Casino Royale Part I

 “So you want me to be half monk, half hitman”  James Bond to M in Casino Royale

Casino Royale is my favorite film and like all great films, each time I watch it, which is only about once a year to preserve its power, I notice something new about it.  As such I have a LOT to say about this film and to avoid an overly lengthy post I am going to break it into two. 

Casino Royale was such a breath of fresh air when it was released it is easy to forget the Bond series was hardly on life support before it came out in 2006. Pierce Brosnan’s Bond films had all performed well and each had something of substance, even though there had been an overuse of digital effects in Die Another Day (2002).  I had been a fan of the Bond films for over twenty years when I saw this film and the 1969 film On Her Majesty’s Secret Service had long been my favorite, due to the character-based story.  In the middle of the climax of during my first viewing of Casino Royale I realized I had a new favorite.

Starting with The World is Not Enough (1999) the Bond producers Michael G. Wilson and Barbara Broccoli hired Robert Wade and Neal Purvis as the principal writers and they started giving Bond character arcs. Paul Haggis (Crash, Million Dollar Baby) joined the writing team for this film and created a journey about Bond’s early days as an agent. I commend the producers for recognizing the strength of Ian Fleming’s first Bond novel Casino Royale (when they bought the rights to it at last in 1999).  As it was the first story and the rights were sold soon after publication, it was not part of the package the original producers Albert R. Broccoli and Harry Salzman, purchased in 1961.  Charlie Feldman, who owned the rights in the 1960s, produced a spoof of the story, which was released in 1967 and starred David Niven, Peter Sellers, Orson Welles, Woody Allen, and plays like a bad version of the Austin Powers movies.

Before the film was first announced I did not think the producers would adapt Casino Royale.  I thought they bought the rights when they became available to keep someone else from doing it.  Quentin Tarantino had openly expressed interest and tried to get the rights before the Broccolis outbid him. Pierce Brosnan, prior being dismissed, suggested him to the producers.  While I would have loved to see his interpretation of Bond, it would be better as a one off outside the Eon series as Wilson and Broccoli would not likely hire Tarantino as he would have wanted complete creative license. I also thought it would be a challenge to film a story that centers on a card game, but I knew the story also had a lot of emotional pull. When it was announced Casino Royale would be the next film and Martin Campbell would be directing, I thought it was a good choice.  Campbell had directed GoldenEye, which reinvigorated the franchise.  Campbell also would not have Eric Serra’s electronic music undercutting his fine work like he did in GoldenEye, as David Arnold was now in place as the series composer.

Campbell brought his regular cinematographer Phil Meheux and editor Stuart Baird, who is one of the most experienced in this genre.  Production designer Peter Lamont capped off his career with this film, in which there were many spectacular sets, especially the titular casino, and the construction site in the first act.  The result is a glossy, yet sometimes gritty film that has well framed shots where the geography is clearly established, and the action is easy to follow.  The camera is often moving to increase tension but is not shaky.  Casino Royale is a long film at 144 minutes, but it is cut to a quick pace as GoldenEye, though there are several scenes that are longer than usual that usually involve a big turn in the story.  Since I find the material involving, I find the film to be a full experience but not an overlong one. 

When Daniel Craig was announced as the new Bond I thought it was a bold choice. Craig played a terrific villain in Road to Perdition (2002) and as I prefer my Bonds to have a hard edge, I liked the idea. I was not sure it was a smart business decision since audiences clearly preferred the lighter Brosnan over the darker Timothy Dalton. Brosnan did bring some edge to his performance in scenes that called for it but Craig feels dangerous in a way that Brosnan never could.

Brosnan was in his early 50s when Casino Royale was made. He could have still played a veteran Bond but the story would have needed to be changed since Casino Royale focuses on Bond's first 00 mission.  During publicity for Die Another Day Brosnan said he was invited back for one more film, which would have been his last, but negotiations were later broken off.  The producers claimed they knew they needed re-energize the franchise after Die Another Day and they decided to go back to basics and take full advantage of the dramatic possibilities of Casino Royale.

As filming began some hardcore Brosnan fans griped about Daniel Craig online which struck me as cruel especially since the film had not been finished yet. Craig, with mountains of pressure on him, took the attitude that the film was his chance to prove himself.

