“POLDARK” (1996) Review

poldark1996-poldarks

“POLDARK” (1996) Review

Over seventy years ago marked the publication of author Winston Graham’s first entry in his novel series about a former British Army officer who had served in the American Revolution and his life experiences following his return to home in Cornwall. The BBC aired a successful television series that was based upon Graham’s first seven novels in 1975 and 1977.

Four years after the publication of his seventh novel, Graham concluded his literary series with five more between 1981 and 2002. In 1996, the HTV channel produced a pilot episode, which proved to be an adaptation of Graham’s eighth novel, “The Stranger from the Sea”. HTV had hoped this television movie would prove to be the first of a continuing adaptation of the 1981 novel and the remaining four. Unfortunately, fans protested against the casting of new performers in the lead roles of Ross Poldark and Demelza Carne Poldark. Fifty members of the Poldark Appreciation Society marched in full 18th-century costumes to picket HTV’s headquarters in Bristol, England. When Graham admitted that he preferred the new film to the original television series from the 1970s, he found himself cold-shouldered by the Society of which he was president. Needless to say, the television film, also titled“POLDARK”, proved to be a ratings flop and the network dropped all plans for an adaptation of Graham’s later novels.

I first learned about “POLDARK” and its literary source, “The Stranger from the Sea” from the ELLEN AND JIM HAVE A BLOG, TWO website. Already familiar with the 1970s series, I decided to check out this movie via Netflix. Set between 1810 and 1811 (eleven to twelve years after the 70s series’ conclusion), the plot revolved around the Poldark family’s initial encounter with a young smuggler named Stephen Carrington, while they awaited the return of patriarch Ross Poldark from his Parliamentary duties in London. I realize that this summary seems rather simple, but it was for a good reason. Like all narratives, “POLDARK” featured a good number of subplots. But for the likes of me, I found it difficult to pinpoint a main narrative for this particular plot after watching thirty minutes of the film. I was able to detect various subplots in this production:

*Ross Poldark’s political mission regarding the possible end of the Peninsular War
*Demelza Carne Poldark’s frustration over her husband’s absence from home
*The arrival of smuggler Stephen Carrington in Cornwall, whose presence will have an impact upon others
*Clowance Polark’s romantic involvement both Carrington and Lord Edward Fitzmaurice, whom she met in London
*Jeremy Poldark, Carrington and Ben Carter’s smuggling operation
*Jeremy’s attraction to the well-born Cuby Trevanion
*Widower George Warleggan’s courtship of Lady Harriet
*Clash between the Poldarks and Warleggan over Wheal Leisure (mine)

This is a lot for a 102 minute television movie. If the HTV network really wanted to continue the “POLDARK” series with episodes that are adaptations of Graham’s last five novels, it should NOT have adapted all of “The Stranger from the Sea” in the space of 102 minutes. Another problem I had with the movie’s narrative is that it resumed the “Poldark” saga without any recollections or flashbacks on what previously happened during the 1975-1977 series. I would have dismissed this if the 1996 movie had aired less than a year after the last episode of the original series. But it aired nineteen (19) years after the original series’ last episode. Nineteen years. I think some narrative or recollection of what happened in the 1970s series should have been given before the story could continue.

On the other hand, I feel that the production had more or less found its footing some twenty or thirty minutes into the production. I actually found myself investing in the movie’s subplot – especially those that involved Jeremy and Clowance’s romantic lives. And I thought Richard Laxton did a pretty solid job in maintaining the movie’s pacing and conveying Graham’s story to the screen. The author had seemed satisfied with movie. Mind you, his attitude got him into trouble with his saga’s many fans. But I could see why he enjoyed the movie overall. It really is not that bad. Aside from the first twenty or thirty minutes, I found it easy to follow and rather enjoyable.

Some people blame the casting of John Bowe and Mel Martin as Ross and Demelza Polark for the ratings failure of “POLDARK”. This is probably the truth. Many viewers simply refused to accept the two performers as the leads . . . especially since the producers had originally considered Robin Ellis and Angharad Rees from the 1975-1977 series to reprise their roles. They also seemed displeased with Michael Atwell as George Warleggan, even though Ralph Bates, who had originated the role, had passed away five years before this movie aired on television.

