007 - Marcado para a Morte

I like the new James Bond. He's different. In walks Timothy Dalton to replace Roger Moore after his seven turns as 007. The new Bond is a monogamous chap, less humorous and clowny, a little more serious and darker. Not that Moore's Bond wasn't serious when he needed to be... when he needed to be that agent capable of getting the job done he always did, of course! But here Dalton gives us a guy on the job almost all the time. Moore's silliness gone, in comes seriousness with Dalton. The action sequences seem to definitely get kicked up a notch. And we're back to great cars and gadgets and a henchman for the villain who is quite a nemesis, at least for a little while. It's been like ten years since I've seen this, perhaps this being the 4th time overall, and I think now, whilst watching all the Bond films chronologically, I have a greater appreciation for it.

7.6 / 10 stars

--Zoooma, a Kat Pirate Screener

With Roger Moore's 'retirement' as 007, in the less-than-wonderful A VIEW TO A KILL, Eon Productions began searching for a new James Bond for THE LIVING DAYLIGHTS. A promising candidate was Sam Neill, 39, popular star of TV's "Reilly: The Ace of Spies" (and future JURASSIC PARK dinosaur expert). But Albert Broccoli didn't like Neill's tests, and announced he wanted Welsh actor Timothy Dalton, whom he'd first approached for the role 16 years earlier. At that time, Dalton had turned down Bond, saying he was "too young". Now 41, both Dalton and Broccoli agreed he was the right age, and his tests were fabulous...but it was then discovered that the shooting schedule for THE LIVING DAYLIGHTS would conflict with Dalton's current project, BRENDA STARR, and he, reluctantly, had to pass on the project.

Then an Irish actor, who had become a major television star in America, appeared on the scene. Pierce Brosnan, 34, his "Remington Steele" TV series about to be canceled by NBC, had impressed Broccoli on a visit to the Bond set 5 years earlier, and his tests were so good that he won the role. The script was adjusted, adding more humor (quips were one of Brosnan's strong points), and things were moving along nicely...until NBC, seeing the publicity value of a potential 'James Bond' in a series, renewed "Remington Steele", throwing the entire Bond production into turmoil. The network refused to release Brosnan, and he had to leave.

Fortunately, the delay gave Timothy Dalton time to complete BRENDA STARR, and he began shooting THE LIVING DAYLIGHTS two days after STARR wrapped.

Dalton, an avid fan of Fleming's novels, preferred a harder-edged yet vulnerable Bond, with little or no humor, but screenwriters Richard Maibaum and Michael G. Wilson had already tailored the script to Brosnan, and Dalton quickly revealed that one-liners were not his strongest asset. He gave, nonetheless, a strong, smoldering performance as 007. As his leading lady, Maryam d'Abo, 26, who'd been 'discovered' while doing 007 candidate screen tests, proved quite good as a blackmailed Czech cellist Bond 'couldn't kill'. The villains, while not 'top drawer' Bond, were effective; Jeroen Krabbé as a defecting Russian general, dancer-turned-actor Andreas Wisniewski as nearly superhuman assassin Necros, and Joe Don Baker, as a 'good ol' boy' megalomaniac U.S. general.

With action around the world, and a complicated plot involving a weapons heist and sale, the story attempted to be more 'topical' by involving the Afghan/Soviet conflict (which, unfortunately, 'dated' it, as well). Bond is monogamous for the first time, and the more 'physical' portrayal of FOR YOUR EYES ONLY had returned, to the delight of Bond purists.

But LETHAL WEAPON would also debut in 1987, and the 'over-the-top' solid action film would cut deeply into THE LIVING DAYLIGHTS profits. The 007 film was considered almost 'quaint' in comparison, and Dalton would unfairly take the 'heat' for the less profitable film.

The world was changing around 007, and no one was quite sure what to do about it...

I have nothing but praise for "The Living Daylights". It's an explosive, action-packed ride from the glorious opening sequence through the ending, maintaining some level of (surprisingly effective) humor which was mostly included because the script was written, or edited, for Pierce Brosnan, who would only finally take over the role in 1995 for "Goldeneye", but largely disposing of the silliness and tackiness of the Moore era, and creating a stealthy, thrilling, effective, and ruthless Bond. Dalton makes a terrific Bond, even competing with Connery for the 'definitive' title as far as movie Bond portrayals go, although Dalton is closer to Fleming's Bond than Connery. After the ultra-suave Roger Moore Bond, Dalton's Bond seems almost mean-spirited in comparison, there may be one-liners, but this guy at least seems fit to be a secret agent.

The action scenes in "The Living Daylights" are all great. I can't think of one which I disliked, and the special effects might be the in the series up to this point. The plot here is actually intriguing, and neither too convoluted or too thin, and keeps you interested from start to finish. The screenplay is terrific, the best in a Bond film since "On Her Majesty's Secret Service". Maryam d'Abo makes for a wonderful Bond girl in Kara Milovy, one of the smartest and most likable of all of Bond's 'love' interests. I really like Caroline Bliss' Moneypenny as well. How fresh and exciting this is when compared to the previous entry.

