Skyfall's opening prologue is undoubtedly the best opening sequence of the year; after the disappointment of 'Quantum of Solace', Daniel Craig's 007 returns with a explosive chase along the rooftops of Istanbul. Hunting down a suspected terrorist, the scene intercuts between Bond, MI6 agent-on-the-ground Miss Moneypenny (Naomie Harris) and M calling the shots a world away in the rainswept MI6 Headquarters. The opening is symbolic of what one has come to expect of a Bond film in recent years; a euro-villain, glamorous, exotic locations as well as weapons and ever-present danger. The use of this fast-editing technique ensures a fast paced opening, engrossing the audience into the glamorous world of Bond. The sequence ends on a thrilling cliffhanger, preceding Adele's animated theme tune, marking the best opening to a Bond film in recent memory. Although the action lacks realism (it is a James Bond film after all), Skyfall is Jmes Bond at it's most grittiest, darkest best...
The opening begins with 007 emerging from the darkness, searching a house. The juxtaposition of light and dark on Bond's face indexically connotes how dangerous Bond can be, a flawed, imperfect character. We then see his fellow agent strewn dead on the floor; the blood contradicting with the otherwise dark setting, emphasising to the audience the danger associated with Bond's job. Intense close-ups highlight Bond's lack of emotion, shot-reverse-shot revealing how Bond has acknowledged his death. Bond then phones M, the rain streaming down the walls of MI6 contrasting the intensity of colours at Bond's location. Her central positioning emphasises how she is a prominent character (indeed, she has an important role in the rest of the film). He then runs out of the room, trying to locate his fellow MI6 agent in her car. The non-diegetic now begins to heighten the intensity of the scene, empahsising the action that is to come. Bond reaches her car, stepping in to the vehicle without hesitation, denoting his intent on finding the baddie. Consequently, Moneypenny drives off erratically, following someone up ahead. The reckless yet calm Moneypenny goes against the female stereotype of the audience; a strong female heroine, her stony-faced reaction to the chaos around her connotes her experience, and her similarity to Bond in the sense that they are both troubled characters, embroiled within their jobs, which perhaps foreshadows the end of the prologue sequence, when Moneypenny accidentally shoots Bond himself. The colours of the various stalls provide a sense of irony, how daily life resumes amongst the prominent threat of the terrorists. The diegetic noises of screams from the Istanbul citizens further reiterate this sense of chaos.
The action then resumes when the baddie gets away on a motorcycle; in a rush, Bond gets on an unused police motorcycle, revealing to the audience his experience and fearless nature. Thus begins an action-packed motor-cross chase amon the rooftops, fast paced editing highlighting the sense of danger that Bond is under, and his undying longing to capture the bad guy. The ever-continuing discussion between Bond and M connotes the importance of the mission, that the mission is of such significance that M must know what is going on. Alternatively, it also suggests how close the pair are, again foreshadowing what is to happen during the rest of the film. The crashing of windows and racing at high-speeds through highly-populated areas further emphasises the danger accompanied with Bond's job; there is a constsant threat of death that is a part of Bonds job. The intense yellow colours of the setting creates an omnipresent atmosphere, pathetic fallacy that reflects the pressure Bond is under. The bad guy then jumps onto a train; the gradual increase in intensity now coming to its climax. Bond's irrational behaviour (jumping from bike to train) connotes his fearless nature. The way in which he doesn't share the screen symbolically connotes his loneliness, how he lives for his job, a vigilante with no fear for a family, or anyone particularly close to him.
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