What gives this the lead over recent Bonds is the more realistic feel: the exotic locales, fast cars, spectacular action, beautiful women and many other Bond hallmarks are all here but gone is the campy tone that marred, say, Die Another Day. Martin Campbell, who also made 'Goldeneye', was an excellent choice and, for me, is one of the best Bond directors. The action sequences are brilliantly shot and edited for maximum impact and are some of the best out of any Bond movie. The tone is much edgier and nastier than the Brosnan movies, harking back more to Dr. The kind of original score that makes the film as remarkable it is, including the faster-paced themes.I saw this at a cast and crew screening in London last weekend: I'm not a huge Bond fan, but I do enjoy them on a purely popcorn level and this was definitely one of the best in recent memory. But the entirety of the Casino Royale original soundtrack is a brilliant drift towards blue skies and drowning waves. It’s a stunning, vulnerable moment, yes, but the theme adds much to be analyzed. For instance, without “Vesper,” the shower scene, in particular, wouldn’t hit as powerfully. The stories the two tracks tell are something otherworldly entirely.

And how the Academy Awards snubbed it is also beyond me. You could dive into it with zero context of the film and guaranteed it’ll pierce your bones through melancholy waves that’ll be hard to swim forward from.īetween “Vesper” and “City of Lovers,” no part of me understands how such magnificence exists in our time. The original soundtrack is a masterpiece in every way because of its means to calm and break simultaneously. I consistently torture myself by listening to “Vesper,” but that’s neither here nor there. Casino Royale‘s original soundtrack by David Arnold stands the test of time as brilliantly as the film does, but perhaps even more with its ability to take us right back to where the emotions pierce most when shuffle suddenly brings it back up.

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