Casino Royale

James Bond is definitely not the man he used to be.

After the four Brosnan films, which progressively got more and more dire, I was happy at the end of Die Another Day for Bond to hang up his Walther and move on. Forty years is a pretty good run for any film series, and twenty films has to be some sort of record, so RIP Commander Bond. However, with the huge takings from Die Another Day, you could pretty much guarantee that a new film was about to arrive, and you could also bet that it would be more of the same - after all, only a fool of a producer would take the series in a completely different direction. A fool, or very brave...

When Bond 21 (as it was so charmingly called for so long) went into negotiations, Brosnan demanded exorbitant sums of money and so his services were dispensed with. My stomach sank when Daniel Craig was announced as the new Bond. Everyone was up in arms about him being blonde, and non-fans couldn't understand why. "We're just used to seeing a tall, dark Bond" they said..."It's not like the description is written down somewhere." Except it is. Try reading the books - they may not have the scar, or the comma above the right eyebrow, but Connery, Lazenby, Dalton and Brosnan come pretty close to the description that Ian Fleming gave. Even Moore isn't way off. Craig is nothing like the description.

And then the word "reboot" was bandied around.

The first teaser came out, and Craig looked distinctly uncomfortable at the end when the camera zoomed in on him. "God, I hope I don't screw this one up," his eyes seemed to be saying.

Then the first trailer came out. And suddenly it looked as though Craig was going to do something that Brosnan decided not to. He may not look like Bond, but he was going to act Bond.

And by God is he good. Daniel Craig seems to get the part in a way that Pierce Brosnan never quite seemed able to. Yes, Bond is a bit juvenile at times - in Casino Royale he can't help but give a smug smile of satisfaction when the loudmouth who treated him as a chauffeur discovered his car smashed. But Bond is not an adolescent. And he is a cold-blooded killer. When "M" says she would tell him to keep his emotions out of it but that's not his problem, Bond agrees. He has no feelings for anyone. He has a job and is ruthlessly efficient in it's execution - if not very stylish.

As this is a reboot, the movie kicks off without the traditional gunbarrel; just straight into a black and white pre-title sequence where Bond dispatches a treasonous MI6 section chief. He has no 00-status. But the titles start with a new gunbarrel (very different to the old one, and one can't quite understand why that is - only the fans would know the difference, and would be upset by the unnecessary change, which suggests they were trying to annoy the fans) which leads into the title sequence that is also very different to its predecessors. Gone are the nakes silhouettes, rather we get a playing card/gambling motif with a variety of fights that result in attackers disintegrating into hearts, spades, clubs or diamonds. During the titles we learn Bond is granted his 00 status. In effect, this brilliant sequence is what Die Another Day could have been.

In fact, Casino Royale is the reboot that GoldenEye half-heartedly attempts to be. It's long been debated as to whether Brosnan is the same Bond as Connery, Lazenby, Moore or Dalton, and while there are little hints to suggest he is not, there is nothing definite, and some specific comments to indicate that it is the same Bond (mainly Bond's point about Judi Dench's "M" being the new "M", giving a film continuity. That, and Desmond Llewellyn of course). Craig's Bond is clearly not the same man as his predecessors, not even if you pretend that this is a prequel in the series. There is no Moneypenny, there is no "Q". The only link to the previous films is Judi Dench as "M", and she plays the part in a different manner to her time opposite Brosnan. This new "M" has been around since the cold war, and has very little time for Bond and his methods. But he is her blunt instrument to be wielded and manipulated as she sees fit.

But Bond is occasionally more resourceful than his boss realises. He knows when she manipulates him, but goes along with it anyway. He is an investigator, able to access "M"'s home and computer where other people can't. But there is no denying he is a blunt instrument. It's not just his dismissal of the question as to how he wants his martini; rather it is in the way he carries himself. In the opening sequence, post-titles, he chases after bombmaker Mollaka (played by athelete Sébastien Foucan, inventor of free running, which is used extensively in the fight); but where Mollaka jumps through small gaps with grace, Bond lumbers through fibro walls, causing destruction without forethought. But what is great about this movie is that Bond develops throughout the film, becoming more and more like the James Bond we know. By the end fight against White and his men, Bond is more cunning, thinking more about the fight. The clever quips become more frequent as the movie progresses. By the end of the movie, when he utters the words "My name's Bond, James Bond" for the first and only time in the movie (to the James Bond theme which is played complete for the first time as well), he has almost become the character we knew. It's a brilliant bit of acting and, to be fair Neil Purvis, Robert Wade and Paul Haggis, a cleverly written screenplay. If I were to compare, Craig plays the part similarly to Dalton, very cool, very hard, with some spectacular dialogue and a sweet charm.

