72 replies to this topic

[Captain Grimes]

TLD is one of the very best, in my opinion. It isn't as gritty as some people claim; in fact, it's arguably the most balanced Bond film to date. We get many of the Moore-esque lighter moments, but when (for example) Saunders is killed, Dalton gives a very human reaction. Here is a Bond who isn't completely realistic, but who also isn't so caricatured that we can't relate to him. And that describes the film as a whole, I think.

[henchman_hussle]

I give it a 8 my second favorite bond film

[Dr. Noah]

TLD is one of the very best, in my opinion. It isn't as gritty as some people claim; in fact, it's arguably the most balanced Bond film to date. We get many of the Moore-esque lighter moments, but when (for example) Saunders is killed, Dalton gives a very human reaction. Here is a Bond who isn't completely realistic, but who also isn't so caricatured that we can't relate to him. And that describes the film as a whole, I think.

That's a great scene, and shows you the difference between Dalton & Moore. For instance, in FYEO, when Moore finds Ferrara dead in his car, Glen cuts to a closeup of a Dove pin, then cuts away to the Greek Isles.

In TLD, Glen uses the same routine (Bond emerging from a building to find a dead operative, picking up the clue -- a balloon this time), but then look at the difference: Glen holds on Bond, we see the shock turn to anger, the balloon popping in his hands as his fingers clench, and at the site of more balloons moving away from over a fence, Bond leaps into action.

In the Moore film, Glen just presented the plot point and moved on, in TLD, the same director had an actor who could really play Bond's rage, and rode the reaction for a classic Bondian moment.

Glen seemed to intuitively know how to use Dalton in some scenes. He gets a great shot of the recognition in Dalton's eye during the sniper scene, when Saunders exclaims that the KGB sniper is the girl with the cello. He doesn't need him to say anything, or pull away -- just open the eye and react. That's the work of a director who is very confident with his actor.

My only complaint with the film is that after the teaser, Glen's direction is too workmanlike in some scenes. For instance, when we first see Bond step into the operahouse box in Vienna, Glen could've given Dalton a nice glamour shot to show off the new guy, right after the main titles, but instead we just get a bland longshot, setting up the scene with Saunders, as Bond slips i and sits next to him. There were complaints after the film that Dalton didn't command the screen like Connery or Moore, but I think this is the reason why. Eight years later in GE, Martin Campbell made sure that practically every shot of Brosnan was a glamour shot (as he's hopefully doing with Craig now). Style is everything when introducing the new guy!

The Moneypenny scenes have the same problem -- they needed to give the new actress a better intro.

On the plus side, the opening and close of the film are among the best in the series. And the Fleming stuff in the first half hour is absolutely terrific.

I gave it a 9 out of 10.

Edited by Dr. Noah, 13 March 2006 - 03:31 AM.

[BoogieBond]

Rewatched this recently and really enjoyed it. The PTS is excellent, really action packed way to introduce TD.

The scene that sticks out for me in this film though is the scene on the tram where Kara is picked up by Pushkin and Bond is watching. Its a great scene for me. No dialog or obvious images, but if you showed it to 10 people I bet the majority would say "James Bond" without having watched the film previously or knowing TD.

Edited by BoogieBond, 18 March 2008 - 01:46 PM.

[Qwerty]

The scene that sticks out for me in this film though is the scene on the tram where Kara is picked up by Pushkin and Bond is watching. Its a great scene for me. No dialog or obvious images, but if you showed it to 10 people I bet the majority would say "James Bond" without even watching the film or knowing TD.

It definitely works well for the film. Just good old-fashioned spying.

[Turn]

The scene that sticks out for me in this film though is the scene on the tram where Kara is picked up by Pushkin and Bond is watching. Its a great scene for me. No dialog or obvious images, but if you showed it to 10 people I bet the majority would say "James Bond" without even watching the film or knowing TD.

It definitely works well for the film. Just good old-fashioned spying.

When TLD was in production, that was the first scene I saw on ABC's Good Morning America. They showed some stunts and such, but they showed somebody editing the film and that was what they showed and I knew immediately that Dalton would be a great Bond. You can see what I mean as that video is available on You Tube.

