The Living Daylights
Despite the fact that A View to a Kill is almost unwatchable in my opinion, the film still managed to be a financial success. But it was clear to everyone that Roger Moore could no longer appear in the role of James Bond - most of all to Moore himself. Change was in the air. And it wasn't only the lead actor who needed to be a refresh. The genius of producer Albert Broccoli is that he kept adapting the franchise to fit with the times. While the essence of the Bond character stayed the same, the approach to the films shifted considerably over the decades. If you didn't already know going in, it would be almost inconceivable that Dr. No and A View to a Kill belonged to the same franchise. And now, in 1987, it was time to rock the boat again. No more over-the-top baddies imbued with super strength by the Nazis and no more killer blimps. It was time to bring Bond back to reality.
With the Cold War heating up again, Bond (Timothy Dalton, The Lion in Winter) is assigned to help Soviet general Koskov (Jeroen Krabbe, The Fugitive) defect from East Germany. During the post-defection debriefing in a MI-6 safehouse, Kostov reveals that the KGB is launching an initiative called "Smiert Spionom," which translates to "Death to all Spies." Basically, the KGB is going to target all Western spies to escalate tensions between the United States and the Soviet Union. Before he can go into more details, the safehouse is attacked by KGB operative Necros (Andreas Wisniewski, Die Hard). After wreaking havoc, Necros kidnaps Koskov and escapes. Deciding that "Smiert Spionom" is more important than recovering Koskov, M orders Bond to assassinate the head of the KGB (John Rhys Davies, Raiders of the Lost Ark) before international tensions turn into full scale war.
Of course, being a Bond film, there is more to the story, but why spoil it? Instead of super villains and secret lairs, we are given a true Cold War thriller, and for the most part, it really is quite good. The plot is interesting, the action and stunts are great, John Glen's direction is assured, and John Barry's music delivers the goods. The villains, which also include an American arms dealer Brad Whitaker (Joe Don Baker, Walking Tall), are all entertaining. Wisniewski is particularly effective as the henchman Necros, towering over Timothy Dalton, and participating in two of the franchise best fights since the Sean Connery days.
The movie certainly has its problems. Bond's allies this time are a bit less engaging than the villains. The main Bond girl Kara (Maryam D'Abo, The Browning Version) is Kostov's girlfriend and an accomplished cellist, and really does not belong in the movie after the first 45-minutes. Her role in the plot complete, she is only there to serve as a distraction to Bond and the audience, and that is a bit annoying. I also found the attempts at humor to fall a bit flat; a leftover feature from the Roger Moore years that seems at odds with the new tone being established here. It does seem like everyone is working through the process, looking to see what works and what doesn't with their new approach. That results in a few bumps on the road - but only a few. For the most part, this really is quite a good film and easily ranks in the top half of the franchise.
And what about Dalton? The Welsh actor is considered one of the "lesser" Bonds, probably because he only made two films and the latter one appeared at one point to be the franchise killer (until Pierce Brosnan brought the Bonds roaring back). In general, Dalton is dismissed with a "meh" and his films are considering forgettable. I find this all very confusing. First of all, Living Daylights was a well regarded success upon its release and Dalton's second film License to Kill is nowhere near as bad as people say. And as for Dalton himself - people seem to criticize him for doing exactly what Daniel Craig is praised for - bringing some darkness and danger to the character. This criticism must drive Dalton crazy! Overall, I think Dalton is really quite good. He brings a new physicality to the role, throwing himself into fights and stunts that Roger Moore hadn't been able to do for a decade. He is also utterly believable as a dangerous and cold-hearted spy. In fact, Dalton might get the "spy" piece of the Bond character better than any of the other actors who played the part; he is downright brilliant. Unfortunately, there are a few other important pieces to the Bond character than Dalton is not quite as good at. He is generally not very believable with the ladies; it's almost as if he is being forced to sleep with them. And he is also mostly humorless, even more so than Craig. A key part of Bond is that he enjoys being Bond. Dalton's Bond is focused on his duty and doing what's right, but he is not necessarily enjoying himself in the process, and I don't think that was the right approach to take. But all in all, I think that can be forgiven. He is a great actor and he is doing really good work in this role. He deserves to be re-evaluated!
Okay, back to the movie. As I mentioned above, it's far from perfect. But The Living Daylights is a good and sometimes even great entry in this franchise. Definitely see it!
RANKINGS:
Okay, The Living Daylights shoots right up to the top of the list - not in the upper echelon, but close. It is certainly better than all of Roger Moore's films, except for The Spy Who Loved Me. That's one of the classics and would be hard to top, but I think Dalton's first entry to the franchise fits comfortably just below it.
1. Thunderball
2. From Russia with Love
3. Goldfinger
4. The Spy Who Loved Me
5. The Living Daylights
6. Dr. No
7. Octopussy
8. For Your Eyes Only
9. Live and Let Die
10. Man with the Golden Gun
11. Diamonds are Forever
12. On Her Majesty's Secret Service
13. Moonraker
14. You Only Live Twice
15. A View to a Kill
BEST LINE:
Bond: Stuff my orders. I only kill professionals. That girl didn't know one end of her rifle from the other. Go ahead. Tell M what you want. If he fires me, I'll thank him for it...Whoever she was, I must have scared the living daylights out of her.
TRIVIA:
Bond casting is always an interesting source of trivia. It really is a huge deal whenever the part is recast; you are replacing an icon and the world knows it. A number of interesting choices have been considered for the part, everyone from Cary Grant to James Brolin to Mel Gibson. In fact, Pierce Brosnan was almost cast in The Living Daylights (I'll save that trivia for my Goldeneye review) before the producers decided on Timothy Dalton. Dalton was also almost cast on multiple occasions before finally getting the role. When Sean Connery left the series after You Only Live Twice, Dalton was considered for the part. I don't know if Broccoli and Saltzman decided to look elsewhere or if Dalton turned down the part, but I think this was the right call - Dalton was way too young at that point. He never would have worked (even if he would have saved me the torture of having to watch George Lazenby). He was considered again in 1971 after Diamonds are Forever, and again in 1981 in For Your Eyes Only, when it wasn't clear whether or not Roger Moore was returning. In fact, he was actually offered the role for Octopussy and A View to a Kill, but turned them both down due to scheduling conflicts. So Broccoli really, really liked Dalton enough to chase him for twenty years!
MVP:
For The Living Daylights, I am not going to say a person. Yes, I like Dalton. And I like the direction by John Glen and the music score by John Barry (his last Bond score, by the way). No, the MVP for The Living Daylights is not a person. It is a stunt. Probably one of the coolest stunts I have ever seen! Spoilers here: Bond's final fight with Necros takes place in the cargo hold of a military plane The loading door of the plane opens and both combatants slide out of the plane, just barely grabbing ahold of a cargo net to keep them from falling to their deaths. And then they proceed to fight while hanging on this net. And two stunt men really spent hours filming scenes of punching each other while being dragged around by a cargo plane. The closeups are obviously filmed on a set, but the wide shots were filmed pretty damn high. That is just insane. INSANE! And incredibly dangerous. My hats off to the stunt team. I have to say this is the best stunt in franchise history! And an easy winner for my MVP award.
Here it is if you want to see it:
