I love the movie because it was a beautifully made movie that chronicled the end of the birth of the James Bond that we first knew through Sean Connery, George Lazenby, Roger Moore, Timothy Dalton and Pierce Brosnan.
Watch the clip below before I answer the question, “Why was it snowing at the end of the James Bond movie?’.
When watching this movie, one should appreciate it as the second part of a story arc that started with Casino Royale. There is a certain symmetry between the way Casino Royale begins and how Quantum of Solace ends.
In Casino Royale, we see the first two kills that Bond makes; two kills that are part of his initiation before he qualifies as a ‘double O’. The first kill was a difficult messy one to complete. The second much easier. Too easy in fact. And the rest of the next two movies show how quickly Bond has transitioned into a merciless free-wheeling killing machine albeit one driven by emotion, until of course the penultimate scene of Quantum of Solace.
In this scene, Bond waits patiently in the dark, like he did in the beginning scene of Casino Royale, for his target to enter the apartment. This time though, he doesn’t kill his prey. Which is a nice way to complete the development of Bond as a spy.
To show he could be a ‘double O’, he had to kill. To stay as a ‘double O’, he had to show restrain. The mirroring of both scenes serving as bookends to the story was beautiful.
The last scene really clinched the deal for me.
“Coming in from the cold” is a popular phrase used when talking about spies. A novel that used a variation of this phrase is “The Spy Who Came in from the Cold” written by John Le Carre.
Usually, a spy would come in from the cold at the end of the career; the spy leaves his self-imposed physical and emotional isolation and rejoins society in a meaningful manner – the spy comes home.
At the end of Quantum of Solace, as Bond walks away from M, he drops Vesper’s necklace, thus severing all emotional ties with his past, killing (or maybe storing) away the remnants of the Bond who could love and thus who could be hurt or used. Bond walks away, as the ruthless emotionless misogynistic spy that we see in the earlier films, into the harsh cold night.
Trivia about the clip above: Notice how as the elevator goes up, and we get a shot of the floor numbers incrementing. The shot shows the number incrementing until six before cutting away to a shot of the soon to be killed section chief walking along a corridor.