Casino Royale

by Ari

What happens when the Bond franchise returns to its roots, while taking hints from The Bourne films and Batman Begins? The most purely entertaining movie of 2006, the most surprising movie of 2006, and the single best Bond film since Thunderball. I wasn’t exactly sure what to expect from the Broccoli’s re-haul of their exhausted franchise, from changing baccarat to poker, hiring Paul Haggis to polish the screenplay by the writers of the last three miserable efforts, to casting Daniel Craig as the iconic leading man. The ingredients for complete disaster were in place, except for one mildly promising factor: the producers looked to director Martin Campbell (GoldenEye) to helm their adaptation of Casino Royale, the first novel by Ian Fleming. GoldenEye was the last solid Bond feature - a slick, entertaining escapist fare that featured Pierce Brosnan in his first, best, and only watchable turn as the infamous British agent. Campbell is a competent studio director who can take a solid screenplay and make a solid film, so hiring him to revitalize the Bond franchise yet again was a good move. The Broccili’s listened to the harsh criticisms of their last three debacles, finally realizing it was time for a change. Thankfully, this change was focused on bringing the Bond films back to what they used to be, instead of reimagining the character in an even more absurd and appalling manner.

Casino Royale is classical Bond, only written in a contemporary setting and restarting the character for a whole new generation to enjoy. James Bond is completely reinvigorated in his first outing as a double-O agent. It’s almost preposterous how successful and thrilling this movie is - a feat I never expected to be accomplished by this creative team. To have a series this energized after almost half a century is fairly epic, and the producers deserve credit for taking chances with their property. Martin Campbell did a very smart thing by re-enforcing Bond's classy and sophisticated edge, placing Casino Royale in the realm of intellectual entertainment alongside the early works of Connery. This is more From Russia with Love than The Spy Who Loved Me or Tomorrow Never Dies, never resorting to the lunacy that has defined the franchise for so long. Every once in a while the franchise hits the mark, whether it’s with The Living Daylights or the previously mentioned GoldenEye. But then, sadly, the producers never deliver on its potential, reverting back to the outrageous idiocy and self-parody that has plagued the franchise. Casino Royale is as refreshing a change as you can get - amazing, even, considering the last time the franchise aimed for edgier territory was with the dreadful License to Kill, the film that unfairly labeled Timothy Dalton as a weak James Bond. Casino Royale is lean and focused, smart and witty, tough and brutal. And yes, Daniel Craig is absolutely the best thing to happen to this character since Sean Connery retired the tux in 1971 (not counting the poor Never Say Never Again).

The reason everything works so well is because the story is so effective. James Bond is a new agent at MI6, looking to prove his worth and demonstrate his skill. In the film’s excellent opening sequence, we see Bond secure his double-O status by killing his first two targets. This sequence immediately establishes the film’s more violent tone. Since Bond has only just become a secret agent, he’s more vulnerable and impatient, less collected and less experienced. It’s an interesting new direction, and a strong basis for establishing who he is and who he eventually becomes. Bond is a layered character with an actual arc, similar to what Christopher Nolan and David Goyer did with Bruce Wayne in Batman Begins. Casino Royale very much follows that formula, but it’s a good formula that works very well for this character. Bond is not yet suave in Casino Royale, but he is sophisticated and real. That realism makes him much more believable, penetrable, and well, interesting. Because Bond can be outwitted, beaten, and tortured, the situation is more complex and dramatic. Like From Russia with Love, much of the violence in Casino Royale is up close and personal, dirty and bloody. This is a surprisingly violent film, easily the most brutal entry in the franchise yet. The fantastic opening chase is intense and awe-inspiring, the shoot-outs are sudden and fierce, and fight sequences are visceral and messy.

After obtaining information about Le Chiffre (Mads Mikkelsen), financier of terrorism, Bond is sent on his first highly important mission. Le Chiffre is looking to win a high-stakes poker game in Montenegro’s Casino Royale to fund new terrorist activity and make amends for the money he’s lost. His terrorist dealings have been crushed by Bond’s daring heroics, so using his passion for gambling is his best bet for earning the money he needs. MI6 sends Bond to compete against Le Chiffre, since he’s the best player in the service. If Bond can win the game, Le Chiffre is broken and finished. Vesper Lynd (Eva Green) is the acquaintance that provides Bond’s money, and eventually steals his heart. Craig and Green have particularly good chemistry, igniting the scene with their banter and sexuality. Mikkelson is excellent as Le Chiffre - intelligent, cold, but human. This is a real Bond villain. The sequence in which he tortures Bond is unforgettable material, one of the best moments this franchise has ever seen. Craig’s performance is brilliant. He put his heart and soul into creating a more flawed and personal character, and the result is an effortlessly cool James Bond who lives up to the “women want him and men want to be him” slogan.

Casino Royale is the goods from beginning to end. This is the year’s great surprise, and one of its best films. Bravo.