I have to be honest. I did not have a problem with Bowe, Martin and Atwell. Both Bowe and Martin gave solid performances as Ross and Demelza Poldark. But to be honest, the screenplay did not allow their characters to be showcased that much during the first two-thirds of the movie. By the time the pair’s characters were finally reunited for the movie’s last half hour, both Bowe and Martin were allowed to strut their stuff . . . so to speak. This was especially true for Bowe in one scene with Michael Atwell. I certainly had no problems with Atwell’s portrayal of Ross Poldark’s long-time rival, George Warleggan. I found it very intense and complex. Atwell did not portray his character was a one-dimensional villain – especially in scenes that featured Warleggan’s continuing grief over his late wife Elizabth Chynoweth Poldark Warleggan, who had died eleven years ago; or his rather odd courtship of the slightly intimidating Lady Harriet.

The production also featured first-rate performances from Nicholas Gleaves as Stephen Carrington, Hans Matheson as Ben Carter, Amanda Ryan as Cuby Trevanion and Gabrielle Lloyd as Jane Gimlet. But aside from Atwell, I felt the other two best performances in the production came from Kelly Reilly, who gave a very complex performance as Ross and Demelza’s daughter Clowance; and Ioan Gruffudd as the couple’s son, Jeremy. It was interesting to see both Reilly and Gruffudd when they were both near the beginning of their careers. Even then, the pair displayed the talent and screen presence that eventually made them well known.

In the end, I realized that I could not share the antagonism toward the 1996 televised movie “POLDARK”. Yes, I had a problem with the vague storytelling in the movie’s first half hour. And this adaptation of Winston Graham’s 1981 novel should have stretched out beyond a 102 minute television movie. But I still enjoyed it in the end, thanks to some exceptional and solid performances from the cast and the energy that seemed to infuse the subplots after that first thirty minutes. I would consider it a worthy addition to my collection of televised adaptations of Graham’s novels.

Advertisements

New Ranking of JAMES BOND Movies

James-Bond-Logo

With the recent release of the new James Bond movie, “SKYFALL”, I have made a new ranking of all the Bond films produced and released by EON Productions (do not expect to find 1967’s “CASINO ROYALE” or 1983’s “NEVER SAY NEVER AGAIN” on this list) from favorite to least favorite:

 

NEW RANKING OF JAMES BOND MOVIES

1-On Her Majesty Secret Service

1. “On Her Majesty’s Secret Service” (1969) – The only film to feature Australian George Lazenby, this adaptation of Ian Fleming’s 1963 novel has James Bond’s search for master criminal Ernst Stravos Blofeld affecting his private life. Directed by Peter Hunt, the movie also stars Diana Rigg and Telly Savalas.

2-Casino Royale

2. “Casino Royale” (2006) – Daniel Craig made his debut as James Bond in this adaptation of Fleming’s 1953 novel about Bond’s efforts to beat a banker for a terrorist organization at a poker tournament, in order to force the latter to provide information about the organization. Directed by Martin Campbell, the movie co-stars Eva Green, Mads Mikkelsen and Judi Dench.

3-The Living Daylights

3. “The Living Daylights” (1987) – Timothy Dalton made his debut as Bond in this partial adaptation of Fleming’s 1966 short story in which Bond’s efforts to stop a Soviet sniper from killing a defector leads to a revelation of a conspiracy between the defector and an American arms dealer. Directed by John Glen, the movie co-stars Maryam D’Abo, Joe Don Baker and Jeroen Krabbe.

4-For Your Eyes Only

4. “For Your Eyes Only” (1981) – Based on two Fleming short stories from 1960, the movie has Bond searching for a missing missile command system, while becoming tangled in a web of deception spun by rival Greek businessmen and dealing with a woman seeking revenge for the murder of her parents. Co-starring Carole Bouquet, Julian Glover and Topol; the movie marked the directing debut of John Glen.

