The opening scene of Casino Royale is entirely in black and white, setting a dark and gritty tone for the film. Bond is introduced as being unfamiliar with his surroundings and not in control of the situation. Martin Campbell uses camera techniques like low angles to present the villain Dryden as powerful over Bond. There is a flashback fight scene between Bond and Dryden's contact edited with fast cuts and dramatic music, building tension. Bond unexpectedly shoots and kills Dryden mid-sentence, shocking the audience. The climax shows the contact believed dead getting up to shoot Bond, leaving the audience on edge, until Bond turns and fires his iconic gun barrel shot, the first color in the scene with the contact's blood, implying blood will

1. AndrewGoldman A-LEVELMEDIA STUDIES
Casino Royale filmopeninganalysis: Thriller
Films opening scene entirely in black and white monochrome, until the title sequence,
which gives the film an immediately dark tone – literally and immaterially. In context of the
Bond Franchise the filmmakers wanted, in the words of successful Thriller director Martin
Campbell, ‘a darker, grittier approach’ and this opening scene certainly encompasses both
those notions. The darkness is represented with the previously mentioned black and white
form, the night setting and the dark themes in which the opening have running through –
themes of betrayal, suspense and death. The black and white colouring could also suggest
the events being a flashback of sorts.
The way in which Bond is introduced is interesting as it appears he is the in the least control
of the situation as he’s in unfamiliar surroundings and not yet a ‘00 agent’. Martin Campbell
carefully presents the villain Dryden as in control with camera techniques such as low angle
shots in order to present Dryden as powerful in the scene. This is also explored further with
shots of Dryden sat behind his desk, again creating a feel of power over Bond.
The black and white colouring works well particularly with the flashback scene of Bond
battling with Dryden’s contact. The violent nature of the scene and the cruel way in which
Bond and Dryden discuss it connotes unpleasant themes and an overriding aforementioned
dark theme. The fight scene continues as it did before with extremely fast editing and
dramatic music. The editing however, then slows down as Bond begins to drown the
Contact in a sink, but the music gets higher and louder in pitch, building up tension just
before the Contact seemingly dies. This abrupt stop of the music is particularly effective as it
leaves the audience slightly shocked yet thrilled. There is then a shot-reverse shot of the
conversation between Bond and the man at the desk. Then Bond shoots Dryden, stopping
him mid-sentence, and we have a higher shot of him falling back off his chair. This takes the
audience by great surprise as we are expecting him to finish his monologue – perhaps
suggesting the surprise and shock that the director wants the audience to feel throughout
the film.
The final shot before the classic Bond title sequence is the climax of the opening scene and
has great connotations of a thriller. The Contact whom the audience believed to be dead,
gets up and is about to shoot Bond – leaving the audience on the edge of their seat. Bond
quickly turns around and dawns the legendary Gun Barrel Shot and kills the contact – this
gives the first show of colour to the audience, thick blood travelling down the camera. This
implies that blood will play a significant role in the filmas it’s the first colourful image we
see for the opening scenes entirety.