Billie Eilish has officially filed her James Bond theme, and for anyone who worried that she was too young — dare it be said, too green — for the task, there was no need to worry. The 18-year-old g…
Let’s hope so. One effect of the majesty of John Barry’s songs and scoring over the years was that they sometimes lent the Bond films a little more gravitas than they really merited. The near-mysticism of something like “You Only Live Twice” didn’t make for the most natural segue into dumb sexual badinage with Miss Moneypenny, but it let us imagine that the characters had deeper undercurrents than what we saw on the screen.
In modern times, the pop singer-songwriters being drafted have had to deal either with increasingly unwieldy post-Ian Fleming monikers or the odd demand that every other modern theme have “die” in the title. One reason so many of the Bond songs from the last couple decades have been so mediocre is probably the songwriters trying to fulfill the assignment without having the slightest idea what to write about.
“No Time to Die” doesn’t really soar, and doesn’t really mean to. Although Eilish does get about as belty as she’s going to get for a bit in the final minute, she’s comfortable sticking with an intimate tone that’s more subtle jazz chanteuse than brassy Bassey, and that’s a big part of what makes the track appealing as well as just different. Listening to it, you can’t help but wonder anew what it might’ve been like if Amy Winehouse had gotten it together to finish the track she was offered.
movies will get dark can. But even if it isn’t, Eilish’s tragedian-leaning contribution will still be in that rich, earlier tradition of theme songs that made it seem like there might be love at stake, as well as the world, or Fort Knox. For four cool minutes, “No Time to Die” lets us consider just how lonely it might get in Bond’s world when the party’s over.
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