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The 'Royale' treatment.
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The Commercial Appeal thecommercialappeal.com
The 'Royale' treatment
'Casino' reboots Bond as a fledgling agent with a new license to kill.
November 17, 2006
By John Beifuss
You know, I've watched most of the 21 "official" James Bond films produced since 1962 (a count that excludes two renegade features, 1967's first "Casino Royale" and 1983's "Never Say Never Again"), but I have to admit that only the ones I saw when I was a kid lodged themselves in my memory -- namely, the classic adventures with Sean Connery and, later, the silly but enjoyable Roger Moore episodes. (I guess the line "My name is Pussy Galore" has more impact when you're in sixth grade than even Halle "Jinx" Berry in an orange bikini does 30 years later.) The six Timothy Dalton-Pierce Brosnan Bonds produced since 1987 have their enthusiasts, but about all I can recall from them are such disappointments as dim Denise Richards as a nuclear physicist (!) in "The World Is Not Enough" and the ridiculous "surfing Bond" of "Die Another Day." But if I've grown indifferent to the Bond films, I still respect and have high hopes for the character.
Now comes a second film titled "Casino Royale," which introduces not only a new Bond but Bond as a newborn: Although set in the post-9/11 era, this -- like "Batman Begins" -- is an origin story, starring a not yet fully formed 007 only recently granted his license to kill. (In fact, viewers get to watch Bond dispatch his first two victims.) This explains why Monty Norman's famous James Bond theme music isn't heard until the end credits: The signature surf-guitar riff is surer evidence of the character's birth than would be the sound of a slap on a bottom followed by a baby's crying.
The new Bond is played by talented Daniel Craig, who resembles a jug-eared soccer hooligan ("I'm all ears," Bond says during the film, lampooning his own appearance) more than an international sophisticate; spy boss M (played for the fifth time by Judi Dench) even calls him a "blunt instrument." Fittingly, the movie itself is tougher than usual; the violence is often down and dirty, although realism quickly goes out the window when Bond commandeers a bulldozer to barrel into a Madagascar construction site while chasing a terrorist. When Bond is captured by the bad guys, his torture is Abu Ghraib-believable, unlike the laserbeam scenarios concocted by Goldfinger; even the graphics in the typically stylish opening credits eschew the usual half-clothed girls for images of attack and murder.
Apparently fairly faithful to Ian Fleming's 1953 novel of the same name (the first of the author's 15 Bond tales), "Casino Royale" derives more suspense from a central high-stakes poker game than from its action set-pieces as Bond matches cardplaying wits with the evil Le Chiffre (Mads Mikkelsen), a "private banker to the world's terrorists" who literally cries blood due to "a derangement of the tear ducts" (a phenomenon of Mario Bavaesque visual potential almost totally neglected by director Martin Campbell, whose credits include the Brosnan-Bond film "GoldenEye" and the two Antonio Banderas Zorro movies).
Bond is aided in his mission by a beautiful treasury agent, Vesper Lynd (Eva Green, the stunner from Bertolucci's "The Dreamers"). Gadget-master Q and lovesick Miss Moneypenny are absent, but the movie's reboot of the Bond myth enables the filmmakers to have fun with such traditional story elements as the agent's Aston Martin and his "shaken, not stirred" martini recipe.
"Casino Royale" reportedly cost $130 million, and the money shows on screen, with sequences set in Prague, Montenegro and Venice. Even so, the film could have been cut by many millions and many minutes: At 144 minutes, it drags, especially during the development of the Bond-Vesper romance, which may make the film more "adult" than most of its predecessors but adds little excitement. Other "mature" story elements also are poor substitutes for supervillains and gadgets; who wants to see Bond learn a lesson about ego, as if he were Greg Brady in his "Johnny Bravo" phase?
In other words, "Casino Royale" means well but fails to bottle the old Bond magic or to reinvent 007 as a rival for a newer and better spy series, the "Bourne" films. "I miss the Cold War," M muses at one point; fans of "Dr. No" and "From Russia with Love" are likely to agree.
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