Yet I have more confidence in discussing "The World Is Not Enough," and for the best of reasons. Namely, I do not have to simply rate a series of action scenes that may or may not lessen in excitement because of actual suspense and talented acting that is not a bridge between stunts but the strongest part of the film.

The thing is, in discussing my favorite part of the movie, I am forced to blow an actual shocking plot twist that surprised most of the audience who do not follow the making of the films from the get-go. If you have not seen "The World Is Not Enough" yet, do yourself a favor and stop reading my words ...well, only if you promise to return after you have experienced it.

Simply put, Sophie Marceau and Pierce Brosnan pull the 19th EON installment of the Bond franchise into the upper reaches of success, to my eyes anyway. Marceau has been called by many Bond aficionados as the best actress in the series since Diana Rigg, and I can only concur. She is charismatic and absolutely fetching, and brings true depth to Elektra King. She managed to sucker in the audience, as well as Bond, even after it should have been clear she was a villainess in disguise. Even when it is entirely plausible and necessary for her to die at Bond's hand, you will find yourself wishing things could have turned another way. Marceau has raised the bar for "Bond girls" immeasurably. And not by being a so-called "equal" of Bond, as was attempted with Carey Lowell, Barbara Bach and Michelle Yeoh. Marceau is feminine, seductive and free-spirited. But she excels far greater than any stunt coordinator can impress us, for she makes Bond, and us, really care about her character.

In one very simple movement, I can explain this easily. When awaiting the return of the villain Renard, Elektra runs across the room and jumps atop a sofa. It is a "girlish" action, just as her sweeping turn when leading Renard to see the present she's obtained for him. But she is not laughable nor weak because of it. It is enriching to see her frightened with claustrophobia when Bond saves her during a snow drift. The tension between them shows Elektra is not just a headstrong sexual being. She is a true woman, who is strong and determined and still insecure at times. It was written in the script, but only works on screen because of the talented French actress who portrays Elektra King. The smile Elektra flashes Bond from the height of a staircase, believing he will not kill her, is melting in beauty. Denise Richards may have the outstanding body and American recognition, but I found Sophie Marceau infinitely more attractive.

Richards, as Dr. Christmas Jones, is not wholly terrible either. It IS imperceptible to see her as a nuclear physicist, yes. But at least the film winks at the audience, having Bond ask her what she is doing in the middle of the action. Her reply, "avoiding questions" like that, tips us off that the filmmakers are not covering for her authenticity, just asking us to allow her onto the ride. She is closer to Tanya Roberts than Marceau, of course, but good enough to prevent ruining the film significantly. And dammit, she can sit next to me anytime if she chooses.

Then mention Pierce Brosnan, third time around. As a fan who fell for Bond specifically because of Timothy Dalton's portrayal years ago, it is with glee I can write that Dalton's talents could not have improved this film as Brosnan is beyond question the perfect James Bond in this role. Brosnan has already managed to keep in the darkness that pervaded Dalton's character in his previous outings, but given a screenplay that has Bond humbled, filled with murderous rage, then later controlled rage, not to mention unsure of his own feelings, Brosnan is forced to act and does so triumphantly. His best moment for me, the shocked expression on Bond's face when Renard repeats the film's mantra that there's no point in living if you can't feel alive, is a look Ian Fleming could have written pages over. Brosnan always looked the part well, more so now with the scar he got during filming the last picture, but he has grown to portray the part leaving the viewer captivated.

The idea of making Bond more human, more frail, only works if a balance can be met that keeps him a strong action figure and a tortured soul in the same breath. Brosnan shows in this movie that he can carry that balance. Bond does not come off weak when faced with injury and indecision, just tormented as he should be. Most professional reviews of this film have stated he's "the best Bond since Connery." While I have rated Dalton and Connery as near equals in the field, I now place Brosnan alongside them. I never thought I would get to say that, and am glad I am able.

I can keep going on for a while but do not want to ramble. Robert Carlyle does merit some mention, as he is the first villain in a long time to be menacing and truly sympathetic to the viewer. His Renard, living on borrowed time with a bullet lodged in his brain that has rendered his senses null and him unable to feel anything physically, could have been a pain free cardboard killer, impervious to obstacles like a Jaws. But the idea of the script was to make that strength into a weakness, and Carlyle expresses it very well. When he comments on Elektra's smooth skin, Renard is brushed back when she asks him how he would know. It is a cruel statement, and Carlyle's reaction to it made me feel sorry for Renard. Splendid.

Judi Dench is always a treat, perfectly suited as M, and the idea of her witnessing Bond kill in cold blood is inspired. This will hopefully be hinted at later on. Desmond Llewelyan returns as Q, and contrary to reports, this may not be his swan song. EON simply added John Cleese as an assistant, ready to take over as Q when Desmond leaves the role. Barbara Broccoli has said Desmond can stay in the role as long as he wishes. The affection his Q has with Brosnan's Bond is wonderful, when Bond asks if he is retiring soon. If this becomes the last appearance of Major Boothroyd, he has left us in a very moving way. Michael Apted directed the film (with the second unit action sequences done by Vic Armstrong) and here's hoping he returns. As a fan, I was crying out for actual dialogue and emotion, and Apted's smart direction made it palpable. He also gave the film some gorgeous, sweeping long range shots that were missing in the claustrophobic "Tomorrow Never Dies."

I realize that I've not touched on the plot. It is not because it is a weakness. I simply was so impressed with the characterizations that they had to come first. The plot is not too difficult to follow, except that most Bond fans seem to choose not to think during the showing. (And to be fair, some of the backstories, the kidnapping of Elektra and her seduction of Renard, and the betrayal she felt towards her father's work against her mother's land, were excised wrongly.)

The story begins to unfold with Renard seemingly responsible for killing Sir Robert King, after he had some time before kidnapped his daughter, Elektra. Renard seems to be trying to decimate Elektra's legacy as well, the oil pipeline her father had been working on. Bond is sent to protect her. After some actual spying, Bond surmises that Elektra is working with Renard due to Stockholm Syndrome, a condition brought about when a captive who is naive and innocent in life falls in love with her captor. Bond is wrong, as we later find out, though the film failed to include the nugget intended, that she was planning to attack her father before the kidnapping. When she was taken, Elektra seduced Renard, who then helped set up King's murder and the pipeline attacks that were to be red herrings when other pipelines were destroyed, leaving the King pipeline the only option left. It is no more convoluted than "The Living Daylights," but like that film, you must not leave your brains at the door. With "The World Is Not Enough" you actually enjoy the film more if your mind is turned on.

I daresay that I think this film may not draw the same box office figures as "Tomorrow Never Dies" and "GoldenEye." I equate it, though, to "For Your Eyes Only" following "Moonraker." Seeing Brosnan so relaxed and happy in interviews, as well as the acceptance of the Bond fans that are not bandwagon jumping adolescents who saw the last installment only because it looked cool, will hopefully convince Broccoli and Michael G. Wilson, the EON producers, and better still MGM, that they created a high point in the series with "The World Is Not Enough" in the minds of the fans, and the trait of using action to enhance a story, rather than vice versa, must continue for any long-term hopes they may have.

For me, this is the first time in years that I am not yet looking forward to the next film. That's because I still want to revel in this one. The film is more than enough to please me. James Bond feels very much alive again, and as this movie suggests, that is the point.

Copyright ©1999 by Michael Reed