I'm honestly hard pressed to find any serious flaws with "The Living Daylights". Some have said that it takes itself too seriously, but I never felt that it did. Sure, it was much more straight-faced than most Bond films, but a film is only taking itself too seriously when it becomes thoroughly ridiculous while maintaining a 'serious' superficial look. I never thought that "The Living Daylights" did this. It, and the follow-up Dalton film "License to Kill" were both relative financial disappointments, mostly because audiences didn't care for Dalton's hard-edged Bond or the fact that the film had actual characters other than Bond, actual real-world stakes, and no silly villains. Then again, "The Living Daylights" did extremely well in comparison to most films that year, and it earned much more than "A View to a Kill" did, so perhaps it is only the lesser "Licence to Kill" that was a disappointment.

How can you go wrong with a movie this well-shot and well-acted, this well-scripted, and so well-scored by John Barry, which would sadly be his last score for the series? A terrific Bond film with a harder edge than most, and one of the few in the series that remains faithful to the spirit of Fleming's novels. A contender for my favorite Bond film and among my favorite action films overall.

9/10

The Living Daylights is one of the most handsomely shot Bond movies, and Timothy Dalton is dynamite as a grittier and cooler 007. When I was a kid I was swept along for the ride, mesmerised by the evocative use of locations, lush photography, and well choreographed set-pieces. As an adult though I see it as a somewhat flawed movie, with some parts feeling contrived or a bit preposterous (such as the Mujahideen sequence). There's some frustrating narrative choices and the characterisations of the villains feels a bit off, either coming across as clownish (Jeroen Krabbé) or underdeveloped (Joe Don Baker). It's a shame as it's a bit of a misstep in the movie, especially considering how dastardly and treacherous their motivations are. They deserved greater fleshing out, and especially more satisfying comeuppances.

This isn't to say The Living Daylights is a bad movie though. Far from it. The reasons I loved it as a kid are why I still keep returning to the film all these years after. After the criminally underrated Licence to Kill it's the second best 80's Bond movie, and director John Glen pulled out all the stops to give the franchise a much-needed adrenalin shot after the misfire A View to a Kill. Some argue the stagnancy of the series at the time carried over into Dalton's period as 007, which is arguable but in my opinion doesn't detract away from the quality of his movies. There's a certain freshness and flair which elevates The Living Daylights, and License to Kill took a left turn which while controversial was also uncompromising and brave, giving Dalton free reign to show a darker more complex version of Bond which was only hinted at here.

The Living Daylights boasts some of the greatest production values out of all the Bond movies, although its this emphasis on aesthetics which can almost make it seem superficial in places. There's more than enough to justify its existence however. When all's said and done it contains everything you'd want from a Bond movie, and is John Glen's best directed entry in the franchise. Maryam d'Abo is a lovely Bond girl too. Unlike most women who came before she's never subjected to crude objectification or made the butt of some poor misogynistic pun. There's a sweet chemistry between her character and Bond's, and it's credit to both actors that they carry this off with some authenticity. The soundtrack is also a prominant feature of the movie and compliments the action very well, adding to the excitement right from the exhilarating opening scene on Gibraltar.

Not without its faults then, but I'd highly recommend it.

One thing that can be said about Timothy Dalton's two appearances in the role of Bond is that both efforts where excellent.

This one is more in the traditional Bond mould than the much darker Licence To Kill that followed it but was still quite a fresh, well scripted and acted story.

It is a bit of a shame that the original plan to have General Gogol throughout rather than General Pushkin had to be dropped due to Walter Gottel being unavailable but even still, John Rhys Davies does well in his role.

Bond girl Myriam D'Abo is a great improvement on her immediate predecessor even if she does not have a huge amount to do and the quality of the photography, particularly the Afghanistan sequences, are excellent.

Unlike many of the Roger Moore Bond's there was a fresh air of originality here unlike previous efforts, which in many ways where bits of old Bonds remixed, reheated and served up.

It is also a refreshing change from the previous A View To A Kill to not have Bond bedding everything female in sight for once!! AVTAK produced four conquests for the rampant fossilised babe magnet (!) Moore, here just the one and discreet at that.

Thankfully silly gimmicks such as another of M's silly offices (Back of a Hercules plane this time following previous instalments in a submarine, Egyptian ruin, sunken ocean liner and a monastery!) were dispensed with quickly and never really seen in the Bond series again after this.

A cracking soundtrack from John Barry (quite possibly his best)finishes off this excellent instalment, which saw the farewell performances of two more stalwarts of the Bond series, Walter Gottel in an all too brief cameo as General Gogol and soundtrack master extraordinaire John Barry (he actually appears here as the orchestra conductor at the Opera House at the very end).

All in all a really good one