Mendes/2015), a resounding false step, damaged by the incoherences of the script as well as for the decompromised Craig's work, did not really come out many expectations, not even in the most unconditional fans of the franchise.It was therefore not simple the task faced by director Cary Joji Fukunaga and Craig himself and from which they are barely wobbly in an action story, of course, but whose background is a misforturate personal story full of broken links, trizped illusions and hidden enigmasover countless years.The combination results in long sections very forced as the effect of a crazy juggling between a film that wants to be from James Bond but which at the same time does not feel like a James Bond movie.Something like replacing the tuxedo with overalls, useless effort that at several times leads to ask why the hell did a bond fi lm and not another?
We are part of the part, as Jack advised the stripper.Withdrawn good weather from the M16 to exhaust in quiet Jamaica, although disconsolate, his last years of life, Bond receives a request for help from his friend Felix Leiter, Agent of the CIA, to put the glove to a mysterious armed malanddangerous new technology, who keeps a scientist connoted kidnapped.The great evil on duty is Lyutsifer saf n, a rather cartoon, with his face full of scars, crazy about the desire to take revenge on the guy who murdered his wife and daughter, to whom we will see hooded in the first sequence, approaching a cabinIn the middle of a snowy hill, but then disappears for a long time from the overabundant, excessive, 163 minutes of the footage.
Persuaded to accept the mission, among other reasons because he will have the opportunity to meet the memory of Vesper, his great love, murdered in Italy at the end of Casino Royale (Martin Campbell/2006) - the promising debut of Craig in the saga -, Returning to contact Dr. Madeleine Swann, of which she became fouling in Specter, Bond travels to the homeland of Romulo y Remo; He risks the physicist in a couple of prodigal clashes in shots and explosions staged in some visibly attractive place of the Italian Peninsula; It goes to greet with some nostalgia the former head of his m of him; He gives himself a turn by Cuba, where he knows Nomi, his substitute in the British intelligence service such as the new 007; It faces several stirred persecution situations aboard cars and motorcycles, without leaving in any moment to be overwhelmed by the existential doubts that the scriptwriters understood was the most pertinent way to build a three -dimensional character, romantic, humanized as never before in definitive.
On the other hand, the lethal biological weapon built using Nanobot technology and that has in its safine hands, is an armed virus, programmed to attack anyone identifying their DNA and that of any other similar one that shares it, also points somewhat pulledOf the hairs for the screenwriters to put in line with the surroundings of this new Bondian adventures that, in reality, ends up similar to a product of Marvel Cinematic Universe, whose superhero franchises play with the appearance that each new chapter instead of beingAn independent action of action, sustained in its own dramatic and narrative springs, is some of the missing pieces of the puzzle that is extended indefinitely and may end up arm for the viewer one day, as long as he had not lost noneof the previous fragments, neither leave those who land on the screen from time to time.
Fukunaga, when you should not concentrate on the plot, accounts for a well -learned management of visual resources, field depth, assembly, some enjoyable sequence plane.It knows, it is unquestionable, where better place the camera to tension the moments of action and how to combine all these final elements to assemble a product that is advisable to see on a large screen, also to fully appreciate the evening photography of Linus Sandgren.
But all that does not reach, much less, to finish a perfect fi lm, even if the tension is, intermittently, sustained, in the few moments when without time to die it is encouraged to be fun, leaving aside the pretentious to be reflectedThe extensive section in which Craig and their interlocutors run about the impossibility of differentiating the evil of good and other similar silly, that Craig, taking everything, and to himself, too seriously, says and listens with an attracted gesture without even rehearsing acomplicit wink that warns its imposted solemnity.
To the fl outcies noted, the indigestible personi fi cation of Lyutsifer saf n for Rami Malekasí should be added as that of a good part of the secondary characters that do not even reach the level of a sperpent to fill the potholes in the bulging plot whose sense is, in summary, cumbersome discern.
Returning to the beginning.It is not going to be that the goodbye of Craig is in threat.It already happened to Connery himself when he said goodbye to Bond in 1971, after concluding the filming of diamonds for eternity (Guy Hamilton), declaring that he was tired of being pigeonholed by apoltronizing in his “comfort zone” (it would be said today) asIf I could not face other roles (and confronted them with indisputable solvency), but returned to the barges 12 years later in never say ever (Irvin Kershner/1983), title, by the way, strongly impregnated with irony.
Photos: Internet