5-From Russia With Love

5. “From Russia With Love” (1963) – Terence Young directed this adaptation of Fleming’s 1957 novel about Bond’s efforts to acquire the Soviet’s Lektor machine, unaware that he is being set up by SPECTRE. The movie starred Sean Connery as Bond, along with Daniela Bianchi, Lotte Lenya, Robert Shaw and Pedro Armendáriz.

6-Octopussy

6. Octopussy” (1983) – A fake Fabergé egg and a fellow agent’s death leads James Bond to uncover an international jewel smuggling operation, headed by the mysterious Octopussy, being used by a Soviet general and an Afghan prince to disguise a nuclear attack on NATO forces in West Germany. Directed by John Glen, the movie stars Roger Moore as Bond, Maud Adams, Louis Jordan, Steven Berkoff and Robert Brown in his debut as “M”.

7-Thunderball

7. “Thunderball” (1965) – Adapted from Fleming’s 1961 novel, this movie has Bond and CIA agent Felix Leiter attempting to recover two nuclear warheads stolen by SPECTRE for an extortion scheme. Directed by Terence Young, the movie stars Sean Connery as Bond, Claudine Auger, Adolfo Celi and Luciana Paluzzi.

8-Goldeneye

8. “Goldeneye” (1995) – Pierce Brosnan made his debut as Bond in this tale about the agent’s efforts to prevent an arms syndicate from using Russia’s GoldenEye satellite weapon against London in order to cause a global financial meltdown. Directed by Martin Campbell, the movie co-stars Sean Bean, Izabella Scorupco, Famke Janssen and Judi Dench in her debut as “M”.

9-The Spy Who Loved Me

9. “The Spy Who Loved Me” (1977) – Taking its title from Fleming’s 1962 novel, this movie has Bond and Soviet agent Anya Amasova investigate the disappearances of British and Soviet submarines carrying nuclear warheads. Directed by Lewis Gilbert, the movie starred Roger Moore as Bond, Barbara Bach, Kurt Jurgens and Richard Kiel.

10-Quantum of Solace

10. “Quantum of Solace” (2008) – Taking its title from a Fleming short story, this movie is a follow up to “CASINO ROYALE”, continuing Bond’s investigation into the terrorist organization Quantum, while dealing with the emotional effects of a tragic death. Directed by Marc Foster, the movie starred Daniel Craig as Bond, Olga Kurylenko and Mathieu Amalric.

11-License to Kill

11. “License to Kill” (1989) – Directed by John Glen, this movie has Bond resigning from MI-6 in order to seek revenge against the Latin American drug lord that maimed his best friend, Felix Leiter. The movie starred Timothy Dalton as Bond, Carey Lowell, Robert Davi, Talisa Soto and Don Stroud.

12-The World Is Not Enough

12. “The World Is Not Enough” (1999) – Directed by Michael Apted, the movie has Bond uncovering a nuclear plot, when he protects an oil heiress from her former kidnapper, an international terrorist who cannot feel pain. The movie starred Pierce Brosnan as Bond, Sophie Marceau, Robert Carlyle and Denise Richards.

13-A View to a Kill

13. “A View to a Kill” (1985) – Taking its title from one of Fleming’s 1960 short stories, this film has Bond investigating an East-German born industrialist with possible ties to the KGB. Directed by John Glen, the movie starred Roger Moore as Bond, Tanya Roberts, Christopher Walken and Grace Jones.

14-You Only Live Twice

14. “You Only Live Twice” (1967) – Loosely based on Fleming’s 1964 novel, the movie has Bond and Japan’s Secret Service investigating the disappearance of American and Soviet manned spacecrafts in orbit, due to the actions of SPECTRE. Directed by Lewis Gilbert, the movie starred Sean Connery as Bond, Mie Hama, Akiko Wakabayashi, Tetsurō Tamba and Donald Pleasence.

15-Die Another Day

15. “Die Another Day” (2002) – A failed mission in North Korea leads to Bond’s capture, fourteen months in captivity, a desire to find the MI-6 mole responsible and a British billionaire with ties to a North Korean agent. Directed by Lee Tamahori, the movie starred Pierce Brosnan as Bond, Halle Berry, Toby Stephens, Rosamund Pike and Will Yun Lee.

