Casino Royale

Occasional fun for the 60's lover, but completely incoherent as entertainment. I should confess that as a young kid I did love the film, just as I loved _What's new Pussycat_, and when I got a little older I became a guilty admirer of _The Blues Brothers_ and _1941_. So I am sucker for the comedy epic/ celebrity ensemble.

However, _Casino_ is simply over the top at being over the top. It seems impossible to create a successful film with 5 directors and 10 writers (not including Ian Fleming, but including Ben Hecht, Joseph Heller, Terry Southern and Billy Wilder !!). The story lacks even a real protagonist; Niven and Sellers trade places in that role. When they run out of story, pie fights emerge, or fusillades of bullets, or tremendous explosions.

The film is certainly not without its merits. Like _What's New Pussycat_ they did manage to corral some of the most beautiful women of the time together in the same film. When Andress is not speaking, as in the "Look of Love" sequence or in Seller's "shampoo" dream she's truly breathtaking. Allen is always funny, and Welles does a pretty good turn as le Chiffre. The Bacharach score and Herb Alpert open and closing sequences are memorable.

As a DVD extra, the American dramatic version of _Casino Royale_ (1954) is included on the DVD, which predated Connery by 8 years!!

To watch this movie, one must understand something that many appeared to have missed. Chiefly, the mish-mashed, ridiculous, over-blown insanity of it is the entire point. It is this that it aims for, and this that it achieves. It is not really a story, so much as every conceivable joke that could be thought of, thrown into an editing studio and spat out the other end as gold. This movie will challenge many who cannot break-out of the mold of needing a firm plot and some commonsense, but in this regard it is much like a comedic version of a David Lynch film, and I enjoyed Twin Peaks: The Movie even if I still don't get it.

So watch this for the crackling one-liners, ridiculously pretty women, lurid sets and the most completely unself-conscious approach to making a comedy that I have ever seen. It goes beyond funny, and becomes a matter of being shocked into admiration for the sheer silliness of it all. And the fun of trying to explain it to someone afterwards is immeasurable.

"So then the flying-saucer kidnaps Mata Hari and James Bond's love-child, and then James Bond who's David Niven and James Bond who's Woody Allen face-off, and meanwhile James Bond is being tortured with insane hallucinations and someone has snuck into his delusions with a machine-gun bagpipe and through all this Deborah Kerr was a French Scotswoman!"

Much less a true story than very funny surrealist art. Like Salvidor Dali meets The Pythons, but odder. And lots of great satire and stuff, too. See it. Now. If only to broaden your horizons.

This was the Bond title unable to be used by the filmmakers of the regular Bond film series, until the end of the century (they finally got to it for the restart in 2006). So, the intent here was a spoof of the then-wildly popular Bond/spy mania of the mid-sixties. Of course, this wasn't the first such effort; others already began the "Our Man Flint" duo film series and "The Man From UNCLE" on TV was in full swing, not to mention "Get Smart." So, how to outdo them? Get five top notch directors. Get as many sixties stars as possible. Get everything but the kitchen sink (literally, in the over-the-top climax). The original intent was to have each director do their own little mini-movie spoof - an anthology; they ended up editing everything together into one so-called film. A heady brew and, predictably, largely incomprehensible. In addition, actor Sellers, the nominal star, left before completing all his scenes, so his personal trajectory is less than smooth - as if a scene is missing, naturally. If you pay very close attention, you might be able to follow about 50% of the plot, but do you really want to put so much effort into watching a comedy?

Some of this editing is quite clumsy: the first pre-credits scene, a short one, features Sellers, as if the producers are pointing out to us that he is indeed in this movie (he doesn't show up again until 40 minutes later). Welles doesn't show up until the 80-minute mark. The first sequence concentrates on Niven, the real James Bond. He's in retirement but is forced back into a weird plot by the heads of all the world's spy agencies. This first half-hour, except for the scene with the lions, is slow and mostly stupid, not funny-stupid as intended, involving Kerr and a lot of dull fun at the expense of the Irish, for some reason, and painfully obvious joking about Bond's sexual magnetism. There's also one sly poke at the real Bond film series and its gadgetry; apparently, that Bond, of "Goldfinger" and "Thunderball" fame, is actually a replacement for the pure spy played by Niven, who looks down at the concept of gadgets. Things start to pick up a bit later, with the intro of several femme fatales, played by some of the most ravishing starlets of the sixties: Andress of "Dr.No" fame, Bouchet as the new Moneypenny, Lavi and Pettet as Bond's daughter, Mata (why Pettet did not become a major star is baffling to me). Much of the non-plot involves Niven taking over M's operations and naming a bunch of other agents James Bond to confuse the enemy - SMERSH (lifted straight from the books). We finally do see similar plot lines to Fleming's novel, involving villain heavy Le Chiffre (Welles) and one of the Bonds (Sellers) dueling at cards (Baccarat - dramatized differently in the 1954 TV version, yet eerily similar).

