But after a barnstorming opening sequence through, around and above the festivities, the rest of the film is suffused with this thematic statement.ĭaniel Kleinman’s reliably epic opening title sequence also sets the tone, showing dearly departed faces such as Vesper Lynd from Casino Royale, Raoul Silva from Skyfalland Judi Dench’s M, as Sam Smith wheedles on about “a million shards of glass that haunt me from my past” in his theme song. To our knowledge, this is the only Bond film ever to employ an opening epigraph – “The dead are alive.”įrom this message, we smash cut to a Day of the Dead parade in Mexico City, which suggests an obvious and immediate parallel with the spiritually oriented national holiday in which revellers remember friends and family members who have passed on. Many have celebrated the return of the famous gun-barrel sequence to its rightful place at the beginning of the film (the last two films did it before the end credits and Casino Royale only paid homage before its title sequence) but we’re interested in what immediately follows. All the same, it will be a spoilery one, so if you haven’t seen Spectreyet, be wary of that beyond this point. Hopefully this won’t be a nitpicky article, because a lot of our genuine quibbles are part and parcel of the series’ conventions.
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