Film Review: The Living Daylights
The Living Daylights (1987)
Starring: Timothy Dalton, John Rhys-Davis, Joe Don Baker
Directed by: John Glen
Throughout the 80's, when Roger Moore was returning to the 007 role one picture at a time (as opposed to being under contract for X amount of films), the braintrust at EON periodically tested actors for the role of their main hero, just in case they couldn't come up with the salary old Rog wanted. Finally, after 1985's A View To A Kill, Roger Moore retired, deeming himself too old to play the part any longer. Now EON were left without a Bond, but you would think with their screen test experiences through the early 80's they wouldn't have much of problem finding the perfect man... right? Not so. It was a frenzy that would make today's "so and so should be Bond" message board flame wars look tame by comparison had the internet been a popular tool back in '86/87.
For a while, the screenwriter Michael G. Wilson, the director John Glen, and a number of others in positions of power were championing Sam Neill as the new Bond after a successful screen test (an extra on the DVD of this film). It seems everybody but the main man, Albert Broccoli, wanted Sam Neill... so the screen tests continued. After a long haul, some guy from Remington Steele named Pierce Brosnan tested and got the part. He had the 'look', he had the acting chops, and more importantly, he was the popular choice amongst the fans. Everything seemed to be peachy for the 007 franchise.
However, it didn't last long. NBC had a contract clause that allowed them to renew Remington Steele within 60 days of the last contracted episode. On the second to last day, NBC ordered another five episodes. Mr. Broccoli didn't much care for the idea of Bond being Remington Steele, so Brosnan was dropped from the part and the search was on AGAIN. While Pierce Brosnan's schedule was now conflicted, another actor whom Cubby Broccoli had courted for the part since 1969 had just finished making a movie, and suddenly had a clear slate in front of him. That actor was Timothy Dalton.
Dalton was able to bring a great deal of seriousness back to the part of James Bond (not that there's anything wrong with Roger Moore's almost comedic take on the part, but they needed a change of pace). The character was toned down tremendously, and the 'superman' of films past was brought back to a human level that an average movie-goer could relate to. It's a hell of an acting job that only a brilliant actor like Timothy Dalton could have pulled off. It's no surprise that he studied for the part by going back and reading all the original Fleming novels again. He was promoted as a cross between a Sean Connery and Harrison Ford, but truthfully Dalton is his own man. There's never been a Bond like him before or after his time with the part.
So onto the film. The story of The Living Daylights is certainly dated, but it still feels fresh to watch the film today despite that. It's dated obviously because the Cold War is over, because Afghanistan is no longer a portal into the U.S.S.R., and because no one remembers who the hell A-ha are. Still, it's somehow able to retain it's sense of drama and tension, much like the uber-dated From Russia With Love. It's a testament to the performers both on and off the camera, because the film is able to suck you in it's environment without you even thinking about how moot some of it may feel today.
The beginning of the film is snatched directly from Fleming's short story of the same name. Bond is drafted in as a sniper, and his target turns out to be a beautiful woman (Maryam d'Abo), which causes the character a moment of self-doubt, and then instinct gets the better of him as he decides to spare her life. The decision to show Bond as a sniper is a daring one, but ultimately should be applauded. After all, Bond is technically nothing more than a government-sponsored assassin... and he's supposed to be the best in the world, it's nice to finally see him using these 'skills'.
The action soon picks up as Bond tries to unravel a mystery surrounding a turncoat Russian, General Koskov (Jeroen Krabbe'), who may or may not have links with a war-mongering arms dealer (Joe Don Baker). In the meantime, Koskov's boss General Pushkin (John Rhys-Davis) has been set-up as the culprit behind the murder of a number of British and American agents, to divert Bond's attention and ultimately, terminate Pushkin so Koskov can go ahead with his nefarious plans (which would be too much of a spoiler if you haven't seen it). However far-fetched Koskov's plans may seem on paper, it sure as hell beats having a bunch of lasers or hollowed-out volcanoes ready to blow up the planet. It's a refreshingly grounded plot that, while still based in fantasy, could have conceivably happened during the Cold War era.
There's not one bad part in The Living Daylights either. Every role, however big or small, is performed with near-perfect efficiency (for an action/drama movie anyway). Of course, they all play second fiddle to Bond. Timothy Dalton is everything you could ever want in a 007, charismatic and romantic, yet ruthless and cold-hearted when he's on the job. This being the late 80's, there was a growing awareness of the AIDS virus going on at the time, so there was a conscious effort to make Bond a one-woman man throughout this film. However, this factor (like many of the changes) is also refreshing, because you'll root for Bond and Kara's love affair sub-plot, which sweetly materialises in the romantic setting of Vienna, at the Pratter amusement park (the same exact setting of The Third Man).
Attempting to find minor quibbles was tough, but there's a few... (and they are minor). The score (sadly, John Barry's last) is only serviceable at best. It's not bad by any means, but it fails to find it's own 'flavour' ala The Man With The Golden Gun, You Only Live Twice, or On Her Majesty's Secret Service. It's just a typical action movie score, really. Maurice Binder, the man who did those famous opening credit sequences with girls on trampolines and other such ridiculous gimmicks up until 1989, turns in perhaps the worst opening credit montage in the long catalogue of Bond films. Really... when I have to resort to ragging on the opening credits, you know there's not many bad things going on in this movie.
Overall, this is one of the few damn-near "perfect" Bond movies. It's one of the few that should be able to please any type of fan. It's got enough grit to please the Fleming aficionados. It has the action to please the adrenaline-junkies. It has a gripping story to please fans of thrillers. It has the romance, flair, gadgets (did I mention the Aston Martin returns here?), and just enough moments of comedy to please the rest of the crowd. Along with The Spy Who Loved Me, this is probably one of the best places to start if you're looking to watch a Bond movie for the first time.
9.5/10
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