Alles zum Film "James Bond - Casino Royale": Reviews, Trailer, Bilder, Kinoprogramm, Wallpapers und vieles mehr. Okt. Sein Name ist Bond. James Bond. Er ist der wohl berühmteste Agent aller Zeiten, bekämpft die korruptesten und gefährlichsten Bösewichte. Es ist eine Neuverfilmung des ersten James-Bond-Romans Casino Royale von Ian Januar mit einem Budget von rund Millionen US-Dollar und.
Angelina Jolie and Charlize Theron were both "strongly considered" for the role of Vesper before the casting net discovered French actress Eva Green.
Mads Mikkelsen had been selected to play villain Le Chiffre long before his work schedule had allowed him to commit to the role.
The announcements were confirmed to the press, along with Jeffrey Wright as Felix Leiter, on February 16th , some two weeks since filming began.
Production returned to its traditional home of Pinewood Studios to complete the shooting schedule and post-production. Bond 25 Bond 25 director Cary Fukunaga talks Bond 25 Director Bart Layton confirms he turned down Bond 25 job Literary Anthony Horowitz searching for a 'Bond Girl' replacement term Actor News Ursula Andress 'still a Bond girl' at Bond 25 Long-time crew member says Bond 25 to film scenes in Canada Casino Royale Production Producers: Mission James Bond's first "" mission leads him to Le Chiffre, banker to the world's terrorists.
Casino Royale disposes of the silliness and gadgetry that plagued recent James Bond outings, and Daniel Craig delivers what fans and critics have been waiting for: Unlike recent Bonds, whose kills had no more weight than the one-liners that generally accompanied them, Craig's tend to be intimate, bloody, and devoid of glamour.
Casino Royale has the answers to all my complaints about the year-old James Bond series, and some I hadn't even thought of.
I hope Craig finds more moments like that in Bond. And I hope he gets to wear that tuxedo again and again and again.
I consider Daniel Craig to be the most effective and appealing of the six actors who have played , and that includes even Sean Connery. James Bond is back, and as it turns out, he's been gone a lot longer than anyone even realized.
And the new Bond is blond. Daniel Craig has comfort ably slipped into the tuxedo, size , and left audiences shaken and stirred. When Bond kills an adversary in a hotel stairwell, the violence is nasty and brutal - and you feel bystander Vesper's shock and revulsion too.
She doesn't merely wince and get over it, as so many of her predecessors did; she's clearly traumatised. Casino Royale is exactly what the franchise needs to keep in the game against the Bournes and Missions: Impossible of the world.
This is a much more serious Bond than we've seen in many years. Daniel Craig inhabits the dark side of the secret agent really well, he is absolutely the best Bond since Connery.
Craig's humanised, more flawed interpretation of the role balances Campbell's physical direction and co-writer Paul Haggis's sparing wit, while Eva Green provides an alluring love interest.
Rebooting a film franchise can often come across as an act of desperation: Perversely, the more successful a given reboot is, the easier it seemingly becomes to pull this same trick again the second that a particular instalment mildly underperforms.
It may seem hard to believe in an age of cinematic universes where knowledge of superhero continuity is a badge of honour - but then we remember that Spider-Man and Superman have both been rebooted twice in the space of a decade.
Die Another Day marked the Bond series' 40th anniversary in the most deeply disappointing way possible, serving up a glorified greatest hits compilation which played out like reheated leftovers.
Faced with its deserved critical kicking and Pierce Brosnan's subsequent departure, the guardians of the series must have felt that starting from scratch and going back was the only way forward.
Casino Royale is a worthy exception to the rule that reboots are pointless and underwhelming, delivering just the sort of reinvention that the franchise needed.
It may even be the best film in the entire series. Part of the secret behind the Bond series' longevity is that it has always adjusted its character and storylines to the culture and politics of a given period.
Sometimes it has done this so nakedly that the films in question date badly, whether it's Live and Let Die's attempts at aping Shaft, The Man with the Golden Gun cashing in on Enter the Dragon, or Moonraker trying and failing to be the next Star Wars.
Often Bond has been at his best when he acknowledges his mortality and the world changing around him, while retaining the character elements which made him so popular in the first place.
Goldeneye made a big deal about the Cold War ending, but it still felt like a story in which Bond had a rightful place. The spectre hanging over Casino Royale, and indeed all of the Daniel Craig era, is the Bourne series.
The first three films shifted the goalposts of what constituted a modern action-thriller, innovating with its gripping storylines, sharp camerawork and relatable yet remarkable protagonist.
Even Brosnan admitted that the series would have had to raise its game in the face of what The Bourne Identity did; watching that and Die Another Day now, it's hard to believe that they came from the same decade, let alone the same year.
Casino Royale manages to match The Bourne Supremacy for quality, borrowing some of its aesthetic touches particularly in the chase sequences while also capturing the intrigue of Ian Fleming's original novel.
Like Paul Greengrass, Martin Campbell understands the need to knit action and character scenes together to create a holistic, gripping package; the action feels like an integral and natural part of the drama, rather than interrupting it in order to show off the budget.
Campbell brings the same calm, steady and methodical touch that he brought to Goldeneye; having saved Bond from irrelevance once, he does it again in some style.