[mrsbonds_ppk]

I watched it again a couple days days ago and I give it a solid 10. This film just works for me through and through. Dalton's intro was flawless. And my favorite parts were the ice chase and the whole fair sequence .

[Qwerty]

The scene that sticks out for me in this film though is the scene on the tram where Kara is picked up by Pushkin and Bond is watching. Its a great scene for me. No dialog or obvious images, but if you showed it to 10 people I bet the majority would say "James Bond" without even watching the film or knowing TD.

It definitely works well for the film. Just good old-fashioned spying.

When TLD was in production, that was the first scene I saw on ABC's Good Morning America. They showed some stunts and such, but they showed somebody editing the film and that was what they showed and I knew immediately that Dalton would be a great Bond. You can see what I mean as that video is available on You Tube.

Will definitely have to check it out. Love coming across these older video reports on the series.

[sharpshooter]

I watched this film again, and it just re-enforced my opinion of it. It is a great film. Dalton played Bond, Fleming's Bond that is, exceptionally. I was impressed by his non verbal skills while acting as Bond, he is almost hyper sensitive to the world around him.

[john.steed]

I had enjoyed the Moore period very much (still do), but by the time of AVTAK, it was obvious that a new 007 was needed. I had been hoping for Dalton to be cast for the part rather than Brosdan and was happy when he ended up getting the part.

In many ways, the film should not have worked as it had perhaps the least memorable feature villians in the entire series and a dude of a final shot out. Further is had the worst Felix and a score that does nothing for me. (I watched the film about a month ago. Two days after watching the film, I could not remember a note.)

Yet, for all that, I am a big fan of the film, giving it an 8 out of 10. Much of that is due to Dalton. For one thing, it was nice to have a young Bond again. Also, his strengths as Bond were different from Moore's and it was nice for a difference. THis is my favorite of the two Dalton Bonds and I regret that there were note several more in a somewhat similar vain.

Also, this is the only film in which we see 007 driving a bumper car.

[jaguar007]

9 out of 10. One of my top 5 Bond films. THe opening sniper scene after the credits is one of my favorite scenes in all Bondom.

[HH007]

I give it 8 out of 10. I think this is a damn fine Bond film. Dalton is terrific, it has one of my favorite PTS, an interesting albeit complicated story, an awesome music score, and it brought back some grit and intelligence to the franchise. The parts where felt it was lacking were the girl and the villains. Could've been stronger on both of those fronts (although I always enjoy Joe Don Baker). Otherwise, I really liked it.

[Qwerty]

*Bump*

[Joey Bond]

My favorite Bond film (althought I acknowledge it's not the 'best')
Dalton's just so cool. Great Barry music- the use of his drum beats is what you call a modern classic and doesn't sound outdated even after 20+ years. Kara is pretty. Great action scenes.
One major criticism is that Koskov is too weak a villian. I disagree. He's not a physical villian- Necros makes up for that- he's more of the slithering psychological manipulative villian in the way Kristatos and Dominic Greene were.
If there was a weakness, the third act was a bit slow, but otherwise a brilliant film!
10/10!

[Nicolas Suszczyk]

It starts with a very explosive teaser, and has a lots of very good action scenes. Altough, I think the villains are weak... Koskov is very charming and funny, as Withaker. There are also few Bond girls, and I (personally) find Kara a nice girl, but not as exotic as other previous Bond gals. The Cold War backdrop is very exiting, but I find it lost during the Afganistan scene. John Barry music is excellent, and A-ha's theme is good, but I prefer "If There Was a Man" most.

To summarize: a very good introduction for Timothy Dalton, but I prefer Licence to Kill.

8/10

[chrisno1]

Wow, there are some massively well informed reviews on this thread!Very good to read.
In 2008 I watched all the Bond movies and wrote a series of reviews for another site. The aim was to watch them in order in the run up to the premiere of QOS. I succeeded and the reviews were well received.
However, subsequently, I have re-read my reviews and re-watched a number of the movies (the BFI had a whole 007 season earlier this year and I saw quite a few on the big screen again!).
This is my updated review for The Living Daylights.

