There's going to be a lot of reason to talk about James Bond in 2020. It isn't just that this is the latest film in one of Britain's most popular franchises. It's also the 25th film and one that features the current Bond (Daniel Craig) stepping down after playing the role since Casino Royale in 2006. For the first time in almost 15 years, there are so many things up in the air for where things will go. However, there is one thing that will never go out of style: the Bond song. Just as Bond is expected to drive fancy cars and play with nifty gadgets, audiences have been expecting a new and definitive addition to the sonic canon of 007. This time around is one of the stranger choices with Billie Eilish taking on the role with the titular song for No Time to Die. If it's not the perfect kick-off for the Best Original Song contenders for next year, then nothing is.
The misconception that comes with Bond songs is that they're Oscar-bait. Yes, in theory, every single one has been up for consideration by being part of a film, but not every song is created equal. Any fan who has collected the soundtracks will tell you that. For every version of Paul McCartney belting "Live and Let Die," there is Madonna doing "Die Another Day." However, there is a recent trend that makes No Time to Die especially prone to a nomination. Two of the past four Bond movies have not only received nominations in Best Original Song but also have won the category. The most recent example is "The Writing's on the Wall" from Spectre and of course the towering, unstoppable masterpiece of Adele's "Skyfall" from Skyfall. Every Bond song of the 21st century wishes it was as good as "Skyfall," and it single-handedly elevated every song since's reputation.
On some level, it makes sense to cast Billie Eilish with taking on James Bond. After all, her breakout hit was "Bad Guy," which comically satirized bad behavior. Her music style with producer/brother Finneas is eclectic and dominated in 2019 when Lil Nas X was looking the other way. Who doesn't want the farewell of an iconic performance to stand out as something special? Eilish has had a whirlwind of a press tour leading up to this week's release of "No Time to Die," having won five Grammy Awards for her album "When We Fall Asleep Where Do We Go?" and performing the In Memoriam at The Academy Awards (and giving some of the most memorable reaction shots). To say the least, if you didn't know Eilish by the end of 2019, you knew her by the end of this past awards season. She is the new standard for outsider, with elaborate fashion choices and green/black hair that can't help but stand out.
So, what does Eilish add to the Bond oeuvre? Well, take a listen first:
At every turn recently, Eilish has gone mellow when we expect her to go chaotic. The eccentric beats of "Bad Guy" and "Bury a Friend" are absent, going for something more classical. While it has elements of being "Skyfall" at a slower tempo, it has the familiar sense of melancholy, as if the end is nearing. A sense of sadness can be heard in Eilish's voice as she falls further into the deepness, finding new ways to be understated as she goes in the opposite direction. She follows in the path of the past few songs and gives a noirish vibe, recalling dark themes in a way that suggests that this is going to be a new and brooding direction as if we're burying the old Bond in favor of a new one.
In what has been feeling like an unprecedented career, it's strange to think of Eilish already getting Oscar consideration. Then again, it felt like an odd choice that they would go to her for this honor. What she produces may not immediately stand out, but it does reflect a tonal shift,, as if "Skyfall," "The Writing's On the Wall," and "No Time to Die" are decreasing in operatics, going insular. This already sounds like a sad movie, making one wonder what exactly is going to go down. Craig is saying goodbye and the new Bond is likely to make an appearance, so the question is how things will come to an end. By having the next generation of pop acts take on the role, it reflects a changing of the guard that could end on a profound note.
As much as it's too early to be talking about the next Oscar season, this past week has not let up. Wes Anderson's The French Dispatch looks great. Now there's another Bond song to keep people anticipating the latest chapter. With a little over 10 months to go, it looks like the field will be crowded before the summer season even shows up. That's a bit exciting, though one can hope that there are a few more surprises in store. Every good Oscar season needs those moments to pop. However, it does feel like this will be the biggest Bond year since Skyfall in 2012, if just because of it being the 25th film in the franchise. Unless it suffers an unceremonious backlash akin to Star Wars: Rise of Skywalker, it should be showing up big next season. Who knows. Maybe Eilish will be halfway to an EGOT before she's 20. Now that's a weird thought.
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