Charles Austin Miller

2nd May 2018

Casino Royale (1967)

Continuity mistake: When Sir James and Mata Bond infiltrate Dr. Noah's headquarters, they hurry down a corridor with dozens of doorways. There are no flashing lights, but the corridor color repeatedly changes from blue with blue doors to red with red doors from one camera shot to the next.

Charles Austin Miller

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Suggested correction: And exactly how would this have happened unintentionally? This was obviously done on purpose to create a disorienting, surreal effect. It may not be "realistic" but this is not a movie that concerned with realism.

Your attempt to speculatively explain it away as a stylistic choice does not negate the fact that this is a continuity error in a film that is full of continuity errors. It's important to remember that this film had 6 different directors, as well as disgruntled and uncooperative actors (Peter Sellers even quit and walked out in the middle of production). As a result, the movie has a piece-meal appearance and is riddled with plot holes and continuity errors.

Charles Austin Miller

Are you suggesting the two parts of the scene was directed by two different directors and one of them decided to change the color scheme before shooting? Considering the difficulty in creating the two different looks, it is practically impossible for this to have been done accidentally. A break in continuity is not a mistake if it is intentional.

Early in the sequence, Sir James and Mata Bond are looking for an escape route: They glance down one corridor, which is a dead-end that is all blue with blue doors; but they choose another dead-end corridor that is all red with red doors. As they flee down the red corridor, the camera cuts to show them from the front, back and profile as they hurry down the corridor. Although they deliberately chose the red corridor, the color changes from red to blue and back to red from cut to cut. The obvious answer is that they tried alternate takes Sir James and Mata Bond fleeing down the red corridor and then the blue corridor, but then sloppily edited the shots together into one sequence.

Charles Austin Miller

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