We also get the debut of Bond’s favored martini, the “Vesper”: ‘Three measures of Gordon’s one of vodka half a measure of Kina Lillet.

It’s a beat of a narrative cheat, but I’ll let it pass. Mathis and Vesper watch from the sidelines, with Mathis sort of providing some commentary, sort of some exposition that will help audiences (like me) who are unfamiliar with the game know what’s going on. Although I’m not a poker player myself and have very little interest in card games, the music, editing, and the acting helps to make things somewhat tense regardless. Everything is so finely tuned and calibrated to keep us hooked and leave us reeling.Now the games begin. The story becomes looser and the characterisation sometimes gets lost amid the explosions.Ĭasino Royale is an exception. Much as I love Bond films, they often unravel slightly in their final stages. In particular, it’s what she does in the film’s nuanced final act. But on further reflection, I think it’s what Vesper does between these points that confirms her status as a verifiable queer icon. But why?Īs I have already explored in my queer re-view of Casino Royale, it might be something to do with her first appearing on screen wearing (as Bond observes) “slightly masculine clothing” and finishing the film dead, in accordance with all-to-prevalent ‘bury the gays’ trope.

I’m not alone: many queer people find her relatable. Not only did I relate to Bond’s battles with who he is (“you do what I do for too long and there won’t be any soul left to salvage”) but Vesper Lynd’s too. When I first saw Casino Royale on its initial release in 2006 I was still in the closet (although I prefer to think of it as ‘under cover’). After playing our cards close to our chests for years, we decide that now is the time to put all our chips on being true to ourselves and hope the cards aren’t going to be stacked against us. There comes a point in many queer people’s lives that being in the closet means being on a permanent losing streak and enough really is enough.

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