The Swishy Villainy and Psychodrama of Skyfall

Mark Simpson fondles the pecs and thighs of James Bond’s latest ‘outing’

grey The Swishy Villainy and Psychodrama of Skyfall

When at their first meet­ing in Skyfall a rather for­wards Raul Silva, played by a bleached-blond Javier Bardem, takes cad­dish advant­age of James Bond’s/Daniel Craig’s indis­pos­i­tion – tied as he is to a chair – run­ning his hands over 007’s craggy face, ripped chest and power­ful thighs, and flir­ta­tiously sug­gest­ing “Well, first time for everything, Bond…” you could feel the audi­ence in my local cinema freeze.

And when Bond delivered the now-famous lac­onic retort “What makes you think it’s my first time?” you could hear the audience’s sharp intake of breath over the THX sound sys­tem. Wot?! James Bond a bender!?!

Oh bloody hell!, I wanted to shout out, at Raul, the audi­ence and the world in gen­eral. Has ANYONE been pay­ing atten­tion? Of COURSE it’s not Bond’s first time! In Casino Royale Bond tried a spot of CBT with Mr Big and his knot­ted rope, while tied to a RIM CHAIR!!

Casino Royale rebooted and updated the tired, ter­min­ally naff Bond brand in 2006 in the pec­tor­ally prom­in­ent form of Craig, a man whose appoint­ment to the role ini­tially pro­voked a chorus of com­plaints from Bond fan­boys about his blond­ness, smooth­ness and the fact he kissed a man in another movie.

Craig’s Bond proved a sen­sa­tion on screen, one which finally real­ised the tarty prom­ise of Sean Connery’s beefily glam­or­ous, dis­turb­ing sexu­al­ity in 1962’s Dr No – long since for­got­ten in the sex­less knit­wear cata­logue model Bonds of the 70s-90s. By recon­nect­ing Bond to the met­ro­sexy revolu­tion in mas­cu­line aes­thet­ics, the male desire to be desired, that the ori­ginal Bond movies anti­cip­ated but which had been left to other movies to exploit, Casino delivered us Bond as a 21st Century fully-fledged, self-objectifying sex-object. Bond as his own Bond girl. Hence Craig’s Ursula Andress in Speedos moment.

So when Silva has a good feel of Bond’s pecs and thighs in Skyfall he’s just doing what pretty much every­one, male and female, has wanted to do since Casino Royale.

If Casino Royale outed Bond’s omni­sexual tarti­ness, Skyfall, which is at least as good a movie – effa­cing the mor­ti­fy­ing memory of Quantum of Solace – outs the queer­ness of the Bond vil­lain. Someone who was often impli­citly coded queer (those cats, those cigar­ette hold­ers, those hulk­ing goons), partly as a way of mak­ing unmar­ried, shaken-not-stirred Bond seem straighter. After all those dec­ades of cod­ing, Bardem’s openly flir­ta­tious swishy vil­lainy seems exhilir­at­ing. It’s cer­tainly a great pleas­ure to watch.

Though, like Bond, Bardem isn’t actu­ally gay. As a res­ult of the spec­u­la­tion sur­round­ing Bond’s ‘shock­ing’ admis­sion of his bi-curious past in Skyfall Craig was asked in an inter­view recently whether he thinks there could ever be a ‘gay James Bond’. “No,” he replied, “because he’s not gay. And I don’t think Javier [Bardem’s] char­ac­ter is either — I think he’d fuck anything.”

Much like Bond, then.

What’s ‘gay’ about Skyfall isn’t the thigh-squeezing, or even Daniel Craig’s cir­cuit party tits (which I’m happy to report are reg­u­larly on dis­play again) it’s the glor­i­ous camp excess. “Was that meant for me?” Bond asks Silva dur­ing an under­ground pur­suit, after he det­on­ates a bomb behind our hero by remote con­trol, blow­ing a hole in the roof of the vault. “No,” dead­pans Silva. “But this is.” Right on cue a tube train falls through the hole, headed for Bond, while Silva dis­ap­pears up a ladder.

Some film crit­ics com­plained that this scene is ‘over the top’. This makes me won­der: a) What kind of movie fran­chise they think Bond is, and b) Whether they have a sense of humour.

