Talking Movies

November 15, 2018

From the Archives: Casino Royale

An unprecedented journey into the past finds amidst the uncollected material from even before the pre-Talking Movies archives a review of the film that brought James Bond back from the dead, where, in retrospect I find that I had been very willing to leave him after suffering thru Brosnan’s quartet.

I hate 007. It’s important to clarify this at the beginning so you will understand that it is through extremely gritted teeth I have inform you that not only is Casino Royale brilliant, but it is brilliant in all the specific areas where a Bond film has no right to be even half-decent. Specifically a strong female character, an element of realism, a coherent plot, a lack of cheesiness, a believable torture scene and Bond displaying human emotions.

The screenplay is credited to three people. The writing partnership of Neal Purvis and Robert Wade who wrote the last three execrable Bond films drafted the script, which was then completely rewritten by one Paul Haggis. I am not a fan of Haggis. I had a mean gag lined up about him being renowned in Hollywood by which I would mean not his back-to-back Screenplay Oscars for Crash and Million Dollar Baby but rather his ability to make Oliver Stone look subtle. It is with seething fury then that I have to tell you his contributions to this film are masterful. He locates Bond firmly in the real world of post 9/11 intelligence, complete with MI6 cleaners to get rid of dead bodies. We meet 007 assassinating crooked agents and investigating two bomb plots, all with thrilling believability, before he finally discovers who is financing these terrorist activities: a private banker named Le Chiffre (Mads Mikkelsen).

Bond must defeat Le Chiffre at a high stakes poker game at the Casino Royale where his buy-in is supplied by Treasury official Vesper Lynd. Their first meeting on the train to Montenegro is delicious. Over dinner the pair verbally dissect each other’s characters based on their first impressions of each other. Bond is cruel but Vesper hurts him back with interest. Eva Green plays the first Bond girl who really is his equal. Furthermore in his relationship with Vesper we actually see James Bond displaying human emotions! There is a scene with Vesper slumped in the shower trying to wash blood off her hands after helping James in a gruesome murder which is jaw dropping: Bond makes no gags and does not try to take sexual advantage but actually just sits next to, and comforts, her.

The much touted castration torture scene meanwhile is gruellingly tense, blackly comic and utterly believable. This film has no Bond jokes. The funniest gags in the film are funny simply because they are unexpected unlike the double entendres of yore. David Arnold refrains from using the Bond theme for the entire film making its entrance incredibly impressive. Indeed the film’s final Get Carter style image confirms that Daniel Craig’s gritty Bond is in debt to Michael Caine’s unglamorous 1960s spy Harry Palmer. What’s more this scene makes us as impatient for a sequel as the promise of The Joker which ends Batman Begins. Damn…

4/5

Advertisements

August 27, 2017

The Dumb Waiter

Artistic director Michael Colgan bade a sentimental (and almost self-parodic) farewell to the Gate Theatre with a festival of Beckett, Friel, and Pinter one-act plays.

Image processed by CodeCarvings Piczard ### FREE Community Edition ### on 2017-02-09 11:52:17Z | http://piczard.com | http://codecarvings.com

Gus (Garrett Lombard) and Ben (Lorcan Cranitch) are waiting to go to work. Mind you, the nature of that work is not exactly specified. But Gus, the young partner, is impatient, and critical of falling standards in their accommodation for such waiting gigs. Ben, the older partner, is tired of his job, and possibly of Gus. So he tries to ignore Gus’ gripes about being stuck in a basement in Birmingham with tea bags but no gas to light up to boil water. But his attempts to read the newspaper are foiled by arguments about whether Aston Villa are playing at home, whether everyone is always playing away no matter where they get sent, and who really killed a cat in the news. And that’s before the antique dumb waiter in the basement starts acting up, leading to more aggro…

I’ve haven’t seen The Dumb Waiter since the UCD Dramsoc production directed by my friend Priscilla Ni Cheallaigh in 2000, starring Patrick Fitzgerald. Pinter done at anything but the right pace can drag to deathliness, even the Gate’s 2015 The Caretaker wobbled, but director Joe Dowling gets the pace here spot on; drawing out comedy. Cranitch’s raised eyebrows and shuffling newspaper at Lombard’s antics, including business with spare matches and shoes, bring out a level of slapstick that is amped up further when he starts howling “The larder is bare!” at the dumb waiter after they’ve loaded it with odds and ends of food. Oddly enough Cranitch and Lombard’s mania at satiating the unknown operator above actually reminded me of John Olohan and Eamon Morrissey’s ludicrous struggles with a mysterious telephone call in Druid’s 2010 production of The Silver Tassie.

Dowling and set designer Francis O’Connor utilise the full space of the Gate to create as much distance as possible between Gus and Ben, and make the stage very spare; almost a visual equivalent of how silence lingers between them, pregnant with tension and absurdity dependent on how Pinter’s dots on the page work. And Lombard continues to show a real flair for delivering Pinter’s absurdist speeches. Joan O’Clery’s costumes look down-at-heel until they’ve properly dressed; but even still these two are more Harry Palmer than James Bond. For the first time, instead of thinking of these characters as hit-men out of Pulp Fiction, as was inevitable back in 2000, I wondered – what if they’re cleaners? What if they’re plugging MI5 leaks MI5 with extreme prejudice, taking out the Burgesses and Macleans of the world; morose from that squalid task.

Lombard and Cranitch make a formidable double act, bringing Pinter’s early classic to humorous and doom-laden life. Oh, to see them as Mugsy and Stephen in Dealer’s Choice here.

4/5

Blog at WordPress.com.