2008 Woodie Awards
Back to Bond
Film tells story of debonair's beginnings
Blair Tellers, Staff Writer
Issue date: 11/21/06
Last Updated: 12/26/07
As for the newest member of the Bond family, Daniel Craig is, in a word, spectacular. Todd McCarthy of "Variety" magazine along with an impressive multitude of other movie critics, praises Craig's acting, describing the reinvented Bond as "recharged with fresh roughness and arrogance, along with balancing hints of sadism and humanity."
Indeed, Craig presents a more humanized version of Bond, and is slightly more rugged than the dashing Pierce Brosnan who has played Bond in the last four films. When Craig was first announced as the new 007, there was a lot of worry, as he is shorter than his predecessors and fair haired - the first blonde Bond. After seeing Craig in a bathing suit, however, no one has complained.
So much can be said about the film's uniqueness apart from all of the other twenty Bond films, but one notable aspect that cannot go unnoticed is the movie's introductory credits, which are astonishingly lacking perfectly figured women. Completely void of the trademark Barbie-like silhouetted figures sensually bending and contorting in the background, the introductory credits boasts a creative form of animation designed to herald the movie's "Casino" theme. (Guys, do not be disappointed by this. The movie is still worth your time.)
Another fabulous aspect of Royale is the newest Bond girl, Vesper Lynd, played by Eva Green. Green brings a wonderfully refreshing air to the female presence in this Bond film. She, for once, is blessed with more brains and sophistication than many other preceding Bond girls who have melted for the looks of 007. Sultry with a girlish attractiveness and handsomely beautiful, Green's character is a cunning and witty accountant with a square head on her shoulders.
Green proves to be somewhat revolutionary for the Bond series, as her character is not as objectified as other women have been in preceding films. Green's role is not only engagingly crucial to the plot, but her character also invokes a more sincere side from Bond, who displays an unusually deep affection and sense of commitment for his doe-eyed counterpart. The witty dialogue between Lynd and Bond knits a delightful web of sexual tension and friendly respect, which, in turn, makes their onscreen chemistry quite appealing to the audience.
Indeed, Craig presents a more humanized version of Bond, and is slightly more rugged than the dashing Pierce Brosnan who has played Bond in the last four films. When Craig was first announced as the new 007, there was a lot of worry, as he is shorter than his predecessors and fair haired - the first blonde Bond. After seeing Craig in a bathing suit, however, no one has complained.
So much can be said about the film's uniqueness apart from all of the other twenty Bond films, but one notable aspect that cannot go unnoticed is the movie's introductory credits, which are astonishingly lacking perfectly figured women. Completely void of the trademark Barbie-like silhouetted figures sensually bending and contorting in the background, the introductory credits boasts a creative form of animation designed to herald the movie's "Casino" theme. (Guys, do not be disappointed by this. The movie is still worth your time.)
Another fabulous aspect of Royale is the newest Bond girl, Vesper Lynd, played by Eva Green. Green brings a wonderfully refreshing air to the female presence in this Bond film. She, for once, is blessed with more brains and sophistication than many other preceding Bond girls who have melted for the looks of 007. Sultry with a girlish attractiveness and handsomely beautiful, Green's character is a cunning and witty accountant with a square head on her shoulders.
Green proves to be somewhat revolutionary for the Bond series, as her character is not as objectified as other women have been in preceding films. Green's role is not only engagingly crucial to the plot, but her character also invokes a more sincere side from Bond, who displays an unusually deep affection and sense of commitment for his doe-eyed counterpart. The witty dialogue between Lynd and Bond knits a delightful web of sexual tension and friendly respect, which, in turn, makes their onscreen chemistry quite appealing to the audience.
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