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That sums up a lot of what I've been feeling about the film lately.
That sequence really sold me on Craig. He was so cool and Bondian in that scene. Even the way he pours the wine impressed me to the extent that i started using his technique after seeing the film!
And true, it's a scene i wish could have been longer.
I thought it was only me who started pouring wine like that!! When I did it first after seeing CR, the wife says to me "stop showing off!"
And yes, Craig looks extremely cool in that segment! But I have to say the following sequence in the back of the car, he looks odd, the lighting and hairstyle are not right, but the "you're not my type" exchange is funny!
It's funny how things in movies influence us in little ways!
I also view CR as one of the best films in the entire series, and certainly one of the most important (and by far the most critically acclaimed). That said, much of the novelty of the film has been worn away by every succeeding Bond film also being "personal."
I first read Casino Royale in 1993 and spent more than a decade hoping to see adapted. Perhaps all those years of waiting and trying to visualize such an adaptation meant I would feel an inevitable feeling of slight disappointment when the film materialized as last. It's a top-notch Bond film but far from a flawless adaptation.
In a few ways it greatly improved on Fleming. Movie Vesper is far more of a human being than Fleming's. In other ways it watered down Fleming. My suggestions (which might be controversial):
* Lose the Aston Martin backstory. Casino Royale is already a long film and doesn't need an origin story for a car, especially since in Goldfinger it was simply assigned to Bond.
* Either lose the rookie agent gimmick (which isn't that convincing with a weathered tough-guy like Craig) or lose the scenes of Bond acting like a yobbo and learning to be suave. We don't need a Bond Begins explanation for what comes naturally to the character.
* Cut that "does it look like I give a damn?" line. If Bond didn't feel like giving instructions to the barman then he would have ordered a simple drink.
* Lose the on-the-nose dialogue, such as the "stripped armor" stuff. It's unnecessary!
* Lose the convoluted, hard-to-parse farrago about Mathis being a double. It's an unnecessary complication and poor use of a good character played by a good actor. And while I know there wouldn't have been enough time for stage the "nature of evil" conversation between Bond and Mathis, couldn't a few highlights have been used during Bond's recuperation? It would improve the film's perfunctory resignation email scene.
* Swap poker for baccarat, as in the novel. This would spare us Mathis's expository interruptions. Baccarat is also much easier to explain and show onscreen than poker, so put in a charming scene of Bond showing Vesper the rules--which wouldn't take more than a minute--and then the audience will be able to follow the big card game without commentary.
* Lose the wisecracks in the torture scene. The point of the original scene is that it drives Bond to the point of collapse, where he can't even find the energy to make a witty remark. We should be scared to see Bond fall to this level, not laughing at his zingers.
* I realize that audiences would get antsy without any action in the last part of the film, but like Birdleson I think Vesper's suicide should have greater distance from it. Why not have Bond and Vesper defeat the seemingly-last bit of danger from the leftover villains, enjoy a bit of happiness, and then spring the suicide on us? That would be more poignant. In the book Bond and Vesper's relationship seems on the rocks, but then shifts to a brief night of bliss before her suicide, which makes it sting even more. Also, in Purvis and Wade's version Vesper left a videotaped suicide note for Bond (which reminds of the VHS tape marked Vesper in Spectre)--I think that would have been a good idea, and would have really rubbed in how blind Bond was and how much damage Vesper did.
* I'm of two minds about the ending. Plainly audiences and fans loved it, which is a very good reason to keep it! But to me it is aggravating act of pandering. It lightens a bleak tragedy into something of a victory by grafting on a badass moment (007 standing over his fallen enemy with a 50 foot gun, saying "Bond, James Bond").
