Casino Royale 1967
Casino Royale 1967 – “Sir James Bond, enjoying retirement, is forced back into service by four international agents in hopes of destroying SMERSH and taking Le Chiffre down at the baccarat tables. Bond is taken in by agent Mimi (alias Lady Fiona McTarry), who immediately falls in love with him. Bond’s illegitimate daughter, Mata Bond, assisted by his mother, the late Mata Hari. Bond, a current agent named Cooper, has his hands full despite the help of his beautiful secretary Moneypenny. Jimmy Bond, 007’s nephew, is thought to be disabled. Bond, hoping to clear his name from his current low profile, gambles away at Casino Royale. Evelyn recruits Tremble to meet Le Chiffre at the tables, helping Tremble convince Tremble to disguise himself as 007, Vesper Lind, the world’s richest agent.
James Bond films began a trend in the sixties of increasingly incorporating science fiction elements into thrillers, a trend that reached booming proportions in the latter part of the decade. Prominent among the Bond imitators were Matt Helm’s series of films with Dean Martin – The Silencers (1966), Murderer’s Row (1966), The Ambushers (1967), The Wrecking Crew (1969) – Two Derek Flint films starring James Coburn – Our Man Flint (1966 ), In Like Flint (1967) – and the various Man from UNCL films created by combining TV episodes and adding extra footage – The Spy With My Face (1965), One of Our Spies is Missing (1966), One Spy Too Many (1966 ), How to Steal the World (1968) – all became increasingly distant.
Casino Royale 1967
But the most distant spy film of them all is Casino Royale (1967), which bears virtually no relation to the first (and perhaps the best) of Ian Fleming’s James Bond novels. Ranging from surreal black comedy to pure slapstick, the film falls remarkably short in the way of a coherent plot, a flaw compensated for by the many plots and counterplots created before and during its tumultuous shoot. Initially, it was financed not by Harry Saltzman and Cubby Broccoli, the regular producers of the Bond series, but by Charles Feldman, who had a big hit with What’s New Pussycat (1965). The rights to the first novel were originally acquired to produce a live TV show starring Barry Nelson as CIA agent Jimmy Bond, Michael Pate as British MI6 agent Felix Leiter and Peter Lorre as the villain Le Chiffre. Although it’s great fun to watch today, it’s always been considered below average as a James Bond adventure and live TV show. The lines are shaky, and the sound and stage effects are poor at the best of times (in the opening scene, for example, gunshots and their skirmishes are out of sync).
Casino Royale (Columbia, 1967). Italian 4
Since Charles Feldman could not use Sean Connery in his version, he decided that the only possible solution was to cast James Bond in the role, making Casino Royale a kind of ridiculous parody and a mere understatement to the original novel. Despite having ten writers (including Terry Southern, Woody Allen, Wolf Mankowitz, Ben Hecht and Joseph Heller), five directors and a dream cast including Peter Sellers, David Niven, Ursula Andress, Orson Welles, Joanna Pettet, Deborah Kerr, Woody Allen. , William Holden, Charles Boyer, John Huston, Barbara Bouchet, George Raft, Jean-Paul Belmondo, Peter O’Toole, Sterling Moss, Terence Cooper, Bernard Cribbins, Ronnie Corbett, Kurt Kaszner, Anna Quayle, Jeffrey John Baildon, Derek Nimmo , Geraldine Chaplin, Valentine Dial, Anjelica Huston, Burt Kwok, John Le Mesurier, Caroline Munro, David Prowse, Jacqueline Bisset, Alexandra Bastedo and John Bluthall, a confusing mix of British, American secret services. France and Russia meet to discuss how to break the evil organization SMERSH.
He decides to persuade Sir James Bond to retire – by blowing up his country house. ‘M’ is killed in an explosion and Bond travels to Scotland to comfort his widow Lady Fiona McTarry and her family. Unbeknownst to Bond, the McTarrys have been replaced by SMERSH agents and…oh, forget it! Suffice it to say, at the height of this incomprehensible irony, almost anyone could be James Bond, and Woody Allen, who swallows a tablet-sized nuclear bomb and blows himself up, ends up mastering the world (and everyone else) to pieces.
“Seven James Bonds in Casino Royale, who came to save the world and win the girl in Casino Royale. Six of them went to a heavenly place, while the seventh went to a terribly hot place.
It was obviously meant to be a ‘fun’ movie like the new Pussycat, in which case, the actors didn’t even give convincing impressions of enjoying themselves, it was obvious. Joseph McGrath was initially hired as the sole director, a risky choice for a multi-million dollar production as this was his first feature. But he was a personal friend of Peter Sellers, who decided, in Feldman’s best judgment, that he was the most qualified person to carry such a large ship safely into port. Little did McGrath realize, however, that he would face a serious and real crisis founded on the actor’s vanity. The film’s core (one of only two scenes left over from the original novel) is a marathon game of baccarat played at Le Tarquet between SMERSH, Le Chiffre (Orson Welles) and Bond’s former evil genius – or rather, the film version, one of Bond’s many replacements, Mr. Evelyn Tremble (Peter Sellers). But Sellers, after a humiliating encounter with a giant American actor-director, became fixated on the idea that he would stay on stage. Like a paranoid chess master, he sensed that his performance would suffer from the hostile vibes of his charismatic star. He refused to play the scene in Welles’ presence and insisted McGrath film Welles first, then, at the opposite angle, film the reaction himself, and so on.
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Except for two issues, all of this was perfectly doable as they sat across from each other at the baccarat table. First, there was no hard hitting two players in the same room. This was fixed in post-production with a few seconds of visible overlap. Second, actors benefit greatly from some form of reciprocity, even if their personal relationships are less than cordial. Marketers, who have already eclipsed her work from a string of yes-men directors, are now denying her a much-needed chance to star opposite another actor. His resulting performance in Casino Royale was the most characterless and boring of his entire career. The seller decided that someone was to blame and didn’t engage in much soul-searching. McGrath had to go and he did, with the press release that such a novice filmmaker never intended to complete the film, parts of which are now offered to various established directors. In the end, McGrath was credited along with John Huston, Ken Hughes, Robert Parrish and my old friend Val Guest:
“Charlie (Feldman) called me early on and said, ‘Look, I’m going to give you six Casino Royale scenarios and I want you to try to get one of them!’ And there they were. As varied as you could get. One from Ben Hecht, one from Terry Southern, one from Dorie Scarry, etc. All top writers, but we ended up not using any of them. It was a mind-numbing nightmare — they had to start shooting on a certain date because they had signed on to launch a vendor. and he didn’t want to lose it. So we started shooting without a script. Then Charlie flew in with Woody Allen and I worked with Woody on the script for a long time, which was great — he’s fun to work with — but Charlie was going through the stuff we beat and cut all the jokes and just put away the productions. .”
“The main problem was that we were shooting in three different studios and traveling from MGM to Elstree to Pinewood to Shepparton. We had sets in each studio. It was a nightmare because Charlie would call me in the middle of the night and say, ‘Look, I can take Bardot next Wednesday.’ So which group are we in?” Well, write it!’ So they got those eighteen or so international stars in the picture. Niven started making salesmen say he’d do it, then he called Niven and said salesman would do it, and then he got Niven. I was sitting in Charlie’s office swindling people on the phone. He got Bill Holden because He was his agent, but I remember we had a terrible time with Jean-Paul Belmondo. We told Ursula Andres,
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