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Casino Roger Ebert


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Casino Roger Ebert

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Casino Roger Ebert

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There was the opening stunt sequence that served little purpose, except to lead into the titles; the title song; Miss Moneypenny; M with an assignment of great urgency to the Crown; Q with some new gadgets; an archvillain; a series of babes, some treacherous, some doomed, all frequently in stages of undress; the villain's master-plan; Bond's certain death, and a lot of chases.

It could be terrific, it could be routine, but you always knew about where you were in the formula. With "Casino Royale," we get to the obligatory concluding lovey-dovey on the tropical sands, and then the movie pulls a screeching U-turn and starts up again with the most sensational scene I have ever seen set in Venice, or most other places.

It's a movie that keeps on giving. This time, no Moneypenny, no Q and Judi Dench is unleashed as M, given a larger role, and allowed to seem hard-eyed and disapproving to the reckless Bond.

This time, no dream of world domination, but just a bleeding-eyed rat who channels money to terrorists. This time a poker game that is interrupted by the weirdest trip to the parking lot I've ever seen.

This time, no laser beam inching up on Bond's netherlands, but a nasty knotted rope actually whacking his hopes of heirs. I never thought I would see a Bond movie where I cared, actually cared, about the people.

Vesper Lynd, however, is definitely stirring, as she was in Bertolucci's wonderful " The Dreamers. Vesper and James have a shower scene that answers, at last, why nobody in a Bond movie ever seems to have any real emotions.

A review should not be a list. So I should not enumerate all the scenes I liked. But I learn from IMDb that the special credit for the "free running" scenes of Sabastian Foucan refers to the sensational opening Madagascar foot chase in which Foucan practices parkour, or the ability to run at walls and angles and bounce off them to climb or change direction; Jackie Chan could do similar feats.

Which brings up another thing. Most of the chases and stunts in "Casino Royale" take place in something vaguely approximating real space and time.

Of course I know they use doubles and deceptive camera angles and edits to cover impossibilities, but the point is: They try to make it look real.

Recently, with the advent of portable cameras and computerized editing, action movies have substituted visual chaos for visual elegance.

I think the public is getting tired of action sequences that are created in post-production. I've been swamped with letters complaining about " The Bourne Ultimatum.

The plot centers on a marathon high-stakes poker game, in which Bond will try to deprive Le Chiffre Mads Mikkelsen of 10 million or more pounds that would go to finance terrorism.

Le Chiffre "The Cypher" has problems on his own, because he owes money big-time to the people who supply it to him. Director Martin Campbell builds suspense in the extended poker game by not being afraid to focus for long seconds on the eyes of the two main opponents, which is all the more effective because Le Chiffre's left eye has tears of blood, inspiring a classic Bond line.

Bond's absences from the table are of more than ordinary interest. This is Campbell's second Bond picture, after " Goldeneye " , but he breaks with his own and everyone else's tradition.

He's helped by Craig, who gives the sense of a hard man, wounded by life and his job, who nevertheless cares about people and right and wrong.

To a certain degree, the earlier Bonds were lustful technicians. With this one, since he has a big scene involving a merchant's house in Venice, we can excuse ourselves for observing that if you prick him, he bleeds.

Roger Ebert was the film critic of the Chicago Sun-Times from until his death in One day, however, trouble finds him, in the person of Ginger McKenna Sharon Stone , a high-priced call girl.

Scorsese shows him seeing Ginger on a TV security monitor and falling so instantly in love that the image becomes a freeze-frame.

Ace showers her with gifts, which she is happy to have, but when he wants to marry her, she objects; she's been with a pimp named Lester Diamond James Woods since she was a kid, and she doesn't want to give up her profession.

Rothstein will make her an offer she can't refuse: cars, diamonds, furs, a home with a pool and the key to his safety-deposit box. She marries him.

It is Ace's first mistake. Nicky is a thief and a killer, who comes to Vegas, forms a crew and throws his weight around.

After he squeezes one guy's head in a vise, the word goes out that he's the mob's enforcer. Not true, but people believe it, and soon Nicky's name is being linked with his old pal Ace in all the newspapers.

Scorsese tells his story with the energy and pacing he's famous for, and with a wealth of little details that feel just right. Not only the details of tacky s period decor, but little moments such as when Ace orders the casino cooks to put "exactly the same amount of blueberries in every muffin.

And when crucial evidence is obtained because a low-level hood kept a record of his expenses. And when Ace hosts a weekly show on local TV - and reveals a talent for juggling.

Meanwhile, Ginger starts drinking, and Ace is worried about their kid, and they start having public fights, and she turns to Nicky for advice that soon becomes consolation, and when Ace finds out she may be fooling around, he utters a line that, in its way, is perfect: "I just hope it's not somebody who I think it might be.

But when Ace met Ginger and when Nicky came to town, the pieces were in place for the mob to become the biggest loser in Vegas history.

Scorsese gets the feel, the mood, almost the smell of the city just right; De Niro and Pesci inhabit their roles with unconscious assurance, Stone's call girl is her best performance, and the supporting cast includes such people as Don Rickles , whose very presence evokes an era his job is to stand impassively beside the boss and look very sad about what might happen to whoever the boss is talking to.

Unlike his other Mafia movies " Mean Streets " and " GoodFellas " , Scorsese's "Casino" is as concerned with history as with plot and character. The city of Las Vegas is his subject, and he shows how it permitted people like Ace, Ginger and Nicky to flourish, and then spit them out, because the Vegas machine is too profitable and powerful to allow anyone to slow its operation.

When the Mafia, using funds from the Teamsters union, was ejected in the late s, the s ushered in a new source of financing: junk bonds.

The guys who floated those might be the inspiration for "Casino II. In a sense, people need to believe a town like Vegas is run by guys like Ace and Nicky.

In a place that breaks the rules, maybe you can break some, too. For those with the gambler mentality, it's actually less reassuring to know that giant corporations, financed by bonds and run by accountants, operate the Vegas machine.

They know all the odds, and the house always wins. With Ace in charge, who knows what might happen? Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism.

Robert De Niro as Sam Rothstein. Sharon Stone as Ginger McKenna. Joe Pesci as Nicky Santoro. James Woods as Lester Diamond. Don Rickles as Billy Sherbert.

Alan King as Andy Stone.

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