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Royale, No Cheese: Rescuing Bond from Self-Parody SOFIA DORRELL Sofa Dorrell is a fourth year cinema studies specialist, passionate about flm history, psychology, and popular culture in media. 6 6 As a reboot both informed and complicated by conventions and contrivances formulated in the past, Casino Royale1 expresses modern anxieties of the war on terror. Casino Royale also exalts the Bond-girl to the status of the Bond-woman, in the sense that she carries the weight of signifying Bond’s relationship to women in what is, in effect, his origin story. Vesper Lynd survives the majority of the film so that in her death, she may teach Bond the ways of the gendered world exterior to his MI6 training. In the interest of staying relevant in this renewal and revision of the Bond film franchise, Casino Royale recalls elements of Dr. No2, Die Another Day3, From Russia With Love,4 On Her Majesty’s Secret Service,5 Spectre,6 and Goldfinger.7 Daniel Craig’s Bond certainly bears many of the features of the spy that we know, but he is not the lighthearted and parodic trope we have come to love. Created in an entirely new geopolitical climate, Casino Royale has a plethora of new material to work with. Casino Royale was created in a geopolitical climate that differs from the Cold War ethos from which the Ian Fleming novels and the initial James Bond films originated. Heightened anxieties surrounding international travel, movement, and dissemination of information becomes allegorized in the form of a poker game between international millionaires, symbolizing Le Chiffre’s casino economy scheme. Casino Royale aims to disrupt as many conventions of the Bond formula as possible while remaining informed by the rest of the series. As a reboot intended to capture new audiences, the changes of Casino Royale were made primarily to stay relevant, but they also serve to reintroduce fans to the established conventions of the series in ways that do not fall into clichéd self-parody. Casino Royale renews its central themes to appeal to a modern audience. These renewed and relevant themes include: a villain that directly profits from 9/11; positioning poker as an allegory for Le Chiffre’s casino economy; the use of recurrent narrative disruption as a metacommentary connected to what is restarting in the Bond narrative; the use of Vesper as a narrative device to illustrate Bond’s origin story; a stylistic return to realism in the abandonment of extreme CGI; and a narrative return to realism with a newly vulnerable and humanized Bond. Casino Royale is then a reboot informed wholly by the intertextuality of the series. The film incorporates the recurring series-long theme of movement, but links this to information, travel, money, and narrative intertextuality. 1. Campbell, Martin. Casino Royale. (2006: Sony Pictures Releasing). 2. Young, Terence. Dr. No. (1962: United Artists). 3. Tamahori, Lee. Die Another Day. (2002: MGM Distribution Co.). 4. Young, Terence. From Russia With Love. (1963: United Artists). 5. Hunt, Peter R. On Her Majesty’s Secret Service. (1969: United Artists). 6. Mendes, Sam. Spectre. (2015: Sony Pictures Releasing, Columbia Pictures). 7. Hamilton, Guy. Goldfinger. (1964: United Artists). 7 Royale, No Cheese The post 9/11 generation is characterized by a zeitgeist of anxiety and paranoia; Casino Royale reflects and refracts the idea that terrorists could be of any given background,8 and extrapolates contemporary fears and anxieties surrounding global terror and the ease of transnational movement of men and money. There is a notable shift in the source of fear in the series from World War II to Cold War anxiety regarding nuclear annihilation,9 to the War on Terror paranoia and hysteria regarding travel and movement. M is concise in her delineation of the difference between the clarity of MI5’s old enemies and the murk of terrorism when she quips “I miss the Cold War.” The very plot of Casino Royale stems from 9/11 itself, as M implies that Le Chiffre cooperated with Al Qaeda in coordinating 9/11, and in doing so profiteering through a massive short-selling of airline stocks before the attacks. One of Le Chiffre’s henchmen communicates his 9/11 implications in attempting to blow up an extravagant new plane after he’d already short- sold his stocks beforehand.10 Bond foils this plan, costing Le Chiffre one hundred million dollars, which is money owed to a Ugandan War Lord. For much of the film, the real villain lurks behind the scenes, and behind Le Chiffre, and is not revealed; the nature of the threat is unclear, and viewers are allowed to see only as far as the scope of Bond’s mission allows. Ambiguity underpins the narrative and allows for the delayed plot twist of Vesper’s betrayal of Bond as a double agent. Typically, the motives of the villain would have been represented