Skyfall Rises to Break UK Box Office Record

Skyfall has become not only the highest grossing Bond film but also the biggest film in UK box office history. No 3D, no blue aliens but a healthy dose of realism have ensured that this James Bond film has made over £94 million in just 40 days stealing James Cameron’s Avatar’s crown which previously held the record for its accomplishment in 11 months.

What was hoped to be a year of jubilation for James Bond with the character celebrating 50 years, has exceeded even the producers expectations and the uncertainty that clouded the franchise given the mixed response to Quantum of Solace and stalled starts for Skyfall, is a distant memory of the past. Skyfall had a lot riding on it as the last Bond film was released four years ago and did not receive the enthusiastic roar of approval that Casino Royale secured. The Olympics helped officially remind everyone of a British institution flying the flag proud but never afraid to use his license to kill. Daniel Craig’s appearance as part of the Olympic opening ceremony – one that celebrated British culture and pride – saw him serving both the Queen and country very literally to a rapturous response that helped kickstart enthusiasm for a new Bond film. For those unaware of what the film’s title was, they only had to describe what Craig was doing in the ceremony to get the hint: Skyfall.

As teasers for the 23^rd film emerged and trade publications congratulated the longest running and most successful film series in history, DVD and bluray box sets were released containing every Bond film to date with a slot free for the new movie. Television tributes to the character and a book by Sir Roger Moore on his experience with James Bond all contributed to keeping the tradition and value of Bond in the public eye, but nobody knew what to expect of Skyfall.

When it was announced the title song would be performed by Adele and the media dissected the various brand endorsements that had become part and parcel of getting the film made, screenings confirmed that something very special had happened with Skyfall: Bond had got his swagger back.

Straying slightly from the formulaic Bond which has girls, gadgets, wisecracks and impossible threats, Skyfall forced the character to crash and burn becoming the underdog who was fighting to prove himself to MI6 as well as the world. Characterisation went a level further with themes exploring the human element of being an agent, Bond’s background and upbringing, M’s maternal role to the agents who work for her and how retiring from the field is usually not voluntary and doesn’t come without repercussions. Skyfall returned to Bond’s roots, paid homage to where the series started and reintroduced two throwbacks that were iconic in their initial incarnations (Moneypenny and the original Aston Martin). The film also perfected a maniacally-layered villain who sought to avenge his own death and abandonment by targeting the person he held responsible, M (Judi Dench). Ironically the killed and resurrected but-not-deemed-fit-for-duty Daniel Craig’s James Bond is the only one who can defeat agent-gone-bad Raoul Silva (chillingly portrayed by Javier Bardem). The Bond girl this time reflects a façade of glamour with Berenice Marlohe delivering a killer performance as Severina – a woman who Silva saved from the Macau sex trade only to be left with even less free will and required to be a slave to his master plan. We don't witness his treatment of her except in the scene where he discards her but her eyes shiver with fear when she begs Bond to free her from captivity and what is not said conjures up a fearful story.

The writing team of Neal Purvis, Robert Wade and John Logan have worked to ensure characterization, themes, subtext and narrative devices used to pull together the world of Skyfall are more complex than any previous Bond has been, and director Sam Mendes together with Roger Deakins weave the tapestry with pure visual delight. Couple this with extremely strong performances by Craig, Bardem, Marlohe, Dench, Ralph Fiennes and Naomie Harris and you have a very strong James Bond film coming together. The icing that has also helped make repeat viewings a joy is veteran editor Stuart Baird’s ways of keeping the film fast-paced and a pleasure to sit through and experience. Not an action film from start to finish, Stuart and Kate Baird’s meticulous editing ensures the suspenseful spy thriller heavy on action and drama in equal doses resonates with the magic that movies are made of.

Pre-orders for the bluray release of Skyfall have already shown strong figures despite the film still performing well at the UK box office. With the talent of the film now receiving financial rewards for the success of the film and more promised depending on how it fares during award season, the very big gamble that began on shaky ground has more than paid off allowing all associated with the film to breathe a huge sigh of relief. A statement from producers Michael G. Wilson and Barbara Broccoli said they were “overwhelmed with gratitude to the cinema-going audiences in the UK who have made Skyfall the highest grossing film of all time”. Here’s to another 50 years and many more stories that break new ground and entertain from the world of 007.

Skyfall is released on DVD and Bluray in the UK in 2013.

Skyfall's Box Office is Sky-High

Skyfall has exceeded $287m (£180m) in its first ten days despite it not having opened in the US yet. The response to the film, especially in the UK is showing something previous Bond films haven’t had much of – repeat screenings.

With a reinvention of sorts (even literally via a fall, death and resurrection) and ability to fit the Bond mould while also breaking away from the expected campiness of it, Skyfall is one of the best Bond films yet. Facing an aging double-O-agent who isn’t quite ready for retirement yet and a world where employees risk their lives for the greater good, the film brings Bond firmly into today’s world where societies are facing the enemy within. Even MI6 isn’t immune as a former agent lurks from the shadows taunting M to bring down the organisation in a role brilliantly played by Javier Bardem.

