Casino Royale
- Episódio foi ao ar 21 de out. de 1954
- Unrated
- 52 min
AVALIAÇÃO DA IMDb
5,6/10
1,5 mil
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaAmerican spy James Bond must outsmart card wiz and crime boss Le Chiffre while monitoring his actions.American spy James Bond must outsmart card wiz and crime boss Le Chiffre while monitoring his actions.American spy James Bond must outsmart card wiz and crime boss Le Chiffre while monitoring his actions.
Jean Del Val
- Croupier
- (as Jean DeVal)
Herman Belmonte
- Doorman
- (não creditado)
Joe Gilbert
- Casino Patron
- (não creditado)
Frank McLure
- Casino Patron
- (não creditado)
Hans Moebus
- Casino Patron
- (não creditado)
Paul Power
- Casino Patron
- (não creditado)
Paul Ravel
- Casino Patron
- (não creditado)
Cosmo Sardo
- Attendant
- (não creditado)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesThe first ever witty Bond one-liner in a James Bond movie occurs at the beginning of this television movie when Bond's ally Clarence Leiter asks, "Aren't you the fellow who was shot?" and Bond replies, "No, I'm the fellow who was missed."
- Erros de gravaçãoCamera shadow is visible several times in the final scene.
- Citações
Clarence Leiter: Aren't you the fellow who was shot?
James Bond: No, I'm the fellow who was missed.
- Versões alternativasOriginally broadcast as an episode of "Climax!" (1954). Most prints retain the original Climax opening credits. The DVD release (as a bonus on the DVD for Casino Royale (1967) has added the MGM lion logo to reflect the fact the production is now owned by MGM.
- ConexõesEdited into The James Bond Collector's Classic (1990)
- Trilhas sonorasPrelude for Piano, Op. 28, No. 24 in D Minor (The Storm)
by Frédéric Chopin
Avaliação em destaque
forgiveness and discovery
A lot has to be forgiven here. First, this is a recording of a live performance - when something went wrong, they were stuck with it; and since this is cheaply made, they had little rehearsal time, so a quite a number of things go wrong. Secondly, the surviving recording is incomplete and not very good. Third, the producers of the show were trying to make the British Ian Fleming's break-out novel accessible to American audiences only familiar with American espionage B-movies, a '50s genre that has not gotten preserved, so most people now will not be familiar with the drab back-alley feel of this show drawn from that genre. And that the producers felt the need to go this route shows that they themselves really had little understanding of where Fleming was coming from - which was really Somerset Maugham's "Ashenden, or the British Agent," filmed in the early '30s by Alfred Hitchcock. And really, prime Hitchcock is the director Fleming would have had in mind while writing this book. But despite his popularity, Hitchcock himself remained an anomaly in Hollywood throughout the '50s. His ability to shock audiences was well known, but his capacity for sophisticated wit and subtle irony were not easy for most Americans to grasp at the time.
So too Fleming's subversive sense of what at last became known as the "anti-hero" - a man as ruthless as his enemies, able to seduce and destroy women with a glance, then quietly order breakfast in a luxury hotel as if nothing happened. For Fleming, this was a means of preserving the "hard-boiled" detective tradition while at the same time raising uncomfortable questions about what it meant to live comfortably middle-class in cold-war England. Never pointed enough to threaten middle-class readers, but enough to raise their anxiety level to the point of continued interest in the James Bond series.
There's none of that here - the romance is played straight, and the only sophistication comes in the gambling scene. The rest bulls through or stumbles along as one might expect from an American genre thriller of the time.
The major plus factors here are the performances. Most of the cast is miscast, but performs energetically despite that; Peter Lorre performs very weakly, but he happens to be perfectly cast - he is the definitive Le Chiffre! That surprising discovery is reason enough to find this show and give it a view, at least for Bond aficionados.
So too Fleming's subversive sense of what at last became known as the "anti-hero" - a man as ruthless as his enemies, able to seduce and destroy women with a glance, then quietly order breakfast in a luxury hotel as if nothing happened. For Fleming, this was a means of preserving the "hard-boiled" detective tradition while at the same time raising uncomfortable questions about what it meant to live comfortably middle-class in cold-war England. Never pointed enough to threaten middle-class readers, but enough to raise their anxiety level to the point of continued interest in the James Bond series.
There's none of that here - the romance is played straight, and the only sophistication comes in the gambling scene. The rest bulls through or stumbles along as one might expect from an American genre thriller of the time.
The major plus factors here are the performances. Most of the cast is miscast, but performs energetically despite that; Peter Lorre performs very weakly, but he happens to be perfectly cast - he is the definitive Le Chiffre! That surprising discovery is reason enough to find this show and give it a view, at least for Bond aficionados.
útil•71
- winner55
- 13 de dez. de 2008
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