Skyfall ★★★★

Bond-a-thon to "No Time to Die"

Step 26 of 27

Watched on Blu-Ray

"I may hit Bond!" - "Take the bloody shot!"

Bang. A rigid body falls backwards into the depths. A loud splash as he hits the clear water surface.

"Agent down!"

Silence. Then Adele's angelic voice, which starts its legendary world hit with the melancholic words "This is the end".

"Skyfall" begins with a thunderous thunderclap, a real punch, and announces in the psychedelic title sequence, which is peppered with cross symbols, graves, skulls and shadow fights, where the journey will lead to. As in the next part, "Spectre", in which the (sham) deconstruction of the secret services - albeit spiced up with much more humour - is an elementary component, there is a neat sawing of Bond's chair. His entire role is up for discussion. Can he still do it? Or is he expendable after all? Daniel Craig will give the unequivocal answer in the end. With frightening authenticity he mimes a worn-out and unshaven agent with bloodshot eyes, who dares a more or less voluntary journey into the past for rehabilitation and thus has to deal with his roots, his childhood and himself.

M, too, who the great, passionately acting Grande Dame Judi Dench at the same time breathes the warmth of a loving mother as well as the iron strictness of an MI6 leader into, advances to become a central figure. She fights against old ghosts, or more precisely against an ambivalently malicious and bizarre Javier Bardem, who seeks to kill her and opens up old wounds, against her own conscience, which is never quite clear after serious decisions, and finally, like Bond, against emerging doubts about her own functionality.

The Bond series never struck a more serious note. Never has the inimitable range of backdrops, which 007 takes this time across the highly technical Far Eastern metropolises of Shanghai and Macao, an oriental bazaar, a deserted, old colonial island and the mist-filled highlands of Scotland, turned out so bleak. Never in 50 years of James Bond has the potential for inner conflict been given so much importance, without ending up as an action-free psychogram. For where Sam Mendes at the beginning still poetically provocative and with a powerful female voice throws the end of a screen hero into the room ("This is the end..."), he pays homage to this very figure of light, sublined by a booming score, in a powerful finale. The spirits are driven out. Tabula Rasa. A new era has begun.

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