THE LIVING DAYLIGHTS
REVISED REVIEW 18/1/10

Ian Fleming’s short story The Living Daylights has James Bond refusing to kill a female sniper during a dangerous defection. The action takes place across three days at the Berlin Wall and it is a reflective, if slight tale. Here the basic premise of that story is blown up into a perplexing tale of drug running, diamonds, defections, assassinations, arms dealing, KGB power struggles and the Afghan war. That the film holds together at all is due in no small part to Timothy Dalton’s remarkable debut as 007.

Roger Moore had slid the slippery slope for one or two films too many and on his retirement and Dalton’s eventual appointment, there was hope that James Bond may return to something like his old self. He certainly does and The Living Daylights is the most down to earth and gritty adventure for some time.

Although the production team have difficulty shaking off the legacy of seven fairly trivial escapades, it is rewarding to see Bond surrounded by the traditional elements of an espionage story. The Living Daylights feels more Cold War than any adventure since FRWL. The early goings on in Eastern Europe are the best part of the film, recalling some of Bond’s earliest cinematic outings and doffing the cap to Ian Fleming’s originals with some recognisably traditional goings on. Even a car chase with a few too many smart stunts and not enough chasing can’t ruin this segment of the film.

Later on there is a humourless scene in Afghanistan where Bond and Kara witness and reflect on the futility of war as they pass through a devastated village. This is as close to the real world as James Bond has ever got and it makes uncomfortable viewing in what is essentially escapist entertainment. It’s a notable moment of great pity unusual in the Bond films.

But for now, let’s consider Dalton’s portrayal of James Bond. We are introduced to him during a training exercise in Gibraltar. It all goes horribly wrong, but there is a refreshing no-nonsense attitude on view here. Dalton’s Bond doesn’t utter a word during his retaliatory killing of a Soviet infiltrator. When he does reveal himself as “Bond, James Bond” he is abrupt, businesslike. This Bond has attitude. He smokes and he drinks, he’s an angry Bond, an arrogant Bond with an old fashioned lack of respect for authority.

We get this impression from the off, when, in aiding the defection of General Koskov, he scowls through a conversation with his contact Saunders, a brilliant Thomas Wheatley, who Bond clearly considers a man out of his depth. They irritate each other and both actors are excellent here. In later scenes Saunders uncovers some vital information and Bond shows grudging respect for this slightly pompous functionary; a display of rashness, followed by controlled anger at Saunders’ death is wholly believable. Bond recognises good work and reliability when he sees it. Hats off to Dalton’s good work in letting us see it also.

Saunders’ role replaces that of the female victim, for there is only one woman for Bond in this movie, the cellist and supposed assassin Kara Milovy, played with just the right amount of innocence and bewilderment by Maryam D’Abo. Kara is a pawn in a bigger game she doesn’t understand. Her confusion is well represented, first in a daring escape from Bratislava and then a dreamy day in Vienna, where she clearly falls in love with Bond. What makes these scenes so impressive isn’t D’Abo, who is adequate at best, but Dalton who is playful, teasing and romantic, even down to his smile and a twinkling eye. He’s so plausible that we can’t tell if he’s falling in love or not. He keeps us – and Kara – guessing, something Connery didn’t even try to achieve in similar scenes in FRWL. Curiously the love relationship appears to be chaste; this is a very sexless Bond.

Not so the trio of histrionic villains led by a ridiculous Jeroen Krabbe as Koskov, a Russian General who acts like a spoilt schoolboy, and Joe Don Baker as Whitaker, an American arms dealer who resides in a castle in Tangier. Whitaker isn’t your usual mad scientist, merely a fake general with a mercenary army. These are two terrible roles matched by two dreadful performances. Andreas Wisniewski’s killer Necros has the most success, but even he’s a pale imitation of previous Bond psychos and ends up playing accidental security guard to a ticking bomb. It’s something when the most realistic bad guy turns out to be one of the good guys and John Rhys-Davies is commanding as the new head of the KGB, Pushkin.

This over the top triune does have a master plan, but it takes us an awfully long time to find out what it is, and when we do the action has switched to Afghanistan and becomes routine. Bond and Kara escape from a Russian air base and fall in with some jolly rebels, who help Bond save the day. It’s fairly comic strip stuff, disposable and quite enjoyable. There’s an attack on the air base with lots of explosions, death and destruction. This battle seems created solely as a device to ensure Bond and Necros can fight to the death suspended on a bale of opium outside an airborne transport plane. Hearts in the mouth stuff this.

