For too many years fans of the James Bond movie series had to be satisfied with only the occasional glimpse of the character that was cinema magic in the 1960's. The spirit of the literary hero that Ian Fleming created and EON originally brought to the screen was all but gone through the 1970's and much of the 1980's. That sums up why so much of the Roger Moore era disappoints many, myself included. In the late 1980's, Timothy Dalton came on and performed admirably though he was not widely popular. Pierce Brosnan took over in 1995, and at last the series seemed re-invigorated. A talented and popular actor in the role coupled with a decided return to the literary and cinematic roots that originally made 007 a phenomenon proved a wining combination. I wrote after The World is Not Enough (1999) that it was the best Bond picture since 1969. I wrote the same thought after Die Another Day (2002). Admittedly that film faltered a bit in its second half, but I was thrilled with the James Bond that Brosnan brought to the screen. Audiences agreed; Die Another Day was the most successful Bond ever. Brosnan was terrific in the role and I was very disappointed when it was announced he would not return for a fifth film.

EON was at a crossroads of where to take the series and character. Then, as cool as James Bond casually throwing out "banco"" at the baccarat table, they played a risky all-in strategy and re-booted the series, also bringing in a new lead.

Almost predictably considering the Midas touch that EON has enjoyed since 1962, the gamble paid off. In spades. But not before some rough patches.

Over the years, James Bond has been called a stupid policeman, a relic of the Cold War, a blunt instrument and a misogynist dinosaur. But 007 suffered what was easily the most unkind, most unfair cut of all after it was announced that the relatively unknown (to American audiences anyway) Daniel Craig would take on the role. From what can most generously be described as a tiny minority of oddly misguided and mean-spirited fans, opinions that Mr. Craig was "too this, too that, not enough of the other" got more than a bit of media attention. While most waited to actually see Casino Royale before damning the project to the piranha pool, coverage too often fixated on this unfair disdain for the new actor.

So now, after the release of what can only be described as a triumph of a James Bond movie, what can be said for these misplaced grumblings? Appropriately enough, the bitch is dead.

Daniel Craig dazzles in what is perhaps (and I can't quite believe I am saying this) the best film in the James Bond series. A splendid casting choice, Craig has a physicality that only Sean Connery and perhaps George Lazenby could approach. Craig delivers a performance which embodies Ian Fleming's flawed character and harkens the series' 1960's Golden Age. The author would have approved. Craig is also the expected ladies' man, brings just the right touch to Bond's dark asides, and is impressively convincing during the painfully memorable torture sequence. No brief glimpses here; this is James Bond from beginning to end and Craig deserves much of the credit for that.

The otherwise impressive cast includes, somewhat conspicuously considering the re-booted time-line, Judi Dench as "M." It's no matter though, it all works and who else but Dame Judi could head MI6. Eva Green, Mads Mikkelsen, Giancarlo Giannini shine, and it's great to have the Felix Leiter character return via Jeffrey Wright. Also, Caterina Murino is delicious as the "sacrificial lamb."

The screenplay by veteran writers Neal Purvis and Robert Wade is another essential element to the film's success. To have adapted Ian Fleming's first novel from 1953 novel and update it as a reboot of the most successful series in film history with such great results on-screen is perhaps one of the most impressive writing feats in the entire series. All accolades for Mr. Purvis and Mr. Wade are well-deserved.

There is texture here, and the screenplay works on several levels. The film-noirish pre-titles sequence is especially well done as is the torture scene. Potential pitfalls abound with both concepts, and that they worked so effectively on-screen is more than impressive. Many small yet effective elements from the Fleming novel are happily also included, from Le Chiffre's inhaler to Gettler's eye-patch to the Vesper martini recipe to Bond's near death experience at the gaming table. Then there is the initial coldness between Vesper and Bond, the flirtation, the anger ("You're a bloody idiot!"), the falling in love, the dark suspicion, and then the ultimate tragedy. Great, great stuff.

Academy Award winner (Crash) Paul Haggis lent some script polish, and according to Purvis and Wade made the dialogue "fizz." The interplay between Bond and Vesper is especially well done. Hats off to him as well.

Director Martin Campbell returns, last at the helm for Brosnan's first Bond, GoldenEye (1995). It's obvious from both films that Campbell knows and understands the Bond character. The action sequences are spectacular; I especially enjoyed the extended footchase of "free-runner" Sebastian Foucan. The confrontation at the poker table between Bond and le Chiffre was especially well directed and edited. For those who do not know how to play Texas Hold ‘Em, it may be a bit long and confusing - fortunately Mathis does his best Lon McEachern impersonation, providing play-by-play commentary for Vesper (and the audience). Overall, Campbell does a masterful job, and being that Casino Royale is reportedly the first of a two (three?) film story arc, it would be interesting to see what he would do with another.

