The Facts of Death: Casino Royale, Part XIV

Thus we arrive at the closing moments of Casino Royale, in which Craig’s Bond fully embalms himself in the armor of his constructed persona, and steps out into the world to confront sinister villainy as a state-employed thug in elegant attire.

Even though the ending of Casino Royale was always intended to function as a gateway to the sequel (the initial versions of which were being written by Bond scribes Neal Purvis and Robert Wade as Casino Royale was filming), Casino Royale‘s ending feels less like a cliffhanger than it does the completion of the film’s arc. This is certainly how director Martin Campbell felt, who declined to return for its successor due to a feeling that a sequel would not add much to his work on Casino Royale. Still, Quantum of SolaceSkyfall, and Spectre will each, in their own way, see this finale as a kind of pause rather than a full statement. The Craig era exists in a constant push-and-pull wherein Bond’s identity is asserted and subsequently challenged.

The conversation with M consists of an embarrassing amount of exposition, most of which serves to clear up the mystery surrounding Vesper’s motivations. These motivations have been relatively obscure and clumsily dramatized, and will still remain a bit hazy after this conversation (this murkiness surrounding Vesper’s motivations, and her boyfriend, provides Quantum of Solace with its foundation). M’s comments to Bond contain much supposition along with the few facts she provides. If this conversation achieves anything dramatically, it is to refocus the film around Bond’s relationship to M, who chastises Bond for being coldhearted while also knowing that she needs him to be exactly who he is in order for him to be useful to her and the state she serves.

The conversation does not serve Craig’s Bond especially well, reducing him to a grim-faced listener. The film tosses away the iconic, nasty closing line of Fleming’s novel, suggesting that it is included more out of obligation to the source novel rather than out of clear dramatic purpose. In Fleming’s novel, it was a searing final exclamation mark in the hardboiled tradition, a blast of misogyny that extended from Bond’s wounded masculinity. Here, it is stated and then subsequently challenged, overwhelmed by M’s musings.

Vesper’s cell phone enables Bond to track down Mr. White. It’s suggested this was her intention all along. Mr. White is clearly somewhat negligent when it comes to the use of cell phone tech. Giving Vesper his personal number and retains the same phone after this affair is concluded. You’d think he would at least have the same sense as a low-class criminal and use a burner.

The finale, staged at Mr. White’s beautiful lakeside villa, concludes Bond’s character arc by showing that he has been absorbed by the character’s iconography. The sequence serves as a purpose statement for Bond: he’s the killer who brings violence wherever he goes, hunting down the criminal elements that cloak themselves in luxury and wealth.

Bond sports an atypically rakish outfit. Given that the dinner jacket was already presented mid-picture, costume designer Lindy Hemming was tasked with effectively created a Bond outfit that could out-Bond the dinner jacket, and she settled on the three-piece suit, which nods back to Connery’s attire in Goldfinger. Where Connery’s gray suit was tasteful, Craig’s is ostentatious. This pinstriped suit is not the suit of a gentleman educated in “Oxford or wherever,” to borrow Vesper’s words, but the suit of a hoodlum. The gangster-ish effect of the outfit is further magnified by Bond’s choice of weapon, which might as well be a Tommy gun.

His smug delivery of the “Bond, James Bond” line rings out both loud and hollow. This is, as Fleming once described him, the man who is only a silhouette. Death will follow in his wake. Cue, for the first time, the James Bond theme.

The Facts of Death: Casino Royale, Part XIII

“The big picture.”

These words, lifted from Bond’s chastisement at M’s hands earlier in the film, reverberate with a darker significance as Bond murmurs them to Le Chiffre.

The “big picture” involves more than the details of the organization that employs Le Chiffre. The “big picture” suggests the entirety of the complex web of political power in which these individuals find themselves. With greater understanding of context also comes greater understanding of self, and thus the Craig films’ trajectory pairs its investigations into the shadowy corners of the “big picture” with ever deeper dives into the shadowy corners of Bond himself.

Craig’s Bond never comes to terms with his place as a pawn of state power, even if he craves the sense of purpose that comes with it. Bond often chooses to exceed or contradict the orders of his superiors to pursue his own impulses (this trait has always been part of the Bond character from his inception, but remains more prominent for Craig’s Bond, a man perpetually revolting against himself and the world around him). At this moment, having faced near-death at the hands of Le Chiffre, Bond will reject the role of a hired assassin to pursue an uncertain future with Vesper.

Bond recovers from his ordeal at Le Chiffre’s hands in scenic Lake Como (this being a Bond film, a standard hospital simply would not do), and the film takes the lull to fix its gaze on Bond and Vesper. The scenes that unfold here are, on a writing level, some of the weakest in the film, failing to properly showcase the complexities of these characters and their doomed romance.

Nevertheless, I remain entranced by Eva Green, who, even as she has to suffer the indignity of uttering incomprehensibly strange dialogue about Bond’s little finger, remains incandescent and enigmatic. Vesper has clearly begun to fray, though Casino Royale frustratingly fails to offer moments that truly allow for Vesper’s psychological state to take center stage. Vesper may be a less complex character in Fleming’s novel, but the equivalent material there does put Vesper’s emotional disintegration front-and-center. Still, Green makes the most of these little moments she’s given, underlining the way her guilt complex plays into Vesper’s idealization of Bond. 

