Besides it's uniformity, it was fun and sexy. Everything was big, big, big and its plethora of stars in bits and cameos actually worked against it.īacharach's assured score provided a consistency that held the patchwork movie together. The film had suffered setbacks and the result was an uneven film of varying moods and styles. Feldman, producer of What's New Pussycat, offered him the assignment to score Casino Royale. He was riding the wave of this tsunami of creativity when Charles K. His other scores, for films like What's New Pussycat? (1965) and Butch Cassidy and the Sundance Kid (1969) contribute greatly to those films and show a flair for the demands of film scoring and the commercial market needs of popular music.īacharach was the wildly successful songwriter, and sometimes singer, who found pop music success in a string of enormously popular compositions, literally dozens of top 40 hits. His score for Casino Royale (1967) is the one element of that troubled film that needs no apology. One of the great mysteries in film music history is why Burt Bacharach didn't score more movies. See more files at The James Bond Sourcebook James Bond Sourcebook: Casino Royale (1967) Soundtrack The Thunder Child Science Fiction and Fantasy Thunder Child James Bond Sourcebook: Casino Royale 1967 CD Review