That’s not too far from the truth, as the film has a starting basketball team’s worth of credited directors and an army of uncredited script doctors. “ Casino Royale feels like it was assembled by an international team of highly paid, highly confused professionals.”Ĭasino Royale feels like an anthology film comprised of four or five discrete segments from different filmmakers with different aesthetics that were frantically refashioned into a narrative film at the last minute. But the 1967 Casino Royale feels like it was assembled by an international team of highly paid, highly confused professionals who had no idea what anybody else was doing and precious little interest in how their jagged, weird little contributions would serve a whole that seemed to be steadily slipping away from the filmmakers even before production began.

It benefited from a clear-cut authorial vision, one much bolder and more distinctive than had ever been associated with director Martin Campbell before. The 2006 Daniel Craig version of Casino Royale, which reinvented and reimagined the series, stood out in part because it swung as hard in the direction of grim, grounded seriousness as its quasi-predecessor did in the loopy realm of anything-goes screwball comedy. Broccoli, although it was less a straight adaptation than a spoof that used the bare bones of Ian Fleming’s story as the springboard for a terminally dated goof. It was the first big cinematic adaptation of the Bond series released without the participation of producer Albert R. This is true even if Casino Royale often feels like a one-joke movie whose single gag is, “Isn’t it crazy how much money we’re wasting?”īut Casino Royale also took up a lot of cultural space because it was, and remains, inextricably linked to the James Bond franchise, an institution that has ferociously held on to its central place in the pop culture landscape longer than just about any ongoing franchise. Nearly a half century later, it’s still remarkable that enough money and willpower existed in the world to get such a gaudy, endless parade of star power, production values, and dizzying, dazzling eye candy onscreen in one ridiculously overstuffed extravaganza.

It was less a film than a universe unto itself. It’s distinguished by its Spruce Goose-like size as well as its Spruce Goose-level sleekness and effectiveness. Like similarly Texas-sized opuses It ’s A Mad, Mad, Mad, Mad World, Cleopatra, and 1941, the 1967 James Bond spy spoof Casino Royale is notable primarily for its magnitude.

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