Goldeneye (1995)

"Bond... Only Bond..."

After a six year lay off, James Bond was back with a bang, showing the upstart Die Hards and True Lies pretenders to the throne just how it should be done. With the unfeasibly handsome Pierce Brosnan installed as the new 007, a fresh production team and a gently mocking awareness of its own anachronisms, Goldeneye may not have been perfect, but it was a lot more impressive than anyone could ever have hoped for.

Goldeneye emerged after a difficult six years for Eon Productions. Producer Albert R. Broccoli, by now ailing with a serious heart condition, had been forced to take a back seat after a particularly stressful few years mostly spent in costly and lengthy litigation to protect his must lucrative asset. There had been much uncertain as to whether or not Timothy Dalton would be returning to the role after such a long lay off. And of sourse there had to be some question as to whether or not the public would want Bond back after the disappointing Licence To Kill (1989).

As it turned out, Goldeneye was a triumph - not the greatest of Bond films but certainly a fine re-introduction to the character, a great start for Brosnan and a massive financial success that proved unequivocally that the public still loved 007.

Brosnan's Bond is a return to the slightly sadistic yet roguishly charming days of Sean Connery. Impeccably cool (watch for the fabulous moment in the Arkangel facility when Bond merely flicks his head to one side as bullets ricochet around him), defiantly sexist (his treatment of psychologist Caroline is disgraceful but very funny) and as destructive as ever, it was pleasure to see Bond back in action - which is more than we might have said after Licence To Kill.

Brosnan is Goldeneye's chief asset and director Martin Campbell deploys him well. Sadly, he's let down by a muddled script and by the bane of the Brosnan era Bonds, the lack of a decent villain. Sean Bean gives a creditable performance as the vengeful Alec Trevelyan, but like all of Brosnan- Bond's opponents, he seems almost an underchiever compared to the larger-than-life villains of the past. The threat posed by Trevelyan seems a little vague and his motivation - like all of the villains in the Brosnan era - is motivated by personal revenge and greed. It's all a very long way from the insane machinations of Ernst Stavro Blofeld.

Goldeneye yields no real surprises, which is exactly as it should be. It was less of a reinvention of Bond than an affirmation of everything that had made the franchise so popular to begin with. Rather than try too hard to effect change - as had Licence To Kill. Instead of trying to make the franchise into something it clearly wasn't meant to be, the new production team took it back to its roots. Goldeneye wittily acknowledges Bond's many anachronisms (the scenes between Bond and M are priceless) then simply gets on with doing what the franchise does best.

What counts are the stunts, the set pieces and the cutting witticisms, all of which are present in abundance. The action comes thick and fast and some of it, particularly the tank chase around St Petersburg, are among the best set pieces in the entire franchise. Sadly, the climax is a let down, but by then audiences had already warmed to the new look Bond.

Goldeneye was never going to convert any new fans to the franchise, but it certainly won back the old die-hards and rewarded them with a satisfying return to form for the franchise. Eon Productions in turn were rewarded with their biggest financial success since You Only Live Twice (1967). Bond was back and was looking better than ever.
KEVIN LYONS

Last Updated: 1 January, 2009