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When Pierce Brosnan took over the role of James Bond for Goldeneye, much was made of how franchise has been “modernized”. Indeed, the only likely changes were cosmetic. Brosnan in the 007 was easily connected to the character previously played by Sean Connery, George Lazenby, Roger Moore and Timothy Dalton. With the ascension to Daniel Craig pistol, penguins, martini, and a licence to kill, the seismic changes that have taken place. This is not James Bond, we know iz’60 s,’70s,’80s, i’90 s. Welcome to the new world of the most storied MI6 agent.

Casino Royale The goal is to re-load “franchise. Craig is not succeeding Brosnan, he re-inventing the role. Regarding this film, it is nothing for the previous 20 records what happened. Bond This is the” origin “story, and only a thin piece Judi Dench continuity return, as Ms. M. Forget everything you think you know about 007. For many years now, Bond formula was drowning in a sea of rip-offs and pretenders, each more nad on top than its predecessor. In order to maintain market niche, the Bond franchise has been attacked in a different direction - something less cartoonish and closer to the source Ian Fleming novels. Unable to tell where the filmmakers will take Bond here, but Casino Royale hints that it might be in a downward direction to the land than we are accustomed to.

What’s lacking? Quite a bit, actually. Until its introduction at the end incitement loans, “James Bond Theme” was heard often during the brief, subdued passages. Signature line “Bond, James Bond” keeps us waiting. There are no gadgets - in fact, no Q. There is no Moneypenny. Tam action, but it is surprisingly low-key (at least for bonds). None are over-on-top, gravity-defying stunts, which have characterized the 007 films for many years. This time things get brutal. Not only is a nasty fight, in which Bond hits in the crap of a bad guy (he kill two people in order to get his double-zero status, but death does not need to be careful), but our hero in the end, on the receiving end of some vicious treatment . One can not imagine Connery, Dalton, Moore and especially going through that test.

The plot follows Fleming story much better than the original Casino Royale (a pitiful and uneven deception) did. Early days for Bond. After completing the requirements for entering the elite level, he was awarded 007, although I was convinced he was not ready. His first assignment is to track down one of the most difficult in the world suppliers of terrorist money. After following the clues that first take it to the Bahamas and then to Miami, Bond learns the identity of his career: Le Chiffre (Mads Mikkelsen), who is about to enter an exclusive poker in a casino Royale in Montenegro. Bankrolled at MI6, Bond comes against Le Chiffre, an accountant with Vesper Lynd (Eva Green) watching the money. As the action heats on the tables, Bond finds himself in trouble far away as Le Chiffre, and some of his associates trying to eliminate the British agent.

It has been a long time since then, Bond was the man. Not so at Her Majesty’s Secret Service - the last time he fell in love with - we have seen this side of super agent. This is a curious thing to see Bond developed deep feelings for Vesper. We used to his treatment of women as disposable commodities. Ah, it is their love, but love is not in his vocabulary. But there is no better way to humanize a superhero than done his falling in love. We have seen that with Superman and Spider-Man. Now we can see it with 007. This aspect of the film is one of the reasons why Casino Royale is the reduction above all that we have received from Bondmakers in decades.

Plot oddly constructed, and played in three clearly defined acts. First, it is the most like a traditional James Bond movie with hopping from country to country, engaging in a sense of romance (with Caterina Murino), and chasing after two henchmen (foot chase suggests that the scaffolding and the rush to stop bomb Miami Airport). Act II is carried out mainly on Stek. Surprisingly, there’s a lot of tension, despite the fact that there are not a lot of action (except for the stairs fracas), and the film uses this segment to create a romantic tension between Vesper and Bond. I will not talk much about the third act, except that it goes a few unexpected places, and initially it seems that precedes it with the engine.

For Daniel Craig, it is triumphant. Not since the early Connery Bond, we are witnessing this magnet. Craig managed to show us both human and inhuman hand Bond, and the image is free of fatuousness. This Bond is not for uttering the occasional quip, but when he does so, there’s not a lot of humor in the delivery. Not after closing moments On Her Majesty’s Secret Service, we saw such vulnerable 007. Despite the fact that it is always a certain sadness associated with the unrest goodbye departing actor Craig activity leads us to ask: “Pears Who?”

With everything else is changing, it would be interesting to whether the time to bring someone else in to play M. It ’s not knock on Judi Dench - no one can deliver acerbic M in the same bus as it is - but if the goal is to make a clean break, then why is it here? Eva Green, still best known for taking off her clothes in Bernardo Bertolucci in The Dreamers, is the right mix of hard and soft as Vesper - it is not difficult to understand how it could beguile Bond. Mads Mikkelsen very intensively to pull a villain role, even if he has not demonstrated most megalomaniacal bent bonds bad guys. Additional support comes from Giancarlo Giannini as Mathis, a British agent in Montenegro, and Jeffrey Wright as an old friend Felix Leiter.

It is interesting to note that a fundamental shift in Bond, which is on the “normal” command. It is not as if an entirely new group was brought in for “re-boot.” Manufacturers continue to Michael J. Wilson and Barbara (daughter Cubby) Broccoli. In writers Neal Purvis and Robert Wade (with help from Paul, “he everywhere these days” Haggis), which were involved in the last two scenarios Brosnan films. Director Martin Campbell, managed by the Goldeneye with Phil Meheux as his cinematographer. And David Arnold was composing Bond scores, as it took more than a year, John Barry v’90 s. (The title song, “You Know My Name,” which Arnold wrote jointly with Chris Cornell, sounds eerily like something to Barry.)

I hope that the Casino Royale, not only re-invented James Bond, but made it important for the 21 st century. The target audience has changed. While there’s nothing in Casino Royale will be ruled out that teenagers, it is routed directly to 007 adults. In November release date is also ideal - the film is almost too dark and serious-looking human, mindless entertainment we associate with summer blockbusters. In recent years, I have come to each new James Bond movie with a series of cultural expectations. For the most part, the Brosnan films met with them in all fields. Casino Royale is a challenge for many of them, and I could not be happier.

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