Authentic 2002 DAD Review
Bond's Die Another Day hits theaters with a big bang
By Shayan Bardhan
Issue date: 12/6/02
"Well, there's a name to die for," James Bond remarks halfway into the movie, as he notes a thug's name. But he might as well have been talking about himself. The MI6 agent celebrates his 40th year since the first Ian Fleming novel was published and his 20th installment on the big screen. Yet, this is not a movie stretching a franchise too thin and too far; it simply tells the world that the legacy of the charming, cool British assassin lives on. As the movie continues to rake in big money, it proves that the name hasn't lost its brand equity.
Die Another Day starts off at a high point. Amidst huge waves set off the coast of "Axis-of-Evil" member North Korea, there is a very well-choreographed scene with a trio surfing in to infiltrate a military stronghold. Soon the ski mask comes off and we get to see Pierce Brosnan -- further aged and a few more creases on that face -- ready to bust an "African conflict" diamond smuggling operation run by Colonel Moon (Will Yun Lee) and his trusted aide, Zao (Rick Yune). The sting goes bust as Zao discovers Bond's true identity and the pyrotechnics start with some really good cars being blown up. (Interestingly, they are all the current versions of old Bond cars.)
Over the years, Bond flicks have distinguished themselves, amongst other things, with possessing a really good second unit. It is these guys who have the responsibility of directing the movie's most important action set-pieces. The first of these are a hovercraft chase sequence that is incredibly simple for the mechanics of a hovercraft. The perennially sliding amphibious vehicle replaces the standard car chase with repeated handbrake turns at street corners. It's fast, crisp and well directed. And it's topped off with the most unusual ending of all: Bond is captured.
Die Another Day stood out before it was released. It was supposed to be a tribute to all those men in tuxedoes that seduced and shot their way into fame before it. Kiwi director Lee Tamahori (Once Were Warriors, The Edge) is known for his carefully detailed approach towards making a movie. He wants to set a precedent, whilst maintaining the essential ingredients of a Bond movie. The famous intro credit sequence takes a diversion from tradition and intercuts action sequences as Madonna's 21st century techno-pop tune plays in the background. The clips are of the invincible James Bond being tortured and beaten. Why, he even has a long beard to sport at the end of it all. Considering he could never be spotted with even stubble before, it surely is the biggest step taken in this movie.
Bond is eventually traded for Zao and his status is revoked by M (colder than the ice palaces seen later), who suspects her prized agent of losing his touch. Being James Bond, there is nothing that a couple of glasses of Bollinger, a few Cuban cigars and a tall Mojito (one of the many nods towards Goldfinger) can't solve. With all those frequent flier miles he's gathered over the years, he embarks on his usual tour of the world: North Korea, Hong Kong, Cuba, London and Iceland. He runs into Jinx (Halle Berry) and Miranda Frost (Rosamund Pike), a contrast in every possible way, yet never too contrasted enough for Bond's interest.
The earlier three movies by Pierce Brosnan have a lot of debatable decisions going against them. The use of the not too uncommon -- yet classy -- BMW series as Bond's car of choice was the first. Then there's the well-endowed nuclear physicist, Denise Richards. Even Michelle Yeoh looked more at home among leaping dragons in old China than in Bond's company. Die Another Day sets it all straight. Our favorite British spy returns to his favorite British car as he is presented with the Aston Martin Vanquish. The car is as elegant, breathtaking and deadly as the DB5 and the Lotus Elise that 007 used to ride before. The Vanquish is involved in the most scenic car chase scene ever, along with Zao's Jaguar convertible. The best way to describe this sequence: two great cars, cool gadgets, slick driving maneuvers and one frozen lake.
Jinx is less of a damsel in distress and more the able counterpart. She can hold her own, look sexy and deliver the requisite one-liners loaded with sexual innuendos. Halle Berry is competent and good, and would kick Dr. Christmas Jones' butt in a heartbeat if she needed to. Her voice is just a tad too light (shrill at times) and lacks the lusciousness of Honor Blackman or Daniella Bianchi.
But the person who steals the show is Rosamund Pike. She personifies the perfect uptight, cold, British foil for Bond. There is an undertone of confidence in her dialogue and a classiness lacking in all of the recent Bond girls. Her scenes with Pierce Brosnan hit all the right notes and even make us nostalgic about the countless Sean Connery bedroom scenes. Miranda Frost has an air about her that is distant and chilly (hence the name, I suppose) and is convincing as worthy of a challenge that would lure Bond.
The plot in itself is an homage to all those crazy far-fetched ones that we are used to by now. It is a mixture of Bond going rogue in License to Kill, the solar agitator and diamonds from Diamonds Are Forever, GoldenEye's deadly satellite and a mysterious business man with an inside connection to MI6 from Moonraker. By creating a teeth-clenching villain in Gustav Graves (Toby Stephens) determined about world domination, the writers stay true to the genre. Zao is interesting at first but he meets his end in an all-too-familiar and uninspiring way. The trusted sidekicks should always be dispensed of in a more innovative and memorable fashion in Bond movies. John Cleese reprises his role as Q and delivers a much-improved performance. While presenting 007 with his 20th watch, a glass shattering ring and an invisible car, he indulges in the most delightful conversational scene of the movie with Pierce Brosnan.
The script takes care to bring Bond back to his roots. Roger Moore was too comical, Dalton was too serious and Brosnan earlier portrayed 007 as too vulnerable and amusing (depending on the day). Die Another Day shows James Bond as a calculated government killer who hasn't lost his wit and suaveness. The return to a more action-oriented installment was a very conscious effort on Lee Tamahori's part.
At the end of it all -- after the gadgets, cars, bad guys and women -- it comes down to whoever plays 007. The best part about Die Another Day is that this is Pierce Brosnan's movie and not a Bond movie where he happens to be James Bond. He looks every bit of Bond and is immensely comfortable in the role. I dare say that he has finally moved out of Connery's shadow and has shaped the template for future Bonds. Here is a man who has confidently worked it down to the little details that define Bond, including the unmistakable swagger, the disarming charm and even the hairy chest. More importantly, he demonstrates his viability for more movies in this series.
Die Another Day is a great movie to watch -- both for casual lovers of the action genre and for crazy Bond fans -- as it delivers what it promises. It's a welcome break from the past, for the better, and yet it holds on to themes on which its foundation was built. There are numerous references, subtle or otherwise, to each of the past 19 Bond movies, which would definitely invite multiple viewings and drive future DVD sales. It's almost nostalgic in its rendering, yet fresh with Brosnan's adaptation, new car and Rosamund Pike's role. Even Moneypenny would be happy about this one. After all, she gets to go where no Bond movie has ever taken her before.
