In a nutshell, this film is the single most innovative thing that's happened to the Bond franchise since the casting of Timothy Dalton as James Bond. My initial reaction is that this is the best Bond film since 'On Her Majesty's Secret Service'. Tim Dalton has long been my favorite Bond actor but I suspect that Daniel Craig might well overshadow my favorite Welshman, given repeated viewings of the film.
I immediately accepted Craig in the role. Yet, it was hard not to, given the film's pre-credits sequence. Casino Royale's pre-credits sequence is undoubtedly the grittiest of them all. This sequence is devoid of any stunt gimmickry or gee-wiz special effects. Yet, this sequence is singularly magical in that it skillfully and relentlessly exposes the true nature of Ian Fleming's James Bond.
Bond, as Fleming wrote him, is a blunt instrument, honed to dispatch the enemies of Queen and country. This pre-credits sequence gives us blunt aplenty and showcases Bond's brutal efficiency, in dispatching his first two kills. The audience isn't coddled with a smug grin from Bond, upon the killing of these men. Instead, we're treated to a rare glimpse into Bond's soul; as it's clearly evident that Bond is left shaken from his first kill. Bond's second kill is cleaner but no less brutal. There's only one stab at humor from Bond in this pre-credits sequence and it's laced with cold irony.
This scene artfully conveys a heavy handed message to the audience that they're in for a Bond film unlike any they've ever seen. Might this pre-credits sequence (and the film as a whole) disturb or even deter audiences who've become accustomed to an unruffled and glib portrayal of Bond? Perhaps. Do I suspect that Fleming purists will be heartily pleased by 'Casino Royale'? Quoting Craig's Bond, I say "yes, considerably."
I'm keen to write a proper review of 'Casino Royale' after a second viewing. There was really soooo much to take in, that multiple viewings are warranted for a proper shakedown of the movie. Overall, I was astounded by the film. Some brief points, based on initial impressions:
-The gunbarrel sequence is pure gold. I had been worried about the new look of the gunbarrel. Yet, it totally works in context. Happens so quickly that the only thing that registers is Bond firing away, as every Bond has traditionally done before him.
-The retro-look credits are a refreshing change and were a delight to see. Chris Cornell's 'You Know My Name' works nicely with this credit sequence.
-The action throughout the beginning of the film was throughly satisfying and should surely please that segment of the movie-going public that expects thrilling action scenes in a Bond film. The Uganda chase was fantastic and the transition into the chase might've been written by Fleming himself. The duel between the cobra and the mongoose struck me as symbolic foreshadowing of the chase to ensue between Bond and Mollaka.
-Despite the fact that I yearn for the return of a male 'M', Dame Judi Dench has some fantastic moments in the role with this film. Her first one on one with Craig's Bond is phenomenally well written and very nicely played.
-Bond's turn at playing valet was priceless! It made for a satisfying follow up to what seemed like a Ford Mondeo commercial preceding this unexpectedly funny bit.
-The Bahamas scenes were nicely done, especially Bond's first go at the cards against Demitrios and his time with Solange. The audience got a real kick out of Bond's short drive back to his place.
-The Miami scenes were quite good and the transitions culminating in a death-defying terrorist attempt were fantastically written. Some great build up in tension here and Craig's reaction to the terrorist's demise was good fun.
-While I would like to have seen Royale-les-Eaux and France properly featured in the film; Montenegro worked nicely. I love seeing Bond in Europe and wasn't let down by the settings presented on film. Bond and Vesper's first meeting set a nice tone for their relationship and I suspect Fleming himself wouldn't have minded that they were on an elegantly appointed train.
-Rene Mathis was fantastically well cast and he and Craig's Bond had a rapport. Though, I do wish that rapport had been as nicely developed as it had been in Fleming's novel. Ditto goes for Felix Leiter.
-Speaking of Felix...I think Jeffrey Wright played the charming American nicely. My friend and I weren't thrilled about Felix calling Bond 'brother', but it wasn't a glaring nuisance. I actually enjoyed Wright in the role, despite looking nothing like a straw-haired Texan. In fact, I would love to see him reprise the role. My only fear with Jeff Wright is that he's so phenomenally talented that Babs and MGW might have trouble getting him back as Felix.