Curiously, it's not Sellers who provides the more amusing scenes in this confusing fest, as we would expect. No, that honor falls to Woody Allen, as Bond's nephew, and Welles in his brief scenes conducting some off-the-cuff magic show. Allen's highlight is his very first scene, involving the firing squad. Allen, previously seen in "What's New,Pussycat?," now proves to be one of the most natural comedians for the silver screen. His mannerisms and body movement recall some of the great comedians of the silent era, Chaplin & Keaton, especially evident in the scenes where he can't speak (a mental block whenever Uncle Bond is around). Famous starlet of the seventies Ms.Bisset pops up briefly in a small role as yet another femme fatale. There's also some mildly amusing commentary on the division of East and West Berlin - yes, this was the height of the Cold War - including some almost-clever use of color. But, all the psychedelic stuff, crammed into the tail end of this, is very outdated and useful only if the viewer has smoked a lot of weed. This movie also has one of the worst musical scores - almost like nails on chalkboard to me. If you're in a really good mood, you may be able to sit through this long movie comfortably; if not, you'll probably get pretty antsy as the last third begins - and that's where most of Woody's scenes are. Bonds:4 Villains:6 Femme Fatales:7 Henchmen:4 Fights:3 Stunts/Chases:5 Gadgets:4 Locations:8 Pace:4 overall:5-

CASINO ROYALE is one of the truly great bad movies of all time. It is a wonderfully weird, bold, funny and incoherent mess of a movie. What should stink of embarrassing desperation, instead proves to cheerfully insane, unpredictable and remarkably free of common sense.

The film was intended to be the ultimate spy spoof, an attempt to out-Bond the James Bond movies and their innumerable imitators. To this end, the untold number of writers and directors involved have opted to take the everything-but-the-kitchen-sink approach to storytelling, mixed with a cut-and-paste style of editing. It is obvious that no one gave the slightest thought to creating a genuine spy film and instead approached the film with a devil-may-care attitude. As far as the actors are concerned, CASINO ROYALE seems to be little more than an excuse to have a multimillion dollar party at the studio's expense. As a satire of Bond films, CASINO is adequate; as a satire of the then trendy-swinging-cool-hip-with-it-now youth films of the era, it succeeds beautifully.

Basically you have a whole bunch of big name stars -- past their prime, but still with box office credibility -- ridiculing the very youth market that was squeezing them off the theatre marquees. Yet, the film has no malice; it is as bright and breezy as a screwball comedy with just a touch of British absurdity. It is amazing that a film that is so overblown, over produced and over budgeted can still be so light and airy. Despite a chaotic recipe, the film has a lot of really great ingredients. The cast is slumming in style (where else can you find Orson Welles, John Huston and Woody Allen hamming it up in the same film or Peter O'Toole, George Raft, Charles Boyer and Jean-Paul Belmondo dropping in for fleeting cameos?) And you have one of the best soundtrack albums ever, including Herb Alpert's title track and Dusty Springfield's sexy, sultry rendition of the Bacharach and David classic "The Look of Love." Plus, you get Woody Allen as an evil genius out to take over the world and Deborah Kerr dangling from the drain pipe of a Scottish castle.

And, to some extend, the film gets Bond right. As the legit James Bond series grinds on, getting ever more pompous, humorless and heavy-handed, CASINO ROYALE sees the whole genre for what it is: an absurdist lark. Indeed, if CASINO ROYALE has a soul mate, it is not GOLDFINGER, but the "Batman" TV series, another pop culture phenomenon designed to deflate pretense with overblown villains, outrageously silly situations, off-the-wall cameos and a tongue placed firmly in the cheek.

What's not to love?

"Casino Royale" is the black sheep of the Bond films....You might say it's the older brother that no one ever talks about. The makers got the rights to the Ian Fleming novel "Casino Royale," and feeling it was unwise to compete with Sean Connery, they chose to make it a comedy instead of a serious action flick.

Not that that makes much of a difference. James Bond spy films have always bordered self-parody anyway, so granted, this film can't be taken too seriously, but then again, neither can ANY Bond film. And that's what makes them so great. I also have a hard time labeling this film as a spy spoof, since it has an appretiation for the stuff it is mocking, and the plot line in itself, if you were to take the funny elements out, would have stood as a pretty good serious film. Therefore, I'll label it a "spy comedy," and not a spoof.

Unfortunately, it's really not very good. Despite a huge budget and a terrific cast, the movie has a hard time finding its focus. Many unrelated scenes are catapulted on top of each other, and while it features many good parts-- both in action and in comedy (the car-chase scene is a highlight, as well as the showdown with Dr. Noah)-- and though it follows the Bond formula pretty close, all in all, it falls short. It's not the worst of the Bond films, though, even as an unofficial one. ("A View to a Kill" was probably the most painful of the whole franchise).

The plotline follows the adventures of an elder Sir James Bond (played straightly by David Niven) stepping out of retirement after M is murdered. He must stop SMERSH, one of his arch organizations, with the help of Monneypenny's daughter, his own daughter, and lots of different spies. And he has the perfect plan to confuse his enemy: he codenames them all "James Bond 007," so SMERSH will be so confused that they won't know what's going on. So we have a typical action-filled Bond plot interweved with uneven comedy and some dialogue that is at times great...and at other times, weak.

Actually, Niven as James Bond is the film's saving grace. He was Ian Fleming's original choice to play Bond, and he does a good job as the retired agent. He is the straight man in all of the shinnanigans, and he manages to be suave and dashing as Bond, even as an elder man. But that's just proof Niven's great acting skills. He's probably the third best actor to play Bond (behind Sean Connery and Pierce Bronson, and in front of, in this order: Timothy Dalton, Roger Moore and George Lazenby).

So, check it out if you're a Bond fan or if your a comedy fan. It's not great, but it's not an absolute disaster. Summing it up, it's "Stirred....not shaken."

**1/2 out of ****