Gilbey on Film: Happy Birthday, Mr Bond

Why we don't really need a Global James Bond Day.

It may not have escaped your attention that today is the fiftieth anniversary of the release of Dr No, the first James Bond film. In fact, it is Global James Bond Day, though it’s worth pointing out that this is only on the say-so of Sony Pictures, the current custodians of the cinematic franchise, rather than the governments of the world. No public holidays for any of us, I’m afraid. And, more positively, no amnesty for anyone found using alligators as stepping stones, driving cars underwater or operating a jetpack without the necessary permits.

Yes, it really is half a century since we (OK, not me, but some of us) saw with virgin eyes a cinematic convention described by Adam Mars-Jones in 1995 as “That hallowed piece of montage in which the viewer is shot by Bond while unwisely attempting to hide in a spiral sea shell.”

To mark the occasion, there is all kinds of hoopla, including the unveiling of Adele’s theme song for the next Bond movie (song and film go by the name Skyfall, a clear back-to-basics message after the complaints raised by Quantum of Solace) and the release of a documentary about the series, Everything or Nothing: The Untold Story of 007. I haven’t seen the documentary so allow me a moment’s recourse to its release, which informs us that it “focuses on three men with a shared dream—Bond producers Albert R. Broccoli, Harry Saltzman and author Ian Fleming” and “draws back the curtain to reveal the battles, threats and real stakes unfolding behind the camera.”

The PR appetite-whetting really began in earnest back in July, when the entire Olympics was revealed to be an expensive pretext for a publicity stunt to promote Skyfall by having the Queen parachuting out of a helicopter and into the Olympic stadium. She fell from the sky: Skyfall—get it? That said, the stunt would have worked equally well had the movie’s producers stuck to the other titles that were in contention, among them Queendrop and Monarchplummet.

Personally I don’t need Global James Bond Day, 007 Hour or even a minute’s silence for Countess Tracy di Vicenzo to feel some Bond-related excitement. The prospect of a new Bond movie (I’ll be reviewing Skyfall in the NS when it opens on 26 October) is enough on its own to do the trick. Bond is part of the cultural heritage and education of anyone who has had any truck with mainstream cinema in the past 50 years; it is the only film franchise which still has about it the status of event. None of which has anything to do with the quality of the individual films—perhaps it makes each one’s particular triumphs that bit more pleasurable, and its disappointments more keenly felt, because most us watch them conscious of the historical precedence. (In other words, we are likely to know our Goldfinger from our Octopussy. As each Bond film comes along, it takes its place on the viewer’s personal Bond inventory.)

David Thomson appeared on Radio 4’s The Film Programme this week to promote his new book The Big Screen: The Story of the Movies and What They Did to Us and complain that there is no longer any sense of cinemagoing as a mass communal event. Regardless of the details of this argument, I think the Bond series is a phenomenon that runs contrary to his theory. Yes, the films all end up on the small screens that Thomson bemoans, but even once Skyfall has taken its place as another bank holiday Monday schedule-filler in 2020 (by which time there will likely be a new actor in the role), there will still be about it the air of the communal.

It also helps the sense of anticipation that the series is in particularly good health. I’m a fan of the Pierce Brosnan era, particularly GoldenEye and The World Is Not Enough, but the special achievement of Daniel Craig’s tenure so far has been to purge the Bond film of its jokiness (even if, in parts of Casino Royale and Quantum of Solace, fun was also sometimes a little thin on the ground).

I happened to think Quantum of Solace had its impressive moments, though Craig, has expressed publicly some dissatisfaction with it. “We were hamstrung by the writers’ strike,” he told me last year. “We had half a script and lots of pressure. We suffered because of a lack of preparation. That doesn't necessarily mean that Skyfall is going to be better—I don’t want to jinx it—but I can say we’ve worked solidly on this script for two years.”

The appointment of Sam Mendes as director, and a cast that includes Javier Bardem, Ralph Fiennes and Albert Finney, is intriguing. “Sam's involvement has brought in people like Ralph and Javier. He’s a very visual director, and I think audiences want something visually beautiful in a Bond movie. Also, we got rid of a lot of the old characters in Casino Royale, the ones that had been set in stone. That’s just the way it happened, and I think now we can start reintroducing them.” Among those is Q, played by Ben Whishaw; though the rumour that Moneypenny will return seems to be without value.

“Before we started, Sam and I sat down together and rubbed our hands and said, ‘Right, what shall we do?’ We watched the films, we read the books again, just to find what makes a great Bond movie. And I think we’ve managed to put in all the wit we love about the series.”

We’ll be the judge of that, Mr Bond. We’ll be the judge of that. [cackles sinisterly, touches conspicuous facial scar and strokes pet tortoise]

Skyfall is released October 26.

Daniel Craig promoting Skyfall. Photograph: Getty Images.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

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Harry Styles: What can three blank Instagram posts tell us about music promotion?

Do the One Direction star’s latest posts tell us about the future of music promotion in the social media age - or take us back to a bygone era?

Yesterday, Harry Styles posted three identical, captionless blank images to Instagram. He offered no explanation on any other social network, and left no clue via location serves or tagged accounts as to what the pictures might mean. There was nothing about any of the individual images that suggested they might have significance beyond their surface existence.

And, predictably, they brought in over a million likes – and thousands of Styles fans decoding them with the forensic dedication of the cast of Silent Witness.

Of course, the Instagrams are deliberately provocative in their vagueness. They reminded me of Robert Rauschenberg’s three-panelled White Painting (1951), or Robert Ryman’s Untitled, three square blank canvases that hang in the Pompidou Centre. The composer John Cage claimed that the significance of Rauschenberg’s White Paintings lay in their status as receptive surfaces that respond to the world around them. The significance of Styles’s Instagrams arguably, too, only gain cultural relevance as his audience engages with them.

So what did fans make of the cryptic posts? Some posited a modelling career announcement would follow, others theorised that it was a nod to a Taylor Swift song “Blank Space”, and that the former couple would soon confirm they were back together. Still more thought this suggested an oncoming solo album launch.

You can understand why a solo album launch would be on the tip of most fans’ tongues. Instagram has become a popular platform for the cryptic musical announcement — In April, Beyoncé teased Lemonade’s world premiere with a short Instagram video – keeping her face, and the significance behind the title Lemonade, hidden.

Creating a void is often seen as the ultimate way to tease fans and whet appetites. In June last year, The 1975 temporarily deleted their Instagram, a key platform in building the band’s grungy, black and white brand, in the lead up to the announcement of their second album, which involved a shift in aesthetic to pastel pinks and bright neons.

The Weekend wiped his, too, just last week – ahead of the release of his new single “Starboy”. Blank Instagrams are popular across the network. Jaden Smith has posted hundreds of them, seemingly with no wider philosophical point behind them, though he did tweet in April last year, “Instagram Is A BlackHole Of Time And Energy.”

The motive behind Harry’s blank posts perhaps seems somewhat anticlimactic – an interview with magazine Another Man, and three covers, with three different hairstyles, to go along with it. But presumably the interview coincides with the promotion of something new – hopefully, something other than his new film Dunkirk and the latest update on his beloved tresses. In fact, those blank Instagrams could lead to a surprisingly traditional form of celebrity announcement – one that surfaces to the world via the print press.

Anna Leszkiewicz is a pop culture writer at the New Statesman.