There are numerous moments in the film which, despite a developing Bond, are typically Bondian: when Mollaka throws a gun at Bond, he catches it and throws it back, smacking him in the face; and a brilliant line where Bond tells Vesper she is not his type, not because she is smart, but because she is single. Two personal little things I also like were that the strongest word Bond uses in the film is "bloody", but he makes it sound like an f-word; and Bond finally refers to Dench's "M" as ma'am. At last!

Though they are, for the first time in a long while, using Fleming's original novel as a basis. In fact the film feels a bit like Michael G Wilson had quite a hand in it. Surrounded on either side by mini adventures which show why Le Chiffre needs to gamble the poker game at Casino Royale, and Bond's hunt for Mr White, Fleming's novel is translated in the middle quite well.

Martin Campbell returns to direct the film, and he deserves considerable credit for what he has achieved. The pre-title sequence is directed brilliantly (and although this is true for most of the movie, the lighting and photography of the pre-titles deserve particular praise), and the movie itself is full of action, tempered with character moments and, rather bravely, a poker game. It's a little amazing that in a James Bond action film, Campbell decides to show people sitting down playing poker, but it is such a relief from the absurdity of the previous films, and acted and directed so well, that time doesn't seem to drag. Indeed the whole movie, despite being the longest Bond film to date, rattles along at quite a pace.

The film gives us no less than three villains - the main one being Mads Mikkelsen's Le Chiffre, a money man for a mysterious organisation that is represented by Jesper Christensen's Mr White. Le Chiffre appears to be an asthmatic who, thanks to blocked tear duct, weeps blood (this is no in Fleming's novel, but it is a very Fleming idea), while, thanks to some great acting, we see that White doesn't entirely trust Le Chiffre from the outset. The third villain is terrorist Colonel Obanno (Isaach De Bankole), who gives his money to Le Chiffre, only to be stabbed in the back - something which he intends to do to Le Chiffre. Ironically, it is Bond who saves Le Chiffre's life in a very vicious fight with Obanno in a stairwell. Mads Mikkelsen brings Le Chiffre to life in a fantastic way, playing him very much as a human being. There is a panic in Le Chiffre's eyes from the moment he tells his banker precisely how much money he has lost, to the final torture scene where he realises that Bond isn't going to give him the money he needs to save his life. It's a fantastic performance.

It's worth taking a moment to talk about the fights and stunts in general. Gone is the rubbish CGI from Die Another Day, rather we get a return to stuntmen performing real stunts. Sure, their harnesses may be digitally removed, but there's something satisfying about a stuntman smashing into a crane that a CGI figure surfing a melting glacier doesn't quite deliver. The fights have returned to the nasty fights of the 60s and 80s, with not only the fight between Obanno and Bond standing out, but also the battle between Bond and White's men at the end, which is particularly nasty, if not just for the use of a nail gun. A brilliantly staged fight between Bond and henchman Alex Dimitrios over a
knife is also interesting; not a word is uttered in the entire scene by either man, but it is one of the tensest moments in the film. The whole thing is topped off by the seven turn barrel roll of the new Aston Martin (great to see Bond driving an Aston Martin, and not just the '06 model, but also a '64 model). That said, there is one scene that is
perhaps the true icing of this gruesomely violent cake. I never thought that they would include Fleming's testicle-smashing torture scene in any of the Bond movies. It is painfully brutal on the written page, but seeing it on screen, with a naked and vulnerable Bond makes it just that little more real. It is one of the most disturbing moments
ever seen in a Bond film.

There are two Bond girls in the movie - Caterina Munroe as Solange, and Eva Green as Vesper. Munroe is very beautiful, and her part is quite brief, being virtually window dressing. Vesper, of course, is the main Bond girl, and the woman who Bond finally cares about, letting his guard down and letting her in his heart. Eva plays the part marvellously, being very caustic with Bond on their first meeting (indeed, the initial meeting between Bond and Vesper is so well played, it is one of the highlights of the film) before softening towards him, and, after their capture by Le Chiffre, falling in love with Bond, while clearly regretting something that is playing on her mind. Her final betrayal of Bond is unpredicted, and gives Craig another chance to highlight his skill at playing Bond - putting up his guard before giving into his emotions after she passes. Aside from being absolutely stunning, Vesper has one of the best moments a Bond girl can have - a true reaction at witnessing a man she is falling for brutally murder two men. Aware that her life was threatened, she is still very shaken by what has happened, and it is one of the best character moments in the film. In line with the disturbing nature of the film, Vesper's death is particularly unsettling.