Given the overwhelmingly positive reaction to a new Bond that arrived with Casino Royale and the lows of Quantum of Solace, a lot was at stake in bringing James Bond back to the big screen and playing to an audience that hadn’t seen him in four years. There was no need for a re-introduction, but a sense of the world needing him had to be re-established. When Casino Royale was unveiled the filmmakers were battling with introducing Daniel Craig as a new Bond and also attempting to make the character relevant today. When M jibes that Bond is a “relic of the cod war” we’re told he needs to prove himself not only to his audience but also his boss. The relationship comes full circle in Skyfall as despite Judy Dench’s M being up for trial, Bond never doubts her in the same way she doesn’t doubt his ability to do his job. The complex relationship plays out well and the backdrop of the big hanging question which asks ‘is the world really ready for Bond to return’ is answered within minutes.

And at the box office too. When the film credits roll and the titles come up stating “James Bond will Return” there are whoops and cheers in the audience at cinemas across the UK. The relationship is further cemented as the film delves into the character’s past (as well as M’s and MI6’s past – see the pattern?) and provides a basic reason for his being. Subtext is scattered throughout the film in scenes which revel in reflecting the unspoken conversation that’s taking place. Berenice Marlohe in a small but key role reflects the fear that exists in the world, society and Bond’s insecurities. In her death scene his unflinching focus on his opponent shows how he’s a colder, more ruthless agent paying attention to the moment at stake rather than the casualties. His vision is definitely of the bigger picture. As is MI6’s and M’s. With the rhetoric she cites when defending her actions and the role of MI6, M is not just making a statement but predicting what will play out. There are scenes of brilliance that are picked up with a deeper meaning on a second viewing. 

With Skyfall on target to become the highest grossing Bond film ever, and occupying the number one position in more than 25 territories worldwide even before the US release, Sam Mendes and Barbara Broccoli can rest assured their tightly edited, exotic action thriller has made the world fall in love with 007 all over again. 

Skyfall

'Skyfall' arrives in a year which celebrates 50 years of a cinematic icon that has flown the British flag and inspired countless on-screen replicas to date. With the enviable position of probably recovering its complete $150million budget before it even opens in the US, there is no doubt that Bond is back and that too, with a bang.

Everything fans loved about Casino Royale and its introduction to Daniel Craig’s Bond is stamped into the feel of 'Skyfall'. Providing an even deeper glimpse into James Bond’s past and origin, 'Skyfall' succeeds in maintaining the level of entertainment expected from a Bond film and exceeding its recent predecssors in terms of story, presentation and an impeccably brilliant Bond villain divinely assayed by Javier Bardem.

The opening sequence is (as expected from any Bond movie) fast paced, full of action and one that launches you into the world within which MI6 operatives that lay their life on the line for their job. Possibly bettering Casino Royale’s opening sequence while echoing its rooftop antics, 'Skyfall' is beautifully picturised from start to finish by Roger Deakins. His eye illuminates Bond’s dark world sketching out parallels of dimly lit tunnels with bright neon lights where shadows dance in battle fluidly choreographed and narrating the stark contrast of good versus evil. Exotic locations are captured creatively and you’ll forgive the barrage of brand tie-in adverts before the film when you see what that funding has helped make possible. From Istanbul to Shangai, even London is elevated in character by Deakins’ lens adding to a cinematic experience that makes 'Skyfall' a bigger Bond.

Daniel Craig is older, tired and more rugged as the double-O-agent who is now battle-damaged and deemed unfit for duty yet finds his feet through returning to a place from his past that crafted his persona. When sparring verbally with Naomie Harris or tongue tied with the heavenly and enigmatic (as well as underused) Berenice Marlohe, Craig succeeds at delivering a performance that helps the character rise above his environment and is comfortable in his own skin. The aging Bond is perfectly mirrored in a seemingly redundant M (Dame Judi Dench) whose last hurrah as the character is her best yet. Javier Bardem’s delectable portrayal of Raoul Silva jumps from the screen as layers of his character are unravelled with both delight and terror. Bardem has gifted us with a Bond villain truly deserving of the title, which has been missing in recent times. His walk, dialogue delivery and haunting eyes engage in subtle shootouts with Craig’s that ooze the presence of two stalwarts in their field fighting on different sides of a thinly drawn line. Ralph Fiennes is given a good introduction to the franchise and settles into his chair with ease, dropping throwbacks to the M of old that will leave Bond fans with a sense of familiarity.

With nods to the history of the franchise, while setting a bold new direction for James Bond, 'Skyfall' succeeds in upping the game and providing a thrilling episode of the world’s favourite secret agent that Ian Fleming would be proud of. Brilliance flashes through in Sam Mendes directing as he provides a serving of Bond that is well paced, gripping and lives up to the expectations of those hoping for a resurrection for the franchise and character. 'Skyfall' is a noteworthy entry in the Bond franchise that will ensure the world remembers the name James Bond for at least another 50 years.

'Skyfall' is on general release in the UK and releases in the US on November 9.