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This is one of those films from the psychedelic s that stands alone, with no other film against which to compare it except maybe "What's New, Pussycat?
This film is unique. The original intent was to produce a serious screen adaptation of Ian Fleming's first James Bond novel; however, talks broke down between "Casino Royale" producer Charles Feldman and producer Albert Broccoli who had already produced 4 incredibly successful James Bond movies starring Sean Connery.
Broccoli didn't want Feldman's vision for "Casino Royale" even associated with the already-lucrative film series.
So, almost in defiance of Broccoli, Feldman produced "Casino Royale" as a spoof, an off-the-wall mockery of James Bond movies, instead.
Thus, 's "Casino Royale" was born. There's no real way to describe this film except to say "madcap" and "slapstick" There are gigantic plotholes and continuity errors, making it appear that the various scenes were shot by several different directors.
In fact, that is the case While comic Peter Sellers gives a strangely low-key performance, the funniest scenes definitely go to comedy veteran David Niven, who is both debonair and absurd.
Longtime dramatic actress Deborah Kerr also lets down her hair and plays balls-out comedy like it was her first love.
These scenes are nothing less than hilarious. Again, Peter Sellers does not slam-dunk any comedy in this film, unfortunately there are no "Inspector Clouseau" opportunities for Sellers.
Sellers was also very intimidated and insulted by co-star Orson Welles, which created even more tension.
All of this friction contributed to Sellers abruptly quitting or being fired from "Casino Royale" about half-way through.
Warning you in advance, you WILL get lost in this movie because the story is disorganized and, let's just say it, crazy as hell. But there's a reason why this film was nominated for an Academy Award, and that reason was the soundtrack, which introduced the wildly popular song "The Look of Love" by Burt Bacharach and Hal David.
Although it failed to win the Oscar for Best Song, it was covered by dozens of established recording artists for many years thereafter and was even inducted into the Grammy Hall of Fame in Forget about Peter Sellers.
This is not for every James Bond fan. It is a must for every David Niven fan. Without David Niven, this film would sink into the abyss of misfiring satires.
This is about as silly as one could conceive. It is a comedic tour de force for both David Niven and Deborah Kerr.
David Niven is the 'original James Bond'. Structurally, it's a mess. The best and most coherent part is at the beginning up to the point where Peter Sellers gets involved, then all of the scenes involving David Niven or his character's and Mata Hari's daughter, Mata Bond, played by Joanna Pettet.
Woody Allen makes his on screen film debut, but comes across as stiff and uncomfortable, even beyond the parameters of the role.
Ursula Andress is convincing as the money obsessed Vesper Lynd. By this point in her career, her English is quite good and she seems comfortable in front of the camera.
Barbara Bouchet as Miss Moneypenny introduced as the original Moneypenny's daughter is excellent. Orson Wells is a lot of fun as Le Chiffre, a baccarat player who does magic tricks, which apparently irritated Peter Sellers no end.
The character Cooper, played by Terence Cooper no relation? There are lots of others interesting performances scattered throughout the film; John Huston, for instance, is terrific as the ill-fated 'M'.
Fortunately, Peter Sellers walked off the picture before he completed his scenes. The downside of that is the fragmentation of the rest of the film.
This is a film that makes most sense to those of us who survived the s. Music is by Herb Alpert and the Tijuana Brass.
He was enormously popular in the mid-ish s. I think I still have a couple of his LPs somewhere. This is funnier if you have already seen the more contemporary 'Casino Royal'.
If you see that film after this one, as I did, you will find it's weird how many parts they have in common. Of course reality is changed to confuse the innocent.
I like this movie. I find the whole premise of the movie great, a bird-flipping if you will. One of the Bonds, whose real name is Evelyn Tremble, is sent to take on Le Chiffre in a game of baccarat, but all the Bonds get more than they can handle.
For one thing, Peter Sellers is in it, and even bad Sellers is entertaining. Then there's the parade of guest stars and cameos, including a few by people who weren't yet famous but eventually would be, including a baby-faced Jacqueline Bisset.
There's the overwrought, insanely expensive for the era production design and the "anything goes" spirit that would inspire scenes in later films by such admirers as the Monty Python group and Mel Brooks.
Finally, there's the unique sensation that every film fan should experience at least once - that of trying to follow a film that truly makes no sense.
In the words of one of this disc's audio commentators, Casino Royale is "a circus gone mad", and not in the controlled fashion that a genius like Fellini might manage to pull off.
The narrative was so fractured that, in the end, one of the five directors was handed every version of the script not including variations written on the day and told to find something resembling a story.
Anyone who's ever indulged in hyperbole about a contemporary piece of Hollywood junk needs to see Casino Royale , if only to recalibrate their standards.
It'll be a long time before anyone ever scores this high on the train wreck scale. Casino Royale was originally conceived as a send-up of Bond films in the style of What's New Pussycat , which had been a big success in for its producer, Charles Feldman, and also featured Peter Sellers, Woody Allen and Ursula Andress.
