Once his henchmen get hold of Bond, Le Chiffre gets his (kinky!) revenge by stripping Bond naked and repeatedly hitting his balls, definitely a first in the franchise.

Mikkelsen alone is an example of this, a brooding villain with a permanently curled frown, whose idea of torture leans toward BDSM. Craig’s Bond was sleek enough to slip into elite circles, but was rough around the edges a little wounded, a little vulnerable, but always ready for a brawl.īut even with all that Craig brought to it, Casino Royale was an excellent case of everyone around Bond being just as interesting, if not more interesting, than he is. And after it, I wasn’t.”) The scene also shows off the new 007’s get-the-kill-at-all-costs mentality when Foucan does the impossible and hurtles himself through a skinny slot in the wall, Bond follows by simply busting through the entire wall. (Craig has said the crane scene changed his life for the better: “When I started Casino Royale I was afraid of heights. Foucan is elegant and nimble, climbing up unbelievable heights and jumping off massive cranes. Then there’s the wildly impressive parkour chase scene starring Sébastien Foucan, a roughly seven-minute sequence in which Bond chases Foucan’s character around a construction site in Madagascar. In retrospect, now that No Time to Die-his final chapter as Bond-is out the door, one can say with certainty that Casino Royale is the best Bond film of Craig’s era.īut that said, Casino Royale is full of explosive, memorable action sequences, opening with a black-and-white bathroom brawl between Bond and a henchman whom Bond suffocates in a sink. Darkly romantic, gritty, and packed with talented supporting players, the 2006 film was a hard refresh for the franchise, introducing Craig in supreme style. And it’s one of many reasons Casino Royale, directed by Martin Campbell (of GoldenEye) works so brilliantly. It’s a forceful little scene, witty and smoky, charged with Green and Craig’s natural chemistry.

In walks Vesper Lynd ( Eva Green), who sits down and declares, “I’m the money.” Bond then engages her in haughty flirtation, in which they spar about the ridiculousness of his poker plan and guess precisely why each thinks the other is an orphan. It takes place on a train, in a dining car, at a table where Bond is preparing to meet the accountant in charge of wiring him millions of dollars for a high-stakes poker game in Montenegro. The best scene in the history of Daniel Craig’s soon-to-be retired James Bond era has no action, no guns, no martinis shaken nor stirred.

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