Topic: In Defence of The World Is Not Enough
In Defence of The World Is Not Enough
A review of a Bond film that I would consider to be underrated- moving into the 1990s...
The World Is Not Enough opens with an exhilarating jolt of adrenalin as James Bond pursues a fleeing assassin down the River Thames by speed-boat, taking in several London landmarks en route in a dazzling display of pyrotechnic flair. But despite all the scene’s agile stuntwork and refined visual wit, the chase ends on something of a darker, melancholy note, as Bond fails to dissuade the killer from committing suicide rather than give up the name of her employer, and a desperate 007 tumbles defeated towards the ground below. In some respects, therefore, this pre-title sequence could be taken as a representative statement of the entire film’s intentions; a Bond adventure in which emotion and action play equally Important roles in the narrative. This is a difficult tonal balance to strike, and one I would argue that few instalments in the series have managed to fully achieve. On Her Majesty’s Secret Service and Casino Royale spring to mind as examples. Another candidate for a Bond film which manages to similarly mesh character drama with light relief, confidently balancing both elements with success, is The World Is Not Enough. An often overlooked instalment in the pantheon when placed beside the swaggering ridiculousness of Die Another Day, I would contend that, considered on its own merits, Pierce Brosnan’s third Bond film stands as perhaps the single most underrated film in the series.
The adventure’s plot structure is intriguing in how it actively defies series conventions from the outset; rather than the usual device of Bond being sent to investigate a billionaire business figure with the goal of uncovering their links with criminal activities (as in Goldfinger et al.), here 007 is assigned to protect wealthy oil tycoon Elektra King from terrorist attack. This is an interesting change to the formula for two reasons. Firstly, given that Bond’s mission is essentially to act as Elektra’s bodyguard rather than to infiltrate or sabotage a villain’s organisation, it shoehorns 007 into a more passive and vulnerable role than we are used to seeing him; instead of seeking out his foes, Bond can only wait for the threat of Renard’s revenge to become reality. Secondly, Bond’s assignment to defend Elektra removes the antagonistic verbal sparring that usually marks 007’s first encounters with his enemies, paving the way for a much more interesting character dynamic between Bond and his nemesis than usual. Bond’s relationship with Elektra, hauntingly played by Sophie Marceau, is among the more intriguing Bond-villain pairings in the franchise. Initially protective and romantic towards Elektra, Bond’s feelings later turn unsure and distrustful, before radiating a cold anger with the realisation of his ultimate betrayal; furious, and yet unable to completely discard his initial pity for Elektra’s plight. This is a complex and emotionally charged portrayal of Bond, more a throwback to the sensitive nuances of Dalton’s Bond than the charismatic machismo of Connery or Moore, and Pierce Brosnan responds by delivering probably his best-acted turn in the role as 007. From the icy ruthlessness of the confrontations in the banker’s office and the nuclear silo, to the warm humour of the scenes with Desmond Llewelyn’s Q in his final appearance, to the tensions between Bond and M and Bond and Elektra, Brosnan’s performance is a highlight of the film, and his interactions with Marceau’s Elektra foreshadow the bluntly emotional portrayal of 007 that would later come to define the Daniel Craig era as the series moved into the twenty-first century.
The sophisticated central character drama between Bond and Elektra suffuses the film with emotional core, while The World Is Not Enough also manages to assemble a number of memorable action sequences to match. The opening boat chase is lengthy yet thrilling, while the battle in the underground silo is pacy and well-staged. The final fight to the death between Bond and the brutish Renard, meanwhile, effectively defies expectations by taking place in the cramped and claustrophobic close quarters of a sinking submarine rather than the environs of a grandly sprawling lair, as had been the case with previous films in the series such as You Only Live Twice and The Spy Who Loved Me. Michael Apted’s direction is low-key but efficient, while David Arnold’s score lends the action scenes some highly energetic flourishes.
While The World Is Not Enough isn’t without its flaws, the film’s combination of gripping character drama with inventive and kinetic action sequences make it a better addition to the series than its’ often given credit for. Ultimately, The World Is Not Enough’s strengths render it a thrilling, emotionally intelligent and engaging instalment in the series that shines a fresh and challenging light on the character of James Bond.