David Arnold's score may be the best of his four Bond films. Not a departure per se, though it is more memorable than his previous work. Interestingly, the James Bond theme is only heard at the end of the film, a change from tradition but perfectly in keeping with this re-boot. Chris Cornell's theme, co-written with Arnold, is the first rock song since 1985 and is very good behind Danny Kleinman's simply awesome retro title sequence.

Kleinman has worked on every Bond film since GoldenEye, and damn if he didn't top himself again. The titles sequence for Casino Royale is genius stuff all by itself and worth the price of a ticket alone. Especially effective – near the end, a silhouetted Bond walks towards the viewer and morphs into Daniel Craig while playing-card suits then pound notes swirl like confetti. BIG applause for the entire sequence.

The re-boot that is Casino Royale shows us a James Bond that is still learning, and making mistakes of arrogance and inexperience. By the end of the film Bond has been seriously bloodied by foes and Vesper alike, and learned to "trust no one", a lesson much to M's apparent satisfaction. There are many tantalizingly unanswered questions to be addressed in the now greatly anticipated Bond 22. Lots of delicious stuff yet to be explained.

EON has raised the stakes with Casino Royale. Going "all-in" and winning tends to do that. Casino Royale has proven hugely successful artistically and commercially, and expectations for the next installment are higher than ever.

But until the release of the next Bond picture it is more than satisfying to say that Casino Royale is perhaps the best film in the series, and maybe even more surprising, one of the best movies of 2006.

Well done, 007.

Copyright ©2007 Tom Zielinski

I screened the newly released Casino Royale DVD on a 50" Pioneer Pro Elite 1140 High-Definition plasma television, played on a Pioneer DV46AV Elite series DVD player, with Dolby 5.1 surround sound. (Where does he get those wonderful toys?) Not being an expert video/audio-phile, I can only comment that the film looks and sounds spectacular. That's what is really important, yes? I sometimes confuse the terms anamorphic and anaphylactic anyway.

Phil Meheux's cinematography is even more striking and memorable than on the screen. The train-ride through Montenegro, the site where Bond is tortured, the villa where Bond recuperates and Mr. White's villa are all beautifully done. Danny Kleinman's titles sequence is spectacularly sharp and clear.

The DVD itself is a beautiful transfer, grain-free and sharply detailed. Skin textures and shadow detail are spot-on. That the film is a winner on its own allows one to appreciate all the more the care (love?) that went into the making of Casino Royale. Very impressive.

The Dolby Digital 5.1 soundtrack is impressively active. Sound effects in the surround channels are amazing, the many and varied gunshots especially have an extremely visceral quality. Center channel dialog, etc. has a nicely naturalistic tone, but is at times overwhelmed by the music score crashing through the surround channels (I guess "it goes to 11.") Still, it sounds terrific.

There are a couple "Special Features" on the disc, some which live up to that billing. "Becoming Bond" falls in this category providing background into how the rights to the novel Casino Royale were procured among other interesting insights. Interviews with Daniel Craig, Michael G. Wilson, Barbara Broccoli, Neal Purvis and Robert Wade, and Martin Campbell are revealing and worthwhile, as are the screen-tests and coverage of Craig's initial introduction to the press.

There is some mention in Craig's interview about the cold if not mean-spirited reception he initially received from a small minority of fan. I can only think this was included as somewhat of an "in-your-face" to these nay-sayers, some of which had even called for a boycott of the film. After the huge commercial success of the film and DVD release, one can easily imagine Sony and EON and Daniel Craig happily murmuring "Thank you for a successful boycott."

Bond Girls Are Forever is well done, though it was well done a couple years ago, available as a stand-alone production. Maryam d'Abo is beautiful and likable and the concept is a good one, but I've seen it before, the interviews with Caterina Murino and Eva Green notwithstanding. I wanted a bit more.

I like the Chris Cornell theme song, but the video is hugely inferior to the Kleinman titles sequence accompanying the song in the film. A nice little addition, but a video of the titles sequence and song would have been much preferred.

As the film is such a good one, the DVD release benefits as well. The extra material isn't all that extra however (the included booklet isn't even about the film), and so be sure that another Casino Royale DVD will be released eventually. Commentary from the key players including Craig and Campbell would be greatly anticipated.

Copyright ©2007 Tom Zielinski