The whole premise of Skyfall is of course pretty camp: that Silva, a former ‘favour­ite’ agent of M’s is going to so much trouble – hack­ing MI6, steal­ing, decrypt­ing and pub­lish­ing lists of secret Nato agents, blow­ing up the MI6 build­ing, per­son­ally storm­ing the Houses of Parliament dressed as a David Walliams char­ac­ter – just to get his own back on M (played by gay icon Judi Dench) for drop­ping him.

That’s some hissy fit.

Fortunately camp isn’t code here for ‘crap’. It’s a test­a­ment to Bardem’s skill as an actor and Sam Mendes dir­ec­tion that he’s vividly, entran­cingly men­acing. He steals every scene he’s in. Actually, his hair steals every scene he’s in. What’s more, you really feel, per­haps for the first time, that this Bond vil­lain has a point. After all, what kind of fucked up fam­ily is MI6? Particularly since in the open­ing scene of the movie Bond is betrayed too – badly wounded and nearly killed after M orders another MI6 agent to take a dodgy shot at the bad­die Bond is bat­tling (atop a mov­ing train, of course). ‘M’ is for ‘Mother’ – bad Mother.

Skyfall is very queer psy­cho­drama – delving deep into the twis­ted fam­ily romance of MI6 and the orphan Bond’s quasi inces­tu­ous devo­tion to M. Silva may be on a deli­ciously queenie ram­page, but we all know that it’s Dame Judi who is the real (Virgin) Queen. When Craig appeared in that embar­rass­ing clip for the open­ing cere­mony of the London Olympics this Summer it was quite clear to every­one that con­sti­tu­tional mon­arch Elizabeth Windsor was Judi’s mere under­study. M has the power of life and death, after all.

Silva’s first scene with Bond – ‘Do you like my island Mr Bond?’ – is grip­ping, and not just in a grop­ing sort of way. But the scene where he meets M and denounces her crimes and invites her to gaze upon her handi­work trumps it as a piece of pure theatre. Again, it’s delib­er­ately over­wrought – but then, so is any fam­ily romance. Even the ruth­less, steely M is clearly affected by this con­front­a­tion with her abor­ted boy toy.

Perhaps because there’s not enough Bardem in it, the shoot-em up final reel is a bit of an anti-climax after the emo­tional tube-train crash of the first couple of hours. Even in a Bond film as Freudian as this one it is too sym­bolic for its own good. More like a bad dream than a finale, Bond and M – and an ancient Albert Finney – are holed up in his fam­ily estate in the Scottish Highlands, which he hasn’t vis­ited since his father died when he was a boy. His bur­ied past, in other words.

The Gothic, moul­der­ing pile is called ‘Skyfall’ – a name which is pos­sibly inten­ded to bring to mind God’s favour­ite, Lucifer, being cast out of heaven. Sure enough, Silva, the agent who was cast out of MI6 by M, arrives with his goons and start shoot­ing the place up in the kind of pyro­tech­nic assault we’ve seen in a hun­dred other movies.

Though as with the rest of Skyfall, the final reel is beau­ti­fully lit. The attack begins at dusk (Lucifer is the ‘even­ing star’) and the light pro­gress­ively turns bluer until it is as dark as death, the only light the hellish orange of Bond’s ances­tral home aflame. Like the fam­ily romance itself, Skyfall is suf­fused with nos­tal­gia. Nostalgia for the Bond fran­chise (it’s a half cen­tury since Dr No was released). Nostalgia for 1960s aes­thet­ics. Nostalgia for Britain and Britishness. For the Mother Country. And mother-love.

Heavily preg­nant with sym­bol­ism, Bond and his Secret Service mother drive to their Highland hon­ey­moon from hell in his Goldfinger Aston Martin DB5 he’s kept in a London lock-up, pre­sum­ably since the 1960s. On the way he dis­plays what Freud would call his ‘ambi­val­ence’ by jok­ingly threat­en­ing M with the ejector seat, fin­ger­ing the red but­ton on his gear stick. Of course, Bond never repu­di­ates his mother-love and remains true to Judi.

However, it won’t be giv­ing too much away to say that Skyfall does finally press that but­ton on 007’s behalf.


This review was ori­gin­ally writ­ten for the adult site Nightcharm

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