Yet other than Necros’ fatal fall from grace, the baddies don’t put up much of a fight. Bond’s elimination of Whittaker is in a scene reminiscent of the movie version of Callan and rather uninspired; Koskov isn’t even killed, miraculously escaping a head on collision between a jeep and an airplane. Is he so lovable the producers wanted to bring him back for a rematch, like Jaws? Thankfully not.

There is still a tendency here to over do things. The climax is protracted and several scenes and characters could have hit the cutting room floor. There is, for instance, no need for Felix Leiter and the CIA to be involved. Additionally the concluding assembly of all the principal characters at Kara’s solo debut is unwelcome. The writers have forgotten The Living Daylights is about James Bond, not Kamran Shah, General Gogol et al.

Happily this doesn’t detract from something of a return to form for 007. It isn’t the best of Bond’s and the production values, with a nod of gratitude to the stunt arranger and composer, are not the highest. However both script and direction are markedly improved on recent efforts. It’s less tongue in cheek, more serious and although not particularly malicious, it’s not without violence. Ultimately, Timothy Dalton’s clipped delivery and astute playing ensures the film stays edgy and close to it’s slight, but reflective, Ian Fleming roots.

RATING 6 from 10.

[SecretAgentFan]

Have re-watched it also. Still is one of the best Bond films and a wonderful spy adventure in the traditional Bondian sense. I actually prefer it to LTK, having Dalton prove that he can do serious and light as well.

[chrisno1]

Have re-watched it also. Still is one of the best Bond films and a wonderful spy adventure in the traditional Bondian sense. I actually prefer it to LTK, having Dalton prove that he can do serious and light as well.

I'm not sure it is one of the very best, but I certainly agree with your second and third issues. My review of LTK highlights my troubles with Dalton's portrayal.

[Genuine Felix Leiter]

For me, this is one of Eon's finest Bond productions through and through. Everything works, there are maybe one or two slight criticisms (some of the humour is a little forced), but I can't deny, I love this movie so much. Right from the moment he is introduced, Timothy Dalton is, for me, the defintion of James Bond. Tough, classy, handsome, yet with a psychotic glint in the eye, something that the series would run away with ten fold in LTK, he looks fantastic, suits the part to a tee and watching this film along with the its successor breaks the heart that he never got the chance to play the part for longer. Maryam D'Abo is beautiful and emotionally engaging, the romance between her and Bond is believable and is more than just a neccesary component of the Bond formula. Kara, like Tracy in OHMSS and Vesper in CR, is someone to root for, someone we want Bond to protect and someone we love to see him with. The film plays the romantic card beautifully and wonderfully and is backed with great writing, fantastic chemistry between D'Abo and Dalton and some of John Barry's best ever music. Richard Maibaum's script may very well be one of his best in Bond, primarily as the story is engaging, thrilling and has genuine sweep to it, going from the skies of Gibralter, to the English countryside, to the ferris wheels of Vienna to the deserts of Afghanistan, and all delivered with John Glen's fantastic direction.

The return of the Aston Martin is a great touch, the car chase wonderfully imaginative and devilishly good fun (I seen this movie when I was five and loved that scene so much), the pre-teaser is one of the most exciting (Bond vs Assassin's Jeep) and while the action packed climax may have dated (the Afghan resistance vs the Russian Army), you can't deny how thrilling it is, and ranks as one of the epic Bond battles in the series. Oh, and not forget, Bond vs Necros, Hercules jet, back off plane, on a net. Need I say anymore?

Man, I could talk about this movie all day. I love it.

[marktmurphy]

Somebody on a non-Bond forum I go to recently started a 'Which is your favourite Bond film?' poll (not best, incidentally; but favourite) and Daylights is doing pleasingly well; perhaps about second place. I think it's a gem that we didn't think people knew about but it turns out that it's surprisingly well loved, I think.

[sthgilyadgnivileht]

For me, this is one of Eon's finest Bond productions through and through.
Man, I could talk about this movie all day. I love it.

Ditto.
One of the Jewels in the Bond crown indeed, and perhpas the Bond movie closest to my heart.