Traces of the original conception can be spotted among the wreckage, and the film is best appreciated as a series of disconnected set pieces, some of them mildly entertaining.
The description below makes no effort to avoid plot spoilers, because there isn't a plot to spoil. The film will be more than half over before we return to this pair, by which time we'll have learned that the man is not, in fact, James Bond but Evelyn Tremble, who is not actually a British agent but the creator of a crack system for winning at baccarat.
But that's not important now. After an elaborate title sequence that could be deemed either a homage to Bond films or an effort to hoodwink the audience into believing they're about to see one as with so many things in Casino Royale , it's all a matter of perspective , we meet the real Sir James Bond David Niven.
Anyone who knows Ian Fleming's world should immediately recognize that we've left it, since Fleming's Bond promptly declined a knighthood when it was offered to him at the conclusion of The Man with the Golden Gun.
But in the world of Casino Royale , Sir James accepted and retired from spying, allowing the Secret Service to assign his name and number to another agent, whose public and lascivious exploits are a constant source of embarrassment.
Sir James lives a cloistered life of ascetic contemplation on an estate surrounded by lions. No obvious reason, other than the fact that it allows the soundtrack to quote Bond composer John Barry's score for Born Free , one of many geeky inside references strewn throughout the film.
Someone is killing their agents, and the four powers have put aside their differences in the face of a common threat.
Will Sir James assist them? When Bond declines, M signals his forces to destroy Bond's compound. Unfortunately for M, he also dies in the attack, along with all of his counterparts except for William Holden's CIA man, who inexplicably reappears in the film's finale.
Sir James travels to Scotland for M's funeral ceremonies, which are held at the ancestral home of the McTarry clan. Unbeknowst to Bond, the residence has been infiltrated by the mysterious organization attacking the world's spy agencies, and it's claimed the loyalty of M's widow, Lady Fiona McTarry Deborah Kerr , along with all her servants and nubile adopted daughters.
Their orders are to corrupt Bond and, failing that, kill him. Lengthy scenes of seduction, carousing, combat and grouse-hunting ensue; the last proved especially difficult to film, because the director of this section, John Huston, insisted on filming in Ireland, where he had a home - and Ireland has no grouse.
Sir James eventually triumphs, and Lady Fiona enters a convent. Bond goes to London to take control of M. There he finds Moneypenny Barbara Bouchet unchanged by the years, because she is, in fact, the daughter of the original Moneypenny.
Sir James's first move as M's successor is to rename every remaining agent as "James Bond", because somehow this will serve to confuse the enemy not to mention the audience.
The only agent whose name won't have to be changed is Sir James's nephew, Jimmy Bond Woody Allen , who is, at the moment, missing.
Sir James then directs Moneypenny to develop a training program designed to enhance the resistance of male British agents to sexual temptation.
The main purpose of the program seems to be to provide an excuse to parade as many comely female figures across the screen as possible. The most accomplished graduate of the program is Cooper Terence Cooper , who, after much passionate necking and a few judo moves, disappears from the film until the last twenty minutes.
Bond recruits his daughter to visit the spy school in Berlin where her mother was trained, because it seems to have been the source for the clan that attacked him in Scotland.
Mata steps into a taxi in London and exits the same taxi in West Berlin, where she promptly enters a German expressionist film, as such a film might have been made by Mack Sennett and the Marx Brothers.
Among other things, the Berlin school is the scene of an auction where an international espionage figure known as Le Chiffre Orson Welles is planning to auction off his collection of blackmail material to the highest bidder among the Americans, British, Soviets and Chinese.
What does Le Chiffre have to do with the plot that Sir James was called out of retirement to investigate? How pointless of you to ask.
Again with the pointless questions! Meanwhile, in London Sir James contacts Vesper Lynd Ursula Andress , a shady woman whose business is never specified but has made her wealthy enough to buy Nelson's statue from Trafalgar Square.
Vesper recruits Evelyn Tremble Peter Sellers , and finally we begin circling back to the film's opening - but not before a long interlude of Vesper seducing Evelyn and getting him to dress up in alternate identities, including Napleon, Hitler and Toulouse-Lautrec.
The film's single most durable element occurs during this sequence: Tremble is given a crash course in spy skills, allowing the film to parody the standard "Q Division" sequence.
Tremble is then christened "James Bond" in accordance with Sir James's new directive, and sent into the field. By that point, Sellers had been fired from the picture, and this was all the footage they had.
In both Fleming's novel and the Daniel Craig film, Le Chiffre lashes Bond in the testicles to force him to give up the money. But in this film, Le Chiffre tortures Bond with hallucinations induced by unspecified means.
This allowed the film to deal with then-applicable standards for what could be shown in a motion picture, and it also allowed producer Feldman to claim that his film was "psychedelic".
End of caper, right? Le Chiffre and the card game were there solely to preserve a vague connection to the original novel and because, having shot a lot of expensive footage with Orson Welles and Peter Sellers, the producer was damn well going to use it.
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