Campbell began filming without having cast either Vesper, the female lead, or Le Chiffre, the villain. There had been rumors of Angelina Jolie or Charlize Theron playing Vesper. Despite liking both actresses, I felt neither would have been appropriate. Vesper would have more of an impact if played by a lesser known actress that the audience would bring no preconceptions of.  Eva Green, who I was completely unfamiliar with, was ultimately cast as Vesper and Danish actor Mads Mikkelson was cast as Le Chiffre in February 2006, portraying malevolent intelligence quite well.  This later informed his portrayal of Hannibal Lector in the NBC series Hannibal. 

Spoilers abound below as I work through the film:

In the black and white pre-credit sequence Campbell sets the film's tone immediately with the tight editing of Dryden getting into his office and getting spooked by Bond informing him and the audience that MI6 knows he is selling secrets.  When Dryden, at first smug since he believes he can get out of this, realizes that Bond has the clip to his gun he accepts his upcoming death with dignity. Bond shoots Dryden clinically, which contrasts with a messy death of his contact who engages Bond in a nasty fight in a bathroom. As Dryden falls back as he is shot the last thing he sees is a picture of his family, which shows that even this easy kill has a human cost.

The titles by Daniel Kleinman show Bond in a background apparently inspired by the cover of the book, fighting with assassins.  There is a card motif and a more heavily animated background than normal and a lack of the usual silhouetted girls, except for Vesper’s face on the Queen of Hearts.  Daniel Craig appears throughout the titles and a big close-up of his face closed them out as if the producers are saying "This is your James Bond."

The construction chase scene is my favorite action scene in the series. It shows Bond's determination not to let Mollaka get the better of him, even though the bombmaker is an expert at free running. The cinematography highlights the contrast in how the two men do similar things in their own way. David Arnold’s music is both gritty and soaring. While Bond does go too far both in entering the embassy and being so destructive he does think well under pressure in shooting Mollaka with a gun he appeared not to have and then shooting the tanks to create the diversion for him to leave. I like the creativity of the scene (as it goes on no one knows what is coming next) and that it is a one on one struggle as opposed to Bond battling it against a lot of faceless bad guys. The free running is impressive but Bond’s improvisation to keep up with a faster opponent is even better.

Craig is as dangerous and vulnerable as Timothy Dalton was but less intense and he has a better sense of humor. Like Dalton, this is Bond as an assassin.  He is also muscular which adds a new dimension. Brosnan and Dalton were in good shape but were normal sized men. Craig’s Bond is so physically capable it adds to his recklessness.

The first Bond M scene has incredible dialogue with M chewing out Bond for his recklessness in the embassy. Dench had a good dynamic with Brosnan but her relationship with Craig is like a mother trying to control her gifted yet rebellious son. During the scene Bond can barely look M in the eye and he likely surprised her in her apartment to take the edge off the scolding he knew he was in for.

When Bond gets off the plane he spots Le Chiffre’s yacht as soon as he lands even though he does not know him yet. The music played during Bond’s drive to the Ocean Club is an animated instrumental arrangement of You Know My Name. Craig looks smashing in his slacks and white shirt. Bond’s fun scene with the German snob hints at how he dealt with rich kids at private school.

I did wonder if the time on the text message Bond uses would have been the same in the phone in Madagascar as in the Bahamas when the villain Dimitrios sent him the code word.

Bond logs onto the MI6 website with M’s password so the home office knows what he is doing. M is so devoted to her job that she keeps a computer by her bed.  There is a man there who may be the “late husband” referred to in Skyfall though he looks younger than M.

Bond's meeting with Solange establishes the way he charms women by making no pretenses about a relationship. Even this smaller part is written in a way to reveal this new take on Bond.  Their scene is steamy without being gratuitous and Solange’s reactions tell a lot about her marriage to Dimitrios.

When Bond tracks Dimitrios, he is spotted twice by more seasoned adversaries, though Bond calling the other villain on Dimitrios’ phone to identify him is ingenuous.

