Casino Royale

I considered Que The Lights a heavily visual site. It is a conglomeration of my videography and photography work with a dash of insightful writing for good measure. My reasoning for leaning heavily on visuals is defined in my mission statement. Que The Lights embodies an online portfolio of my dedication to the craft I am currently building into a career. This serves as my ultimate maxim and principal code of conduct. Que The Lights will always consist of original work I played a significant role producing, most importantly films, videos, and photography. 

Still, on occasion I allow my personality to dominate a post by focusing primarily on a non-visual subject. I’ve done this with The Prince of Persia as well as Red Tails. I’ve also tackled issues such as why I have such a passion for success and the misconceptions of earning a degree. This should be ample forewarning the direction and tone I’ll be taking in this article. Don’t worry, I plan to keep the topic of discussion on film. 

As a filmmaker, I have a strong belief the pathway towards making your film successful is understanding how another film found success. Recently, I’ve been routinely watching at least two older movies a week considered commercial and/or critical successes. Last week I watched Children of Men and American Psycho, two film justly deserving praise. Yesterday, I finished watching Casino Royale. I’ve seen it numerous times, but I’ve never viewed it while asking the question, “Why does this work?”

    

Granted, James Bond is an international icon. A massive chunk of pop culture bridging generational gaps with sustained relevancy. James Bond will alway be popular. Unfortunately, around 2002 with the release of Die Another Day the Bond Franchise found itself still on top, yet severely criticized for it’s over the top and almost cartoonish depiction of the Bond world. 

This is where Martin Campbell and Daniel Craig stepped in. In 2006, Casino Royale appeared in theaters adeptly rejected the well-known formula attributed to Bond. Bond was no longer an overly-sexual, omnipotently competent, and overly-confident caricature. Instead, we were introduced to a Bond quite wet under the ears. He is just receiving his double-0 status. As an audience, we are given a skilled, yet inexperienced. Bond. Flawed and overly emotional, we watch him make mistakes as well as earn his distinction as a bearer of the double-O status. It was a more realistic interpretation of Bond. 

Christopher Nolan began this trend of hyper-realism with Batman Begins, creating a world where our superheroes could possibly exist in the reality we live. Martin Campbell’s James Bond followed suit. 

These are points numerous outlets have made, but I believe many overlooked another reason Casino Royale was a success. Just as James Bond is a staple of pop culture, the casino is also an entity considered vital within American culture if not international culture. Thousands of people flock to the Atlantis Resort, The Clermont Club, and Bellagio. Even more enjoy online casinos if travel is not an option. The casino is a powerful icon and well-known symbol of luck and wealth throughout the world. 

Unfortunately, does not always see the most romantic depictions. The Ocean’s Eleven series takes the portrayal of casinos to a ridiculous level. Movies such as The Hangover leave audiences with an impression the casino will offer any visitor an over the top outlandish adventure. In my opinion, Casino Royale brings the casino a gritty atmosphere, while allowing the entity an air of regality not seen often in current films. 

Overall, Casino Royale is a classic. I consider it a film that will age well. Six years later and its aesthetic still fits our current culture. If you haven’t seen this film you’re missing out.

If you haven't seen the movie, you can watch the trailer here. 

Why Is Hollywood Scared of a Black Movie?

Campus Moviefest is coming back to Alabama on the 24th, and I've been hammering away at my latest entry in the competition which has helped me to elevate myself as a filmmaker.

I decided to take an unconventional route, as I did last year. I'm hoping to make something really special this year so wish me luck in this endeavor.

Along with film and photography, I do a lot of writing for my school's newspaper as well so I'd like to share some of my thoughts on George Lucas, Black Movies in America, and Hollywood's interpretation of the norm in cinema.

Posted in The Crimson White today.

I have a newfound respect for George Lucas. I’ve always loved the man for his work as a filmmaker. I love Star Wars. I envy the life of Indiana Jones. These are the stories that have captured the hearts of children and adults alike. George Lucas is literally a staple of American culture. That is not an opinion. 

I also have my qualms with George. In the eyes of many fans, he’s done a considerable amount of questionable re-editing with many of his best-known films (mainly the Star Wars franchise). Many fans were also dissatisfied with the latest Indiana Jones movie, citing the weak story and inclusion of Shia LaBeouf. I may not agree with many of his decisions, but I believe he’s a great filmmaker, and his impact is unequaled.

My newfound respect for George has stemmed from his willingness to do something the majority of Hollywood is completely against—he made a film consisting of an entirely black cast steeped in one of the most prominent African American stories, The Tuskegee Airmen. Note: Go see the film Red Tails.

The Tuskegee airmen were the first African American combat pilots in the United States Army. They fought in World War II. The airmen were met with racial discrimination and hatred from the army and citizens of The United States. Still, they served their country valiantly and became known as one of the best groups ever to emerge from the US Army Air Corps.

Now, why is George Lucas’ movie important? Simple. Absolutely no one wanted to make it. Forget story structure, production costs, or the magnitude of the film’s scope. It is an African American movie that does not feature melodrama, gang violence or hood portrayals. Hollywood is having none of that. If the story does not revolve around what I previously stated, sports, or a white person helping a poorly educated (often idiotic) black person (see The Blind Side, Finding Forrester, etc.), it will not be made. The Help is not an exception. The story may have African Americans, but it dwelled on the overwhelmingly privileged lives of southern whites.

There are bright spots. Spike Lee’s movies can bring a non-black crowd. Tyler Perry movies have been notably profitable, but are rigorously scrutinized by mainstream critics.

So what’s the problem? Hollywood does not think black sells (unless you are Will Smith, maybe Denzel Washington or Samuel “I Play Myself in Every Movie I Make” Jackson). A cast for a mainstream, high budget movie will never be predominately black (or predominately minority for that matter). Hollywood will not even allow a white woman to be a black man’s love interest, unless it specifically deals with race issues (see O, a modern conception of Othello). In Will Smith’s movie Hitch, Nicole Kidman was considered for the part of Will Smith’s love interest, but executives opted for a Latino lead role in fear their white audience may not approve of such interracial sexy. The opposite is untrue. A white man can bugger up a black woman on screen all he wants (see Monster’s Ball or Star Trek).

Hollywood executives said no, watching the screening of Red Tails. One executive didn’t even show up. I could understand such individuals ignoring Spike Lee or Tyler Perry in this endeavor, but to know someone of George Lucas’ clout could be ignored tells us Hollywood retains a circle jerk of high-powered money-rollers who still have a stamp of prejudice on the money they stuff up their rear-end.

So, thank you, George Lucas for making this film. Thank you for using your own money to distribute it. Thank you for fighting the convention minorities should not be allowed to play lead roles in major movies. I can respect someone who is willing to push boundaries. This also lends itself to the fact some issues will not be resolved until white people address the gash of racism still upheld by their less forward brethren.

God, I just hope the movie doesn’t suck. That would really ruin my argument.

To read the article from the school newspaper click HERE. Be sure to like Que The Lights page on Facebook and follow me @QueTheLights. 


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