M will suggest later to Bond that Vesper had made a deal with Mr. White for Bond’s life, and that Vesper likely knew through these days with Bond that her death was imminent. Thus, Vesper’s escape with Bond remains, for her, an excursion into fantasy before the end of her world, and we can observe moments where the fantasy is punctured by awareness of her own mortality.

I noted before that the plotting regarding Mathis fails to satisfy. This section certainly needs some notes of anxiety and menace, but the “Is he or isn’t he a traitor?” ambiguity leads nowhere. The film flirts with Hitchcockian suspense as Mathis provides Bond with a drink that may or may not be poisoned, but the scene never draws out the suspense enough to make it register.

The visible uncertainty that Craig brings to Bond’s admission to Vesper that he doesn’t know what a real job underlines the fragility of their romance. They have constructed fantasy versions of each other, each seeking an escape from their situation, one that the real world would likely shatter even if Vesper wasn’t carrying a secret burden. Vesper fully knows that it is a fantasy, but Bond does not.

When Bond and Vesper bid goodbye in the hotel lobby in Venice, you can see that Vesper knows she’s seeing Bond for the last time, that this is the last happy moment of her life and she wants it to sustain her through whatever follows. Vesper then becomes a prop, a cipher whose motivations are left to be explained by another character in the aftermath of her demise. 

The Venice section of the film had a different structure in earlier drafts of Casino Royale, allowing her the chance to speak for herself. Originally, Vesper’s suicide preceded the action climax. Bond found Vesper dead in their hotel room, along with a video created by Vesper in which she explained her actions, and then pointed him toward Gettler and the money. 

This structure was changed by Paul Haggis, who felt that that structure squandered the emotional momentum of Vesper’s betrayal. The final version does allow Bond’s emotional state to propel the action, but the gunfire and spectacle also has the effect of overwhelming the relationship between Bond and Vesper.

The overcomplicated mechanics by which Bond learns of Vesper’s betrayal are confusing and inelegant. Bond checks Vesper’s phone as he gets a call from M about missing money, then quickly calls the banker, Mendel, who is able to see that the funds are being withdrawn from a branch nearby. After this flurry of clunky exposition and coincidence, Bond leaps into action.

I very much like the sequence as Bond trails Vesper (she wears a red dress, a nod to Nicolas Roeg’s Don’t Look Now). Bond, stung by the betrayal, instinctually returns to the role of a killer as he moves with purpose through the shadowy corridors of Venice (nicely lit by Meheux).

Earlier versions of the sinking house sequence were more subdued and might have been more dramatically balanced (early drafts had Bond facing off against only Gettler, not a group of thugs, thus making it a brutal brawl more akin to the stairway fight), but, likely in order to provide a stronger action climax, it became more complicated and grand.

The sinking house in Venice reinforces classic Bond formula (a climax in a imploding space, typically a villain’s lair, is a Bond staple, and one that all of the Craig films follow). The collapse of the Venician house serves as a metaphor for the collapse of Bond’s hopes for domesticity with Vesper, hopes which were always as vulnerable as a house suspended on the water.

The unfortunate effect of placing Vesper in the midst of this action climax is that, contrary to Haggis’ intent, Vesper becomes a prop, rather than its centerpiece. Confined to an elevator, she gets little else to do but scream as the house begins to disintegrate.

Gettler, the miniboss of the Venice setpiece, has an appealing retro look. He would have perhaps benefitted from some additional setup to make his appearance here more of an event, rather than justt serving as another unestablished character like Carlos from the Miami chase, appearing only to justify the existence of an action setpiece.

The geography and number of players remains murky throughout, so what gives this sequence definition and propulsion is the spectacle of Bond cutting his way through his surroundings with unflinching viciousness. He seems more Terminator-like than ever, yanking out a nail that has been buried in his shoulder with little concern. (One touch, visible if you break the sequence down shot-by-shot, is that Bond uses his Omega as a knuckle-duster, a nod back to Ian Fleming.)

Vesper defies Bond’s attempt to save her, choosing death rather than confrontation. The horrifying sight of her drowning is much more vivid and harrowing than Fleming’s version (suicide by overdose) could possibly have been if translated faithfully to the screen, further heightening the drama by making Bond an active participant, struggling but failing to save her.

Bond pulls Vesper from the water and begins administering CPR, only to recoil when he becomes aware of his actions. Bond’s identity crisis, emblazoned on Craig’s contorted, red-eyed face, has come to a head. Bond belongs neither to the service nor to Vesper. He gives in to his grief and moves to Vesper, cradling her lifeless form.

Thus Casino Royale offers an image that will become one of the recurrent motifs of the Craig era, appearing in Casino RoyaleQuantum of Solace, and Skyfall: Bond holding the body of someone he failed to save, while a solitary witness looks on.

Here, the onlooker is Mr. White.