The sequence at Miami International (incorrectly referred to as Miami Airport) was clearly not filmed there.  It is mostly a suspense scene that only turns to full out action near the end as Bond starts battling with the bad guy on the fuel truck that he plans to crash into the new jet.  Like the chase earlier as the sequence begins it is not at all clear how this is going to play out.  Campbell shows Bond grab the villain’s pants but not put the bomb on it.  When Bond is immediately knocked back down with the batons by the airport police after getting out of the truck, who understandably perceive him as a threat, it displays the lack of graciousness these type of civil servants endure even when protecting people (and helps explain why they remain cold and distant). Campbell’s inventiveness particularly applies at the end of the scene. There is a reveal of the villain standing there ready to hit the explosive device in the same frame. The villain’s death and Bond’s subtle smile is a perfect cap to the tension and far more effective than a witty line.

Bond and M react to Solange's death in a matter of fact way and M’s assistant, Villiers has a much more human reaction. Villiers is played by Tobias Menzies who years later landed a rich dual role in the Starz TV show Outlander.  M notes that this woman who barely knew Bond died a horrible death because of him. M never commends Bond for his thwarting the attack as he is not back in her good graces yet.

It is not realistic both that Le Chiffre would have set up the game and that M would have found out that quickly, which seems to be the day after the Miami Airport scene.

Bond’s first scene with Vesper has terrific dialogue as Bond and Vesper read each other over a dinner  on a train to Montenegro.  Since Bond does not talk much about himself we learn about his background from Vesper’s reading of him. 

It is never explained why Vesper has a strong French accent, yet works for the British government. Eva Green is French and speaks English pronouncing many words with British intonations but cannot hide her French accent. She obviously learned to speak English at an older age.

Bond starts trying to catch Vesper off guard to lower her defenses. When the reading the brief of the covers Bond makes a meta crack at the tendency of Bond films to give their women overly suggestive names.  Later when Bond gives his real name at the hotel I believe he does so for a couple of reasons.  Foremost we want to hear the other characters addressing him as “Mr. Bond”. The other is to get a rise out of Vesper. She gets angry (note how she tossed the pen when signing the registrar) and gets into an elevator and does not let him in, foreshadowing the climax.

Giancarlo Giannini plays Rene Mathis, the first time this Ian Fleming character appears in one of the films.  It is interesting that this French character is played by an Italian actor, who is not trying to hide his accent, though the following film explains this as a bad cover name.  Mathis' introduction sets up the entire Bond introduction later. Giannini has a lot of fun playing this veteran service member who is playful and well connected.

The bathroom scene prior to the game is one of the best scenes in the film.  For the first time in a Bond film we see a woman fixing herself up. Of course, Vesper looks as lovely in the bathroom in her silk robe as in one of her evening gowns later.  Bond's bold request is designed both for the game and to catch her by surprise.  When Bond finds the tuxedo and sees that Vesper has done the same thing to him, he is a little indignant but of course looks smashing in it. Vesper is revealed watching him put it on, sending the first real signal that she is interested in him but on a grander scale, Vesper is helping to create James Bond. The light piano Vesper theme segues into a quick smooth rendition of the Bond theme.

As Bond enters the casino (which I do not quite understand why it is not in France as in the book-I suppose Montenegro sounds more exotic) since it still has a very French name, he passes Le Chiffre’s men who take notice of him. When Bond is formally introduced to Le Chiffre he does not directly answer Le Chiffre’s question.

The game was wisely changed to poker (Texas Hold 'em) from bacarrat in the novel. Few audience members know how to play baccarat but most people at least understand the basics of poker.  Campbell keeps the game involving by showing the most dramatic hands (and the way Bond and Le Chiffre read each other) and cutting into other events in between hands.

Vesper enters the casino the way Bond requested but in full view of him instead of the other players and then kisses him on the cheek instead of the neck, mocking his request from before (but also setting him up to lose which is what she seems to have been told to do by Quantum).  Bond loses a big hand after Vesper’s entrance and then Bond orders his first martini using the detail from Fleming’s novels (specifically "Doctor No", I believe). Bond is probably making up the drink as he goes along since he appears to do it to steal momentum from Le Chiffre after his big win.

When Bond then goes to the bar several things happen.  He steals the kiss from Vesper. Le Chiffre looks over at Vesper, probably aware of her role.  Vesper tries the martini and is impressed but Bond does not see this. Vesper also sees that Bond really went to the bar to retrieve a bug from Mathis and that Bond reveals that he knows Le Chiffre’s tell.

The remainder of this review is in Part II.