openly, and then further elaborated upon by M. When Bond suspects that it is Mathis who has betrayed him, this is a red herring that Le Chiffre confirms, to preserve Vesper’s innocence so Le Chiffre may use her as leverage for the money during the torture sequence. Furthermore, the exact number and origin of the terror organizations to which Le Chiffre has channeled money to are unknown, but viewers are most explicitly acquainted with the Ugandans. It becomes clear that Le Chiffre is really a cog in a much wider conspiracy. Casino Royale’s larger preoccupation with narrative and thematic ambiguity then ironically serves as the film’s structural anchor. Instead of following the standard formula, Casino Royale keeps the villains hidden throughout the majority of the film and even beyond the temporal scope of the film. Casino Royale then suggests what Jason Sperb calls “a post 9/11 rhizomatic image of evil”11 8. Slop, Bas. Shaken, Stirred and Twisted. Re-Imagining the Shadow of the Orient. www.academia.edu, https:// www.academia.edu/14290064/ Shaken_stirred_and_twisted._Reimagining_the_shadow_of_the_Orient. Accessed 21 Nov. 2018. 9. While SPECTRE is not the Russian SMESRSH, the motif of villain’s quest for inciting global disorder and domination carries over from Cold War tropes into completely fictional Bond opponents. 10. Lindner, Christoph. Revisioning 007: James Bond and Casino Royale. www.academia.edu, https:// www. academia.edu/4321519/Revisioning_007_James_Bond_and_Casino_Royale. Accessed 21 Nov. 2018. 11. Lindner, Christoph. Revisioning 007: James Bond and Casino Royale. www.academia.edu, https:// www. academia.edu/4321519/Revisioning_007_James_Bond_and_Casino_Royale. Accessed 21 Nov. 2018. 8 Sofia Dorrell while also maintaining and internalizing the Bond series’ longstanding fixation with self-disruption. The franchise has only survived so long in part due to the constant disruption of its own rhythm. On an unconscious level it is understood that Bond and Vesper can never be together. In the false ending when Bond awakens from his coma to find Vesper in love with him, and the Swiss man coming to award him the money, it conjures a feeling of dread. We know the peace will soon be shattered and romance done away with; it is written. Romantic ties significantly disrupt Bond’s will to carry on as 007 and are something a more evolved Bond will never consider again. The formula of reimagining Bond engages with the logic of late capitalism, which relies on a world in which the distinction between speculation and gambling has effectively vanished. Therefore, it is fitting that the swindle is conducted through a game of Texas Hold’em, and that the film constantly reminds viewers of the parallels between poker and the global economy. In Fleming’s original novel the characters play baccarat, a very simple and entirely chance based game.12 The film’s shift from baccarat to Texas Hold’em is particularly significant as it marks a conscious response to, and interaction with, the fever pitch financial manipulation of the stock market by Le Chiffre through the tacit grammar of the game. The element of risk and reward involved in the game also correlates with Bond’s pursuit of Le Chiffre, and who can be more daring in their wager. The film suggests that we are now living in a casino economy that is global in scope, profoundly American, and based almost entirely on dissimulation and chance. Umberto Eco’s reading of Fleming details how the world of Bond is subject to the Manichean dichotomy of black and white thinking: good versus evil, and winning versus losing.13 The poker game is no different; the stakes could not be higher. If Bond loses, the U.K directly funds terrorism—a gripping risk for the audience, but not an immediate matter of life or death. He obviously has the brawn, but has he got the brains? Casino Royale was crafted specifically to allow Craig to prove himself as Bond. The film then breaks with the tradition of Bond being primarily a physical player and an action hero. Here, Bond is a new agent who is eager to prove himself. As part of the origin story, we get to see that Bond can battle minds at the poker table while testing his nerve and his sometimes problematic recklessness with daring and aggressive bets, a classic preliminary battle with the villain which uncharacteristically evolves into the central conflict. Craig commented that 12. Lindner, Christoph. Revisioning 007: James Bond and Casino Royale. www.academia.edu, https:// www. academia.edu/4321519/Revisioning_007_James_Bond_and_Casino_Royale. Accessed 21 Nov. 2018. 13. Umberto, Eco. “Umberto Eco: The Manichean Ideology in the James Bond Novels.” O Captain! My Captain!, 18 Oct. 2015, https://thefablesoup.wordpress.com/2015/10/18/umberto-eco-the- manichean-ideolo- gy-in-the-james-bond-novels/.
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