A lot can be said through music, and there’s perhaps no greater film series that drives that fact through more powerfully than Bond. Every film comes with its unique opening sequence, and the accompanying song, if impressive enough, becomes synonymous with the film itself; image and sound are rendered inseparable.
However, sometimes it’s the quieter, less boisterous tunes that ultimately leave a greater impact. One such example takes place with David Arnold’s graceful motifs in Casino Royale, which illustrate Eva Green’s femme fatale Vesper Lynd in sombre and graceful form. The first of these moments takes place after the titular character has just witnessed men being killed before her eyes, and the filmmakers could’ve taken this scene in various directions. Bond could ask Lynd if she’s alright, he could tell her to get out of a shower that’s clearly too cold, or following usual Bond pastiche, he could a smarmy quip that would inevitably lead to a cheesy sex scene.
Not here though. Bond doesn’t say a single word, instead simply sitting down next to Lynd and listening to her words, not even putting an arm around her shoulder as Arnold’s soft piano starts to enter the soundscape. It’s a simple, minimalist use of movement, but it’s incredibly effective. Its effectiveness was engineered by Craig himself; in the 2012 documentary Being James Bond, head honcho Barbara Broccoli credits Craig’s input, noting that, while the script stating that Vesper was supposed to be in her underwear, Craig pointed out that the character would most likely not have thought to undress. The camera’s final, slow panning away from the shower emphasises the, enclosed nature of the pair, and acts as an almost judgemental nod to the audience for the previously voyeuristic close-up of the two individuals.
The Vesper motif evolves throughout the film, becoming far more romantic as Bond enjoys a rare moment of peace and freedom with Lynd as they travel in Venice, but reaches its tragic crescendo just before the character’s death, as Bond dives into the water to try and save her life. The familiar refrains starts up again as Vesper holds and kisses his hand before resigning herself to the watery depths. Arnold’s chords reach a soft high pitch as Bond makes his last-ditch efforts of rescue to no avail, disappearing entirely as Bond brings her body with him to the surface. The motif only resurfaces for a final, brief moment as Bond realises his efforts are in vain. Their relationship begins and ends in water. The central motif is a simple collection of notes, but each one makes significant impact.