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Casino Royale (1967)

Approved | | Comedy | 28 April 1967 (USA)
In an early spy spoof, aging Sir James Bond comes out of retirement to take on SMERSH.

Directors:

(as Kenneth Hughes), | 3 more credits »

Writers:

(screenplay), (screenplay) | 2 more credits »
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Popularity
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Nominated for 1 Oscar. Another 3 nominations. See more awards »
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Cast

Cast overview, first billed only:
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George Raft
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French Legionnaire (as Jean Paul Belmondo)
Terence Cooper ...
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Storyline

After the death of M, Sir James Bond is called back out of retirement to stop SMERSH. In order to trick SMERSH and Le Chiffre, Bond thinks up the ultimate plan. That every agent will be named James Bond. One of the Bonds, whose real name is Evelyn Tremble is sent to take on Le Chiffre in a game of baccarat, but all the Bonds get more than they can handle. Written by simon

Plot Summary | Plot Synopsis

Plot Keywords:

spy spoof | 007 | spy | parody | spoof | See All (422) »

Taglines:

James Bond 007 Casino Royale is the #1 Sensation Across the Nation ![USA poster] See more »

Genres:

Comedy

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

|

Release Date:

28 April 1967 (USA)  »

Also Known As:

Charles K. Feldman's Casino Royale  »

Box Office

Budget:

$12,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System) (70 mm prints)| (35 mm prints)

Color:

(archive footage: Keystone Cops)| (Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Charles K. Feldman wanted Brigitte Bardot for the role of Mata Bond. See more »

Goofs

When Bond (Niven) and Moneypenny are trying to escape the secret SMERSH base, we suddenly cut back to them and see that Mata Bond and Cooper have wordlessly joined them. Although Mata Bond was put in the same base earlier, Cooper was last seen much earlier in the film safe at MI5, and his presence in the base id never explained. See more »

Quotes

Le Chiffre: Don't worry about that chair with a hole in the middle. It's merely waiting to be reupholstered.
See more »

Crazy Credits

The opening credit animation by Richard Williams parodies illuminated manuscripts with cartoon-style calligraphy. It sets the tone for the film as a psychedelic "knight's tale" of Sir James Bond. See more »

Connections

Featured in 100 Years of Comedy (1997) See more »

Soundtracks

Ochi chernye
(uncredited)
russian folksong, written by Florian Hermann
(played when the camera briefly shows East Berlin)
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Great giggly nostalgia from stellar cast
12 October 2000 | by (uk) – See all my reviews

I can't believe how many people have posted such negative comments about this film - those who try to compare it with the serious Bond series are as witless as those who find the plot too complicated for their tiny little minds. I saw this first when I was about 12 years old, and it seemed clear enough to me then - there are some baddies, and the goodies have to stop them. With some gags and lots of style.

OK maybe with maturity I can see it has dated a little, some scenes may drag a bit and a few people may be offended by the sixties outlook on life, but hey whadda you expect from a sixties film? What it boils down to is a series of comic vignettes featuring just about every famous face in the movies at the time, bringing Sellers and Niven together again after the first Pink Panther movie, which practically founded the whole crazy sixties anything-goes genre, of which this is the pinnacle and epitome. Set to some fabulous tunes and on a collection of extraordinary sets, dozens of master mirthmakers perform a loopy little dance around the plot of Fleming's novel (this film actually contains a lot more of the novel it is named after than most of the "proper" Bond series). Some of the faces only feature for a few moments (Peter O'Toole's part is tiny, for one), others, like Sellers, Allen, Niven and Welles, do enough to create truly memorable characters despite the frantic pace of much of the film (I still cannot think of Welles' face without those scary shades). Sellers does his multi-talented thing as usual, Niven plays Bond to a tee as the quintessential unflappable Englishman (his screen persona provided much of the inspiration when Fleming created Bond), and Allen plays his nervy, sexmad little stereotype as well as in any of his own films.

I can see that this will not appeal to some people, but anyone who can lighten up, enjoy a little silliness and appreciate that 60s sense of humour will find this a hilarious jaunt round the spy genre. If you do like it, check the other installments in this classic period for Sellers - What's New Pussycat, After the Fox, the Wrong Box and of course, the awesome Magic Christian. Beats the pants off yer Austin Powers any day of the week.


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