In the book Bond doesn't get the bad guys, and Vesper's death doesn't lead to their capture. Instead Bond is humiliated, consumed with rage, and strips himself of his humanity. The book ends with a shocking slap to the reader's face: "The bitch is dead now." Can you imagine if the film had ended with that and cut to black? It would have been ballsy...and alienated large parts of the audience. The original ending of CR is even more of a "downer" ending than that of OHMSS. So I understand the rationale of giving the film a semi-victorious ending. But in my world the director's cut have an ending as harsh and bereft of comfort as the book's.
Personally i was amazed at how faithful to the novel the film was.
A tremendous job by the makers and cast.
A Bond film for the fans and the general public.
We'll have to disagree on this point. Vesper's death doesn't energize him--what does is the fact that she has been a double-agent controlled by an agency that thoroughly duped and humiliated Bond. He vows revenge, but his feelings for Vesper are dead. Fleming gives no consolation in Bond quickly getting revenge, because the book ends with him in defeat, screaming into a phone booth.
The film is much soppier. Bond manages to get revenge and gloat over one of his enemies at the very end, and even Vesper partially redeems herself by giving Bond useful information to catch Mr. White. I don't like the idea of turning a sad ending into a partly victorious one--I consider it a weak-kneed disimprovement--but the audience did.
When I say energized after Vesper's death yes that's with the betrayal rolled in, and specifically I mean energized to go after the bad guys (instead of leaving the Service). After many missions the On Her Majesty's Secret Service story serves the same purpose.
And beyond Bond's stoic final reaction in the book, of course he does maintain feelings for Vesper as revealed many books later. So I think it plays out beautifully in book and film.
This is your chance to say whatever you would have differently witH the film, so things like; plot changes, character additions or subtractions.
Anything you like. People will be given the chance to give their responses within 7 DAYS from today (this may change so let me know if you want me to extend the time for longer) until the discussion moves on to the next James Bond film. This will run until we reach SKYFALL as a discussion for SPECTRE already exists.
Hope you guys enjoy hearing everyone's responses!
Yes, that's correct. But I think Bond films at their best should create trends instead of following them. Had the film chosen differently, casinos might have experienced a baccarat craze instead.
I've also heard that the Texas Hold 'Em was chosen because Michael Wilson is a big poker fan. But the game has never been a Bondian one, and was never played by him before. Fleming would have probably considered it too American. He made Bond play games he personally enjoyed: bridge, baccarat, blackjack, roulette, etc.
.Slow down the editing during the Mitchell chase.
.Include a few more scenes with Fields and Guy Haines.
.Redo the freefall scene with actual stuntmen. Very little CGI.
.Keep the original ending with Mr. White and Haines. Quantum ends here.
I love this movie.
I'd have loved to see Mr. White return but I hated how they used him in SP.
Change the title song and get Danny Kleinman back. Get rid of the stupid city fonts.
Go full in on the Bond/Mathis/dead Vesper storyline instead of it feeling like a subplot. That's what everyone wants to see. Make White/Greene more openly toying with Bond about Vesper. No one cares about the water storyline. Give Fields more to do.
Slow down the editing, particularly the PTS and the Siena chase. Rethink the boat and plane chases--are they really needed? Could they be more compelling? The film could still be GF-short but fill it with more dramatic/romantic scenes with Mathis and Fields, not empty action sequences.
Slow down on the locations. Pick two or three at most and let Bond spend significant time there.
For God's sake let him sleep with Camille at the end. Bond's earned it.
I'm sure I'll think of more.
As far as changes:
-I'd take out or at least refocus both the boat chase and plane fight. Neither are memorable and a real mess. Neither adds to the excitement of the film for me and just seem a case of insert action scene here.
-The freefall from the plane is one of the most egregious examples of Bond as indestructible superhero. Back in the Moore or Brosnan days it would be more forgivable. But given all the torturous physical experiences Craig Bond endures through in his tenure, this one should have been rethought or eliminated altogether as it's something Jaws would've walked away from and shouldn't be something Bond just survives like a cartoon character.
