Le Chiffre captures 007 and Vesper and tortures Bond in his dining room at his villa named “Les Noctanbules” outside of Royale-les-Eaux. Afterwards Bond dines again with Vesper at the Roi Galant on scrambled eggs and bacon with more Cliquot. Bond at first loses badly but is bankrolled by CIA colleague Felix Leiter and comes back to beat Le Chiffre, winning 80 million francs. (Photo by David Silverman/Getty Images) Getty Imagesīond is there to target a rich Greek named Le Chiffre at the card table, where they drink Veuve Cliquot Brut.

Many prestigious Champagne houses own vineyards in the immediate vicinity, and several producers are located in Ay, including Ayala and Bollinger. Ay's vineyards are located in the Vallée de la Marne sub-region of Champagne and are classified as Grand Cru (100%) in the Champagne vineyard classification. Octoin the village of Ay in the Vallée de la Marne champagne production region of eastern France. The melody feels as potent and foreboding when transposed to a full orchestra as it does when it’s played in a rock-opera style.AY, FRANCE - OCTOBER 4: A stone marker indicates the vineyards belong to Champagne Veuve Clicquot on. Reprising the theme song in a Bond film score isn’t a new practice, but the handoff between Cornell and Arnold, the “Casino Royale” composer, makes the song feel even more timeless. It paved the way for “Another Way to Die,” Jack White and Alicia Keys’ unlikely, woefully underrated addition to the Bond theme collection. “Casino Royale”īut there’s something about the way Cornell approached the task that incorporated the past and carved a way forward. And while Duran Duran’s “A View to a Kill” is great, all it takes is a few bars to pin down the era it hails from. Adele’s “Skyfall” is a conscious recreation of those early Bond ballads. It helps that “You Don’t Know My Name” feels like it’s from the 2000s without being constricted by a time period.

“Casino Royale” needed an reinvention that attracted a newer, fiercer Bond for the post-9/11 age, but one that was still conversant with the iconography of the character. (“The mericless eyes of deceit,” if you will, as Cornell rumbles in the opening.) It’s something that Sam Smith echoed less effectively in his “SPECTRE” song, an attempt to recreate, in song form, the endless tug-of-war between Bond’s personal and professional entanglements. Switching back and forth between octaves, “You Know My Name” is a man effectively in a duet with himself, plumbing the lower, sultry half of the melody (“when you return to the night”) just before hopping up into a full-voiced falsetto (“the game that we have been playing”). The song is also an impressive showcase for Cornell’s four-octave vocal range.

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