Other cast members of note are Giancarlo Giannini as Bond's contact Rene Mathis - who may or may not be working against MI6 - and Jeffrey Wright as Felix Leiter. Mathis is a character of the Kerim Bey mould, easily charming, with an edge of steel, and Giannini plays him marvellously. It is great to see Leiter back again (although as this is their first meeting, again we see that this is not the same Bond from the previous twenty films), and curiously played by a black actor - not the sandy haired Texan that Fleming described. However, given that the film is a reboot, and Wright is fantastic in the part, despite not having a terribly large amount of lines, his skin colour is of little interest - this Leiter is far more engaging than at least three of his predecessors. Wright plays the part very cool; when Bond asks who will get the $150,000,000 from the gambling game, Leiter smoothly replies "Does it look like we need the money?" Bitter irony for the Americans these days, no doubt.

One of the standout elements of this film is the music. David Arnold returns to score the film, but is obviously a little more inspired to make something of it. He and Chris Cornell co-wrote the quite simply amazing theme song "You Know My Name" which returns frequently in the film as a theme. But, what Arnold does with the James Bond theme is far more clever. It doesn't feature until Bond puts on his tailored tux for the first time, when we get hints of it. From then on, everytime there is a Bondian moment, an echo of the theme is heard before absolutely brilliant end where the theme kicks in over the closing titles as Daniel Craig utters the immortal line. A lot less synthesizer and a far
grander score shows that even the crew have been invigorated by this change of pace.

A few points that need to be made:

It's interesting to see the company logos at the beginning of the film also in black and white.

The character of Villiers could have just as well been Moneypenny - this seemed an unnecessary break from tradition.

The scenary is gorgeous, as always, by Montenegro is absolutely mind blowing.

Mr White's "Organisation" is very curious.

As Bond recovers he looks a little like he has ended up in The Prisoner's Village.

It's fantastic that Bond delivers the line "the bitch is dead" - the last line of Fleming's novel.

Despite brilliant acting, Vesper seems to suddenly fall for Bond; something which even Bond comments on. I'm not sure why, but this seems just a little out of place.

What's so amazing about this film is that it shows that, after a movie that was hackneyed and cliched, Bond still has life in him. Michael G Wilson and Barbara Broccoli deserve praise for making what must have seemed like an absolutely insane move in the Bond series. How wonderful for them that it paid off, and Casino Royale beat Die Another Day's returns. And for the first time in a few years, I am worry free when I see the words: James Bond will return.

Favourite Bond: 1. Timothy Dalton; 2. Daniel Craig; 3. Roger Moore; 4. Sean Connery; 5. George Lazenby; 6. Pierce Brosnan

Favourite movie order: 1. The Living Daylights; 2. On Her Majesty's Secret Service; 3. Casino Royale; 4. Dr No; 5. Licence To Kill; 6. A View To A Kill; 7. Live And Let Die; 8. Thunderball; 9. For Your Eyes Only; 10. Octopussy 11. The Spy Who Loved Me; 12. Tomorrow Never Dies; 13. GoldenEye; 14. From Russia, With Love; 15. Goldfinger; 16. You Only Live Twice; 17. Moonraker; 18. The World Is Not Enough; 19. The Man With The Golden Gun; 20. Die Another Day; 21. Diamonds Are Forever

Favourite Bond girl: 1. Carey Lowell/Pam; 2. Claudine Auger/Dominio; 3. Diana Rigg/Tracy; 4. Eva Green/Vesper; 5. Carole Bouquet/Melina; 6. Izabella Scorupco/Natalya; 7. Barbara Bach/Anya; 8. Maud Adams/Octopussy; 9. Michelle Yeoh/Wai Lin; 10. Mie Hama/Kissy; 11. Daniela Bianchi/Tanya; 12. Ursula Andress/Honey; 13. Jane Seymour/Solitaire; 14. Maryam D'Abo/Kara; 15. Lois Chiles/Holly; 16. Honor lackman/Pussy; 17. Tanya Roberts/Stacy; 18. Denise Richards/Christmas; 19. Halle Berry/Jinx; 20. Britt Ekland/Mary; 21. Jill St John/Tiffany

Favourite Bond villain: 1. Robert Davi/Sanchez; 2. Donald Pleasance/Blofeld; 3. Gert Frobe/Goldfinger; 4. Christopher Lee/Scaramanga; 5. Jeroen Krabbe & Joe Don Baker/Koskov & Whittaker; 6. Christopher Walken/Zorin; 7. Louis Jordan & Steven Berkov/Kahn & Orlov 8. Jonathan Pryce/Carver; 9. Adolfo Celi/Largo; 10. Mads Mikkelsen/Le Chiffre; 11. Sean Bean/Trevelyan; 12. Michael Lonsdale/Drax; 13. Yaphet Kotto/Mr Big-Dr Kananga; 14. Julian Glover/Kristatos; 15. Joseph Wiseman/Dr No; 16. Lotte Lenya/Klebb; 17. Telly Savalas/Blofeld; 18. Charles Gray/Blofeld; 19. Toby Stephens/Graves; 20. Sophie Marceau/Elektra; 21. Curt Jurgens/Stromberg