-Personally, I hate and would lose the scene with the young woman at the hotel who gets assaulted by Medrano. We are already told of his sordid past and what he was responsible for with Camille's family, so we didn't need this to already want to see him done in.
It's been a while since I've watched QoS, so these are the only ones that really stick with me for now.
The battle between Bond and Mitchell works well but the one part where it fails is Bond’s rooftop jump across the street. Craig actually does the jump, and it looks great in the BTS, but as presented it makes it look like a stuntman has done it. I’d rejig that bit.
The obvious thing is that the gun barrel was sorely missed at the start. It's that one thing that starts a Bond film with a (literal) bang. Big mistake on the makers part.
Wouldn't have minded a longer Mr. White interrogation scene. It's not long after the PTS and it's straight into another big action sequence.
I like the length of the film. Its a lean mean Bond film that works in its favour. I like the editing myself, although the much talked about 'boat flip' looks like it needed an extra couple of frames to explain why the boat actually somersaults like it does.
That about does it i think....
It's the one Craig film i have watched the most and it sits nicely in my top ten Bond films.
I don't think I agree with Bond sleeping with Camille. Just don't think it would have worked in this context.
More of Greg Beam character, he was a wonderful role.
One minor thing that's always bugged me, I would have liked a better intro for Greene. I think it's too low key just sitting at a desk stamping!
I don't even mind the skydive, and the plane chase I think is excellent! And the ending is superb! So very little I would change.
I wouldn't have minded if Greene's introduction was the interrogation/torture of the geologist who gives up Camille.
Agreed about these.
I would fix the shaky cam, especially during the car chase, and I would make the movie 15-20 minutes longer to let it breathe.
Anything else about the movie is fine as far as I'm concerned.
Did Vesper feel outplayed to you in 2008? I agree she did by the time we reached SP.
The water storyline just feels very regional. Is this Quantum's test run to take over all of South America, and eventually the world? Then show us that. This would have been an opportunity to use Mathis and Fields (and Leiter?) more; I think many people agree that the film could have used more time for those characters.
Let's talk about Camille.
I agree that there is too much malevolent Medrano with other characters (a little of him goes a long way). But I like his final confrontation with Camille.
The repartee between Bond and Camille throughout the film--and their chemistry--"Get in" comes to mind--is strong. More of this would be good.
I think Camille's moments in the burning building are a bit too quick, as they are really important to understanding her character. Bond helps her get past her psychological trauma, and she helps him figure out the solace that he needs. Their relationship in the film could have used more time to breathe and develop.
Which is all the more reason I think they should have slept together toward the end. That would bring the character in line with the character we know and love.
I get that Forster was deconstructing the Bond formula: the four elements, the final confrontation with the villain where Bond doesn't immediately kill him, Bond not sleeping with the main love interest...
And yet I think by the end, Bond has earned the formula. So now allow him a Bondian moment with Camille.
QoS is a fascinating film in the Bond canon. Every time there is a misstep it then self-corrects, and vice versa. And the ending is one of the absolute best.
I was actually thinking the same thing. Would have been much better than what we got!
I disagree, and I'm so glad he didn't sleep with Camille at the end. Even if they did, the scene would have no place in the movie.
I'd take Fields over Eve any day.
The plot made sense in these modern times when water as such can be used as a bargaining tool, this movie felt more like an assault on the power of the big companies that buy everything they want in order to better themselves over the head of the average citizen. I found that a more realistic story than the SF & SP story-lines we got next.
Me too.
Same here. And that would've encouraged them to the name of the organization or keep it unnamed.
---
An observation on the editing of the action scenes: Cut as they are, I can understand what is happening in them. That doesn't mean I enjoy them, though. Not as much as I would with different editing, anyway.
One thing I would change in the film would be to somehow avoid having M showing up everywhere. Especially at the end. Yes, it makes dramatic sense for her to have that conversation with Bond, and it would be hard to alter the scene so that M wasn't there, but when I watch it I can't help but think "why did M need to travel to Russia?"