3 replies to this topic

[manfromjapan]

THE LIVING DAYLIGHTS (John Glen, 1987)
After 12 years of the humorous Roger Moore as 007, the introduction of Timothy Dalton as a dark, brooding, dangerous 007 akin to Ian Fleming's description was a pleasant shock to the system. Kicking off (post-credits) with a suspenseful defection scene extremely faithful to the Fleming short story of the same name, THE LIVING DAYLIGHTS proves to be one of the most entertaining and artistically successful of the series, with Dalton's fascinating, unpredictable take on the role the central reason, but the whole film seems so much re-energised than the previous films. This is a Bond who is ruthless, moody, snappy but undeniably romantic (Bond enjoys the warmest, closest relationship with a female character since series highpoints FROM RUSSIA WITH LOVE, 1963, and ON HER MAJESTY'S SECRET SERVICE, 1969). If one had to nitpick, well, the villains' plan is overcomplicated, and Dalton is awkward with the one-liners. But it's still the best Bond film since 1969.

[PrinceKamalKhan]

THE LIVING DAYLIGHTS (John Glen, 1987)
After 12 years of the humorous Roger Moore as 007, the introduction of Timothy Dalton as a dark, brooding, dangerous 007 akin to Ian Fleming's description was a pleasant shock to the system. Kicking off (post-credits) with a suspenseful defection scene extremely faithful to the Fleming short story of the same name, THE LIVING DAYLIGHTS proves to be one of the most entertaining and artistically successful of the series, with Dalton's fascinating, unpredictable take on the role the central reason, but the whole film seems so much re-energised than the previous films. This is a Bond who is ruthless, moody, snappy but undeniably romantic (Bond enjoys the warmest, closest relationship with a female character since series highpoints FROM RUSSIA WITH LOVE, 1963, and ON HER MAJESTY'S SECRET SERVICE, 1969). If one had to nitpick, well, the villains' plan is overcomplicated, and Dalton is awkward with the one-liners. But it's still the best Bond film since 1969.

Here, here, manfromjapan. ITA. TLD is the best Bond film made post-1970 and deserves much more praise than it usually gets. I do enjoy the "Bond as comic superman" approach(DAF-AVTAK) but what was fresh and funny and right for the times in 1971 had grown stale and tired by 1985. TLD was a refreshing shot in the arm in the series and the advance guard of what we eventually got in CR. Dalton was terrific in the role, the script features the strengths of a Tom Clancy thriller and Bond/Kara make for the most plausible Bond/Bond girl romance in the series(even more than OHMSS IMHO).

[RazorBlade]

I'm confused. Are you both saying you liked TLD?

I did too. I don't know if I'd call it the best but now that I think about it, you know it was. Until CR that is.

[ACE]

THE LIVING DAYLIGHTS (John Glen, 1987)
After 12 years of the humorous Roger Moore as 007, the introduction of Timothy Dalton as a dark, brooding, dangerous 007 akin to Ian Fleming's description was a pleasant shock to the system. Kicking off (post-credits) with a suspenseful defection scene extremely faithful to the Fleming short story of the same name, THE LIVING DAYLIGHTS proves to be one of the most entertaining and artistically successful of the series, with Dalton's fascinating, unpredictable take on the role the central reason, but the whole film seems so much re-energised than the previous films. This is a Bond who is ruthless, moody, snappy but undeniably romantic (Bond enjoys the warmest, closest relationship with a female character since series highpoints FROM RUSSIA WITH LOVE, 1963, and ON HER MAJESTY'S SECRET SERVICE, 1969). If one had to nitpick, well, the villains' plan is overcomplicated, and Dalton is awkward with the one-liners. But it's still the best Bond film since 1969.

mfj