Film: Quantum of Solace (2008)
The Importance of the Screenwriter
Quantum of Solace (2008, dir. Mark Forster), the second instalment in the Daniel Craig era of the James Bond series, is quite easily the worst film I have sat through recently, I remembered it being ok, I couldn’t have been more wrong. The thing is though, it really didn’t have to be so awful. But contracts have to be honoured; the latest shit-smelling 007 aftershaves and Omega watches insufferable marketing campaigns can’t be delayed, and so Mark Forster began shooting… without a script!
This was of course due to the 2007-08 writer’s guild of America strike, in which screenwriters rightfully made a stand against the severe pay constraints in their job contracts, which had them redrafting for nothing amongst other blatant exploitation by Hollywood.
Whilst the director will always receive due praise, the screenwriter remains elusive in praise or recognition, but this film serves as a great example as to just how important they are to the production and development process. For, whilst the disorientating editing and needless action are almost unwatchable, it is truly the script that leaves the sour taste in your mouth, as well as the infuriation of wasting 1 hour and 46 minutes of your life.
Looking for a good pun? Of course you are, it’s James Bond for Christ sake. But the best thing these writers can come up with is quite simply “You were supposed to shoot her” to which James replies, “Well I missed”. This is after, as you might have predicted, Camille (Bond girl) attempts to shoot Bond and misses. Add in a vague plot of a tyrant exploiting a natural resource and some blatant racism towards South Americans (“I didn’t know you’d gone native James”) and you’ll be begging for earplugs, just so you can watch the incoherent action that occurs every 15 minutes, obviously to keep hidden its lack of one decent line of dialogue.
Now don’t get me wrong, even with screenwriters James Bond will always be quite misogynistic and racist, but at least they would attempt to be covert, as well as not throwing in the most ridiculous scenes. And I mean ridiculous in comparison to Bond itself by the way. Such as the meeting of all the world’s most dangerous criminals in an opera speaking on a public frequency, or the scene preceding where Bond knocks out a guard and obtains an unexplained tuxedo, as well as ripping off the opera’s toilet handle. Or the scene where Bond and Camille’s plane is shot down, and they quite literally skydive into Dominic Greene’s (villain) dam where he is creating a monopoly on Bolivia’s fresh water supply. Skydiving into a climax? Really?
All in all, this film should should be swiftly forgotten. Whether you’re a fan of Craig as 007 or not, the other films where he bears the license to kill are at least coherent and don’t leave you dazed, confused and infuriated.
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