Skyfall so often gets praised for acknowledging Bond's past while still being modern and relevant, but Casino Royale manages to pull off this same trick, and arguably does it slightly better.
Where Skyfall consciously tips its hat to the older films through costumes, characters or props such as the iconic Aston Martin DB5 , Casino Royale is more subtle; all the classic elements are there, but they've been modernised and refined so that they make more sense in the real world.
It's still fitting for Bond to drive an Aston Martin, and it's a nice touch to see its distant predecessor roll by. But it wouldn't make sense for Bond's car to have many gadgets that he doesn't need, and having the car be wrecked to save Vesper makes complete sense.
Where Roger Moore or Brosnan's films glorified the gadgets, this restores some welcome credibility and keeps the hardware under wraps unless absolutely necessary.
Along these same lines, the screenplay takes all the best elements of Fleming's novel and transposes them into a contemporary setting.
It still has all the glamour of the classic casino scenes from the Sean Connery era, but the playful banter and flirting has been replaced with high stakes, tense glances and much more serious consequences.
Le Chiffre's relationships with arms dealers and dodgy speculation on the stock market felt current for its day and still feels very fresh; great effort is expended to ground the character's motivations while maintaining an air of intrigue, mystery and threat.
The film takes itself seriously, but not too seriously; it wants to have fun, but it puts credibility above out-and-out entertainment, unlike many of Moore's entries in the canon.
Le Chiffre's characterisation is also an interesting departure from what the Bond villain archetype has become. Where the likes of Drax, Stromberg and Blofeld wanted to single-handedly destroy or take over the world, Le Chiffre is essentially a middle-man; he is to the Craig era what Kristatos was in For Your Eyes Only, but better written and with a more interesting, more murky motivation.
Like Bond, he is ultimately a pawn of bigger forces who struggles at times not to buckle under the pressure as the torture scene demonstrates ; by making him so small, he becomes more believable and more intimidating, even without the bleeding eye.
He may look like the lead singer of Franz Ferdinand in his haircut and dress sense, but Mads Mikkelson plays him brilliantly, bringing a cold, dead-eyed feel to the character which both intrigues and repulses an audience.
Creating convincing poker scenes in films is pretty difficult. The vast majority of efforts go for a highly stylised or choreographed approach, where audience expectations are pandered to through needless editing trickery; think of the final hand in The Cincinnati Kid, or the royal flush sequence in Maverick.
Casino Royale's poker scenes may be more stylised than those in, say, The Sting or Rounders, but they are still very well-executed with good pacing and a frisson of unpredictability.
What really makes them work, however, is the build-up in the script; there are little poker motifs dotted throughout, with comments about tells and misdirection.
Because the film makes such a big theme out of bluffing and people not being what they seem, the card games don't feel like isolated set-pieces, and the later developments with Mathis and Vesper feel credible and yet still surprising.
It isn't just that both characters ultimately don't make it past the final reel; the characters are both instrumental in the making of Bond, an affront and a challenge to his impulsive, playboy instincts and a safe refuge from the madness of his job and the people he has to kill.
Eva Green is every bit as gripping and electric on screen as Diana Rigg before her; Vesper goes toe-to-toe with Bond and we get genuine character development, making her betrayal and death all the more shocking and heartbreaking.
Craig's Bond is a changed man by the end of the film - it's just a pity that the resolution to his heartbreak in Quantum of Solace was as underwhelming and mishandled as the similar attempt in Diamonds Are Forever.
The heartbreak surrounding Vesper brings us onto another of Casino Royale's great successes: Desmond Llewellyn's Q may have advised Bond that he should never let his enemies see him bleed, but the best Bond films have never been afraid of putting him through the mill, getting him into dangerous situations which can only be resolved at great cost - a cost often numbed by women and alcohol.
The fight scenes in Casino Royale feel brutal, just as they should do; it isn't interesting to have someone waltz through conflict as though it was nothing.
The torture scene and the defibrillator scene are great in isolation, but they are matched by Bond's emotional torment of losing Vesper. For the first time since Timothy Dalton's era - or Goldeneye at a push - Bond's pain feels real and meaningful.
All of which brings us to Daniel Craig as Bond. While his subsequent films have been hit-and-miss, his performance here is more than enough to silence those who criticised his casting all those 'James Blonde' jokes sound all the more desperate now.
After watching Brosnans invisible car in the previous incarnation I thought it could only get worse. How wrong was I! He exudes confidant menace.
They have gone back to basics with this Bond ie character and dialogue driven and not thankfully gadget driven. Not only is it the best bond film out so far its one of the years best films out.
They have borrowed some elements from the Bourne series of films which is long overdue on the franchise, more realistic fight sequences and with Daniel Craig actually looking like a physically capable man instead of the middle aged paunch of Roger Moore and Pierce Brosnan who both quite frankly couldn't beat up a Ritz cracker.
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Keep track of everything you watch; tell your friends. Full Cast and Crew. Armed with a license to kill, Secret Agent James Bond sets out on his first mission as , and must defeat a private banker to terrorists in a high stakes game of poker at Casino Royale, Montenegro, but things are not what they seem.
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