In an early spy spoof, aging Sir James Bond comes out of retirement to take on SMERSH.

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(as Kenneth Hughes), | 3 more credits »

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(screenplay), (screenplay) | 2 more credits »
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Nominated for 1 Oscar. Another 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Himself
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French Legionnaire (as Jean Paul Belmondo)
Terence Cooper ...
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Storyline

After the death of M, Sir James Bond is called back out of retirement to stop SMERSH. In order to trick SMERSH and Le Chiffre, Bond thinks up the ultimate plan. That every agent will be named James Bond. 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. Written by simon

Plot Summary | Plot Synopsis

Taglines:

Casino Royale is too much for one James Bond! See more »

Genres:

Comedy

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

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Language:

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Release Date:

28 April 1967 (USA)  »

Also Known As:

Charles K. Feldman's Casino Royale  »

Box Office

Budget:

$12,000,000 (estimated)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System) (70 mm prints)| (35 mm prints)

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The rift between Orson Welles and Peter Sellers was partly caused by the arrival on set of Princess Margaret, sister of Queen Elizabeth II. Sellers had known her previously and greeted her in an ostentatious manner to ensure all cast and crew noticed. However, the Princess walked straight past him and made a big fuss over Welles. Nonplussed, Sellers stormed off the set and refused to film with Welles again. See more »

Goofs

When Sir James Bond Senior and Miss Moneypenny Junior are running down the hall in SMERSH headquarters, they are holding hands with Sir James on Moneypenny's right hand side, then not holding hands (with Sir James now on the left): they change sides three times before they reach the the blue door. See more »

Quotes

Polo: You're so like your mother, you're driving me insane.
Mata Bond: Well, you haven't got far to go.
Polo: Come to me. Come to me, my little Mata. Come to me. Come!
[He falls off the bed, Mata opens the door]
Mata Bond: About time you were back in your box, innit?
Polo: You must forgive me. I lose control of myself. I'm a mad fool. Mad.
Mata Bond: You want an argument?
See more »

Crazy Credits

The opening credit animation by Richard Williams parodies illuminated manuscripts with cartoon-style calligraphy. It sets the tone for the film as a psychedelic "knight's tale" of Sir James Bond. See more »

Connections

Referenced in Suits: The Choice (2012) See more »

Soundtracks

Claire De Lune
by Claude Debussy
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Frequently Asked Questions

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User Reviews

 
Great giggly nostalgia from stellar cast
12 October 2000 | by (uk) – See all my reviews

I can't believe how many people have posted such negative comments about this film - those who try to compare it with the serious Bond series are as witless as those who find the plot too complicated for their tiny little minds. I saw this first when I was about 12 years old, and it seemed clear enough to me then - there are some baddies, and the goodies have to stop them. With some gags and lots of style.

OK maybe with maturity I can see it has dated a little, some scenes may drag a bit and a few people may be offended by the sixties outlook on life, but hey whadda you expect from a sixties film? What it boils down to is a series of comic vignettes featuring just about every famous face in the movies at the time, bringing Sellers and Niven together again after the first Pink Panther movie, which practically founded the whole crazy sixties anything-goes genre, of which this is the pinnacle and epitome. Set to some fabulous tunes and on a collection of extraordinary sets, dozens of master mirthmakers perform a loopy little dance around the plot of Fleming's novel (this film actually contains a lot more of the novel it is named after than most of the "proper" Bond series). Some of the faces only feature for a few moments (Peter O'Toole's part is tiny, for one), others, like Sellers, Allen, Niven and Welles, do enough to create truly memorable characters despite the frantic pace of much of the film (I still cannot think of Welles' face without those scary shades). Sellers does his multi-talented thing as usual, Niven plays Bond to a tee as the quintessential unflappable Englishman (his screen persona provided much of the inspiration when Fleming created Bond), and Allen plays his nervy, sexmad little stereotype as well as in any of his own films.

I can see that this will not appeal to some people, but anyone who can lighten up, enjoy a little silliness and appreciate that 60s sense of humour will find this a hilarious jaunt round the spy genre. If you do like it, check the other installments in this classic period for Sellers - What's New Pussycat, After the Fox, the Wrong Box and of course, the awesome Magic Christian. Beats the pants off yer Austin Powers any day of the week.


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