Dir: Martin Campbell
This was my first and favourite James Bond film, and is considered more 'gritty' than older interpretations and stylistically different. The first, pre-credits segment is an homage to film noir and spy films of the cold war era (the original James Bond era), and so is shot entirely in black and white. The first opening shot is from the ground up, elongating the long dark building, illuminated only by a bright street lamp. Mystery and suspense is implied by the use of this 'top' light as it adds shadow and a certain glamour, as well highlighting the smoke billowing across the street.
Time is shown seasonally, as there is snow on the ground, and when the character gets out of his car, his crunchy footsteps are loud and clear. More diegetic sounds are used to highlight this character's significance and air of suspense as he ascends to the top floor; the sounds of the lift, his footsteps on the tiles and the opening click of the door interspersed with non-diegetic tinkles of sinister music. The camera then pans as he cuts across his office to desk, and so far the viewer assumes he is alone, until during a close up of the man's nondescript face is interrupted by a voice. The camera cuts back to reveal James Bond, reclining in the shadows in a predatory fashion.
Film noir-style under lighting is only bright enough to reveal parts of the characters faces, while all other things remain unimportant in the dark shadows. The close-up shots place importance on what they are saying to each other and the tension. Both characters are only shown together in one shot as their conversation gains a purpose, and the scene begins to crescendo, with grainy flashbacks referencing their conversation. These flashbacks include intense, urgent music as a fight is shown, juxtaposing with the quiet dialogue of the present scenario.
Finally, the flashback and present scenario mimic each other, as James Bond unexpectedly shoots both his subjects with a handgun, and in reference to earlier Bond films we see him through the barrel of the gun for his final killing. The death marks the end of the scene as red blood drips down the screen, creating the visual bridge to the start of the credits and Technicolour for the rest of the movie.
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