Somebody on a non-Bond forum I go to recently started a 'Which is your favourite Bond film?' poll (not best, incidentally; but favourite) and Daylights is doing pleasingly well; perhaps about second place. I think it's a gem that we didn't think people knew about but it turns out that it's surprisingly well loved, I think.

That's good to read.
I would love to see some kind of event/reunion at Pinewood. To see the movie big screen and be taken back to '87 when the whole world knew we had a new James Bond would be great.

[SecretAgentFan]

After having seen Dalton on the recent DOCTOR WHO I had two thoughts: man, he has grown old - and - man, he could be an awesome Bond villain now...

[LTK_(1989)]

The Living Daylights is a 007 favorite for me, one of the first Bond film I ever saw and the first that I really liked. Much of my love for The Living Daylights can be traced back to Timothy Dalton, who gives an interesting and impressive performance of Bond, bringing the character from the pages of Fleming's novels to the screen in a very well-rounded and relatable way. Dalton's very first appearance on screen enforces the notion that his Bond is a serious veteran of the '00' arts and his always-on-the-move Bond makes for an incredible protagonist in the intelligent Bond thriller that balances the epic and Flemingesque elements perfectly.

Director John Glen even manages to expand his workhorse and action-oriented style of direction with some genuinely well-executed scenes. Each action piece is exciting, each fame professionally put together; but the best example I can cite is my favorite scene in the entire Bond series: Bond's confrontation with Pushkin in the hotel room. Dalton's conflicted Bond prowls around Pushkin, hoping more for conclusive answers and cooperation than a clean kill, using a woman and intimidating with the gun barrel - the attempt to stop him forces Bond to go into ruthless mode as he uses the woman once more as a distraction, ripping off her clothes like wrapping paper on Christmas Day, and then attacks the thug like the clash of a symbol strike.

http://www.imfdb.org...Livday-ppk1.jpg

Not since the 1960s has there been a tenser scene in the Bond series. Where Dalton and Rhys-Davies should certainly be credited for a job well done, much of its effectiveness should be credited to Glen as well.

The many other thrilling scenes, the great John Barry score, and the engaging story (interesting in the defector mystery and heartfelt in the Bond/Kara relationship) add to the overall excitement and magic-of-movies feeling which, together with Dalton's terrific Bond performance, makes The Living Daylights is a favorite of mine and one that I revisit often every year.

10

Edited by Jim, 17 February 2010 - 05:44 AM.
Please don't post Eon copyright imagery, thanks

[scaramunga]

I saw Octopussy in the theater, but The Living Daylights was the first Bond film that I remember really being excited about seeing. I also had become a very big Bond fan by 1987. It was a thrill to see it at the River Hills theater in downtown Des Moines, IA. I also recall picking up the Starlog poster magazine and of course the soundtrack on tape. One of John Barry's best scores, IMO.

[Harry Fawkes]

Interesting reviews indeed.

In my opinion Dalton's Bond stands up there with the best of them; 10 times better than Brosnan's and Lazenby's.

The Living Daylights presented us with a true Ian Fleming Bond character and story that was sharp, tough, ‘dangerous’ and most of all authentic.

I wouldn’t waver to say that if the producers hadn't let Mr. Dalton go, and he actually took on a third film, after LTK, he would no doubt have made that impact on US audiences ‘deemed’ somewhat essential to the studio-heads of the time and who, unfortunately, (and obviously in my most humble opinion of course) didn't actually quite get what Mr. Dalton was trying to do with the character; along with the majority of audiences out there that is.

I dare say that people were going for the likes of Beverly Hills Cop, Die Hard and Lethal Weapon which, let's admit, although fantastic films in their own rights, were simply exploiting a formula defined by Mr. Bond himself - big action set-pieces and a hero who survives by his wits and physical resilience rather than electronic gadgets.

The difference?

The other heroes wore scruffy jeans and sweaty or torn t-shirts instead of tuxedos and didn't drive classy cars like our Mr. Bond.

Could it be that nowadays, audiences are more refined and, yes, I’ll venture to ask, more mature in appreciation for the finer things in life like Bond.

After all, they got what Craig is doing with Bond.

No?

[bondrules]

In my book, I rank TLD right amongst the greatest entries in the franchise. FRWL, CR, TB, GF, and DN are the others. It’s definitely one of my favorites.

