The Bad Man
Nov. 26th, 2006 12:45 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
saavedra77On the recommendations of virtually every critic I pay attention to and every friend who's seen the film, I went to see Casino Royale on Friday with ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
jmargethe. I think that I can add little to what everyone else has been saying about this film, beyond distilling it down to: This is what movies in this series should always have been like--darker, with more complex characters, more sweat and blood, few or no far-fetched gadgets, beautiful locales lovingly photographed, and maybe just a touch of camp.
Daniel Craig's Bond is intense, cold, brooding, volatile, obviously murderous, quite probably not right in the head (jmargethe suggested the term "attachment disorder" ...). Something about Craig's icey blues also reminded me of the Who song Behind Blue Eyes--and not just with respect to their color: Craig's Bond has the song's "empty conscience," fatalism, and vindictiveness--albeit without its self-pity.
Judi Desch's M is more burdened than we've seen her (or other versions of the character), before, and perhaps a bit threatened by this unpredictable new hire.
But Eva (formerly of Kingdom of Heaven) Green's Vesper Lynd is perhaps the film's biggest surprise, with a sharpness that I don't think we've seen in any previous Bond women.
I also love the way that the way that the film is shot--particularly in Adriatic locales like Montenegro and Venice, which, if they don't come across as complex environments, at least look more beautiful, more richly-textured than they would in the typical Bond movie.
jmargethe. I think that I can add little to what everyone else has been saying about this film, beyond distilling it down to: This is what movies in this series should always have been like--darker, with more complex characters, more sweat and blood, few or no far-fetched gadgets, beautiful locales lovingly photographed, and maybe just a touch of camp. Daniel Craig's Bond is intense, cold, brooding, volatile, obviously murderous, quite probably not right in the head (
jmargethe suggested the term "attachment disorder" ...). Something about Craig's icey blues also reminded me of the Who song Behind Blue Eyes--and not just with respect to their color: Craig's Bond has the song's "empty conscience," fatalism, and vindictiveness--albeit without its self-pity. Judi Desch's M is more burdened than we've seen her (or other versions of the character), before, and perhaps a bit threatened by this unpredictable new hire.
But Eva (formerly of Kingdom of Heaven) Green's Vesper Lynd is perhaps the film's biggest surprise, with a sharpness that I don't think we've seen in any previous Bond women.
I also love the way that the way that the film is shot--particularly in Adriatic locales like Montenegro and Venice, which, if they don't come across as complex environments, at least look more beautiful, more richly-textured than they would in the typical Bond movie.
