I’ve always been fascinated by James Bond as a cultural phenomenon, though, if I’m honest, I can’t say I’m a fan of the franchise at large. As I’ve written before, every new Bond presents an interesting framework for viewing the era in which it was created. As a millennial, then, my Bond will always be Daniel Craig. So my Bond film simply must be Casino Royale. While Skyfall benefited from great direction and cinematography from Sam Mendes and Roger Deakins, respectively, Casino Royale is still the greatest Bond movie in decades because of its script. Unlike the lion’s share of tentpole blockbusters, the film is largely able to become more than a series of action set-pieces tied together by a flimsy plot.
Casino Royale works best when the plot focuses on its characters. What it really has going for it is the relationship between Bond and Vesper. This is due in part to great performances by Daniel Craig and Eva Green but, again, is most due to the script. Finally, we have a Bond Girl (and a Bond, for that matter) who is written like a three-dimensional character. Green’s Vesper is intellectually, charismatically, and emotionally equal to Craig’s Bond. The two have compelling chemistry and we understand why Bond would be willing to throw his flashy but empty life away for her. Until its conclusion, the third act of Casino Royale doesn’t even feel like a Bond film; it’s a straight-up romantic drama and it works because we’re invested in these characters who, for once, have more on their minds than advancing the plot.
Which brings us to the edit.
One of my only criticisms of Casino Royale’s theatrical cut is (you guessed it) its length. The story moves well and there’s plenty to keep the viewer occupied but, and I’ll be shouting this to my grave, there is no reason why an action movie needs to be over two hours long. So, in trimming the fat, I decided to double-down on the film’s best feature: the Bond/Vesper storyline. In the process, some interesting stuff inevitably got lost. In terms of story, the parkour opener become is disposable. This is unfortunate because I think it’s one of the great Bond set-pieces – much better than the airport sequence which is overly-long and visually boring but had to remain (though its heavily cut-down) because it contains indispensable plot developments. Still, the result is a quiet, dialogue-driven opening which, interestingly, sets the film up as a more mature spy thriller rather than an all-out action movie.
What is gained from this cut is a brief addition from Quantum of Solace. I have tried for years to defend this movie. In fact, the initial conception for this edit was to combine the two films more directly – I assumed it’d be about 70% Casino Royale, 30% Quantum of Solace, but boy even that was too forgiving.Martin Campbell and Marc Forster have both made some terrible movies but Campbell successfully rebooted James Bond twice and Forster…made…Monster’s Ball? Do people like that movie?
Anyway, I still think there are some great moments and bold choices in Quantum(I like that it continues the story where Casino Royale left off; Olga Kurylenko is a solid addition and Giancarlo Giannini is great once again; the action cross-cutting is an interesting idea; the opera is a cool location; the death-by-oil moment works is interesting on its own and is a nice nod to Goldfinger; and, generally, I think the film looks good…or it would look good if they would hold on a shot for more than half a second) but in the end, the story just isn’t there. Mathieu Amalric as the film’s villain, Dominic Greene, is just a slimier, discount Le Chiffre and the narrative just doesn’t really go anywhere. Bond goes rogue which would be cool except every spy goes rogue in every spy movie ever. It’s a regular rogue nation out there (sorry)! What remains for this cut is an epilogue to end the film on the same note it started: quiet and character driven.
So, mostly this edit works because this edit is mostly an intact Casino Royale. So if all I accomplish with it is giving you the chance to revisit a great Bond movie, I’m satisfied with that.
As always, please pay for a copy of Casino Royale first and know that you need to download the video to see the entire thing because Dropbox will only let you stream the first hour.
This will be my last Lessons from the Edit of 2017 but I’m very excited to share some new stuff that I’m already working on in the coming year. Stay tuned for my top films of 2017 post that should be coming in the next few days. NuMbEr FoUr WiLl ShOcK yOu!!!
Anyway, here’s BOND: a Chris on Cinema edit.
CHRIS ON CINEMA 