-Le Chiffre was brilliantly well played. He had the quite menace of Fleming's orginal villian with some cinematic nuances that I felt enhanced Fleming's original character.
-The poker game was absolutely fantastic! Unfortunately, I'm unfamiliar with Texas Hold 'Em and might've appreciated the duel at the tables that much more, had I thoroughly understood the game. There were a good many people in the audience who clearly understood the game and their reactions to the turn of the cards was enthusiastic. Yet, I was able to fully appreciate the dramatic and emotional tension that this scene inspired.
-The stairwell fight was breathtakingly brutal. I was especially keen on the stark realism of the fight's aftermath. Bond was all business, as he should've been, and seeing him thoroughly bloodied lended appropriate gravitas to the scene. Vesper's shellshocked reaction and Bond comforting her made for an emotionally satisfying, if somewhat cliched moment. Bond downing whiskey and cleaning up his battered body before returning to the table was a pure literary Bond moment.
-I thoroughly enjoyed the film's twist on the lead in to Felix backing Bond against Le Chiffre. Yet, I really, really wish there had been more interaction between Bond and Felix on screen. I suspect there might be a deleted scene between the two of them, as many of us have seen a production pic of the two of them, standing at the Salon Privee's bar.
-The sequence where Bond is poisoned was amongst my favorite moments of the film. I really felt, to some degree, immersed along with Bond in his disoriented state and the urgency of his circumstance was keenly felt by myself and the audience (judging from their reactions). The camera work and direction of this sequence was fantastic. I really felt that this sequence was an improvement over the attempt on Bond's life, as originally written by Fleming, in the chapter entitled 'The Deadly Tube'.
-Bond's torture was very well played. Yet, both my friend and I felt that it was a bit odd that they infused a bit of humor into this scene. This scene, as gruelingly close visually to the novel as it is, deserves repeated viewing. I suspect the scene played far more effectively to those who've never read Fleming's original novel. Once you've read those passages in the book, they simply stick with you and it's difficult to envision Bond's torture any other way, other than how it was originally written. Yet, the scene was properly brutal and Craig's conveyance of pain was utterly convincing.
-I really wish that Mr. White had somehow marked Bond on the hand, per 'A Craglike Face'. Sure, SMERSH is gone and forever done with. Yet, it would've been nice if this shadowy terrorist network had somehow marked Bond for future reference. I'm not the least bit upset by this ommission in the film, but it would've been a nice touch methinks.
-Bond's convalesance was nicely done. I was especially keen on the evident guilt and inner conflict shown by Vesper, upon discovering that her name had been the key to the Royale winnings all along.
-The Venice battle was a bit difficult to follow. Yet, Vesper committing herself to a watery grave and Bond's struggle to save her were emotionally wretching and positively poignant. I felt that Vesper's death on film was handled a good deal more effectively than it had been in Fleming's novel. There was a good deal more emotional punch to the film's version of her death. Seeing Bond hold her lifeless body just sealed the tragedy of her betrayal more poignantly. Speaking of which...the exposition of Vesper's betrayal of Bond was far superior on film, than it had been originally written by Fleming. Seeing Vesper go through the motions of betraying Bond was far more satisfying than the afterthought of a suicide note.
-Bond's final conversation with 'M' seemed to have a greater emotional impact than the original novel overall, simply given the varying dynamic that the films 'M' is a woman. Sure, I really want Sir Miles back. Yet, in this case, having a female 'M' lended a nuanced shade to the grim conversation that's lacking in the novel. Great to hear Bond say "The bitch is dead". Yet, the line might've been more effective on film had Craig paused before and after saying it I suspect, as though he were weighing the words in his mind. He had fallen in love with the woman, after all.
-Loved Bond's final confrontation with Mr. White! Yet, I suspect it would've been that much better if Mr. White had asked Bond his name, as he lay at his feet, right before Craig uttered the now famous line. Still, it was a brilliant way to end the film.
I'm sure I'll expound on a good many of the points I've covered here and likely come up with some new viewpoints, upon my next viewing of the film. I was keen enough on the film to watch it a good many times indeed!
Edited by Methos, 17 November 2006 - 03:28 PM.