Dalton’s first outing can be described as nothing short of rock solid. His take on Bond is quite refreshing. For me, Roger Moore was already looking like a dirty old chap in 1980. In 1985 when AVTAK debuted, the producers where simply pushing the envelope. Moore looked way beyond retirement age. Too slow to fight bad guys mano-a-mano, and too decayed to pick up (much) younger broads. 1987: Enter Tim Dalton. His Bond is toned down. No more of the Moore showboating. And that alone works wonders in giving back the character the edge it had lost since OHMSS. Dalton plays a grittier and much darker Bond (Bond was a badbehind again!) with a sense of humor that is drier and more subtle. Reminded me so much of Connery. I’m sure Fleming would have been pleased with what Dalton did with the character. Did he capture the essence of the literal James Bond in more ways than anyone before? Probably.

The PTS in TLD, IMHO, is the best in the series. In one MI6 training exercise, three 00's, including Bond, must infiltrate a British radar facility in Gibraltar (the panoramic views are breathtaking!). Bond discovers that at least 1 of the other 00’s has been murdered. He finds the killer, then ends up with him inside a burning Jeep loaded with explosives while running at full speed. Bond gets rid of the hitman and ends up on a yacht with a lonely woman. Whoever said Dalton wasn't convincingly suave? He is terrific here!

The score, as I’ve mentioned before on another thread, is right at the top of series, if not the very top. “Ice Chase” is probably the best action cue in all 22 films. The way it integrates the Bond theme is so organic it seems that those two were born to be together. Folks, this is John Barry at his very best!

The pace is tight and the plot far more involving than on any Bond film since FYEO. It's a real complex story of intrigue and espionage. It’s the only Bond film to date that truly submerges the audience into the world of the Cold War. This is John Glen’s pinnacle as director of Bond films. Richard Maibaum once again shows why he is the only screenwriter that understands how a Bond film translates into the big screen.

The only real weaknesses are the female lead Maryam d'Abo (not believable as a human being), and perhaps they could have done a better job fleshing out the villain(s). All in all, TLD is just a fraction away from Bondom perfection.

[captnash2]

there are lots of positives about this movie but one of the best things is that dalton' arrival as 007 means robert brown ups his game as m.

after rather ineffectual turns in OP and AVTAK he really nails his performance as m thanks to dalton's equally strong performance.

the scene when m and bond discuss the order to terminate pushkin shows brown displaying stern authority while dalton wrestles with obeying his superior and his gut instinct about koskov's duplicity.

this tension pays off later in LTK when m makes bond choose between avenging felix, della and doing his duty, obeying orders.

[captnash2]

also other than less than memorable villains was the disasterous casting of caroline bliss as moneypenny.

lois maxwell really was a tough act to follow and neither bliss or sammantha bond were up to the challenge.

[tdalton]

also other than less than memorable villains was the disasterous casting of caroline bliss as moneypenny.

lois maxwell really was a tough act to follow and neither bliss or sammantha bond were up to the challenge.

Agreed to some extent on the Moneypenny situation. I do think, however, that given time, Caroline Bliss could have grown quite nicely into the role. After all, she was only given two films and that was coming on the heels of the legend that had been Lois Maxwell, who had served as Moneypenny for three different Bond actors. I think that given a couple more films, Bliss could have made a fine Moneypenny. Sure, probably not in the same ballpark as Maxwell, who was just phenomenal in the role, but I think she could have been quite good nonetheless.

[Gogol Pushkin]

This was my first 'new' Bond so it was, having discovered the movies on television around 1988 as a four year old. My mum rented it for me at the video store and said it was the new Bond and its stayed with me ever since. I just love this film to pieces, everything about it is quality. Timothy, his chemistry with Maryam, John Barry's music, A-Ha's theme tune, The Pretenders love theme, the car chase, the battle between the Afghan resistance and the Soviets (yes it's dated the film but it's still spectacular stuff), I could go on all day about it. It's one of the finest moments in the series and anytime I watch it I always feel...well... a little sad to be honest. There was only one film featuring Timothy Dalton after this and deprived me and many of us of what could have been an interesting, if somewhat controversial era for the series.