16-Live and Let Die

16. “Live and Let Die” (1973) – Roger Moore made his debut as Bond in this adaptation of Fleming’s 1954 novel about MI-6’s investigation into the deaths of three fellow agents who had been investigating the Prime Minister of San Monique.

17-Moonraker

17. “Moonraker” (1979) – Based on Fleming’s 1955 novel, this movie features Bond’s investigation into the disappearance of a space shuttle on loan to the British government by a millionaire with catastrophic plans of his own. Directed by Lewis Gilbert, the movie starred Roger Moore as Bond, Lois Chiles, Michel Lonsdale and Richard Kiel.

18-Tomorrow Never Dies

18. “Tomorrow Never Dies” (1997) – Bond and a Chinese agent form an alliance to prevent a media mogul from creating a war between Britain and China in order to obtain exclusive global media coverage. Directed by Roger Spottiswoode, the movie starred Pierce Brosnan as Bond, Michelle Yeoh, Jonathan Pryce and Teri Hatcher.

19-The Man With the Golden Gun

19. “The Man With the Golden Gun” (1974) – Loosely based on Fleming’s 1965 novel, this movie has Bond sent after the Solex Agitator, a device that can harness the power of the sun, while facing the assassin Francisco Scaramanga, the “Man with the Golden Gun”. Directed by Guy Hamilton, the movie starred Roger Moore as Bond, Britt Ekland, Christopher Lee and Maud Adams.

20-Dr. No

20. “Dr. No” (1962) – Based upon Fleming’s 1958 novel, this movie kicked off the Bond movie franchise and featured Sean Connery’s debut as the British agent, whose investigation into the death of a fellow agent leads him to a Eurasian agent for SPECTRE and their plans to disrupt the U.S. space program. Directed by Terence Young, the movie co-starred Ursula Andress and Joseph Wiseman.

21-Skyfall

21. “Skyfall” – Directed by Sam Mendes, this film has Bond’s loyalty to “M” tested, when her past comes back to haunt her in the form of a former agent, who initiates a series of attacks upon MI-6. The movie starred Daniel Craig as Bond, Judi Dench, Javier Bardem and Naomie Harris.

22-Diamonds Are Forever

22. “Diamonds Are Forever” (1971) – Based on Fleming’s 1956 novel, this movie has Bond’s investigations into a diamond smuggling ring lead to another conflict with SPECTRE and Ernst Stravos Blofeld. Directed by Guy Hamilton, the movie starred Sean Connery as Bond, Jill St. John and Charles Gray.

23-Goldfinger

23. “Goldfinger” – Based on Fleming’s 1959 novel, this movie has Bond investigating a German-born gold magnate, who harbors plans to destroy the U.S. gold supply at Fort Knox. Directed by Guy Hamilton, the movie starred Sean Connery as Bond, Honor Blackman and Gert Frobe.

“CRANFORD” (2007) Review

“CRANFORD” (2007) Review

Nearly four years ago, the BBC aired a five-part miniseries adaptation of Elizabeth Gaskell’s series of stories about a small town in North West England. After viewing the 2004 miniseries, ”NORTH AND SOUTH”, my curiosity regarding the 2007 miniseries became piqued and I turned my attention toward it. 

Created by Sue Birtwistle and Susie Conklin, directed by Simon Curtis and Steve Hudson, and adapted by Heidi Thomas;”CRANFORD” is based upon three of Gaskell’s novellas published between 1849 and 1858 – ”Cranford””My Lady Ludlow”, and ”Mr Harrison’s Confessions”. Birtwistle, Conklin and Thomas took aspects of Gaskell’s stories, re-shuffled them and added some of their own plotlines to create the five-episode miniseries. ”CRANFORD” mainly focused upon the small English village between 1842-1843, during the early years of the Victorian Age. On the surface, Cranford seemed like an idyllic community in which time remained stuck in the late Georgian Age. However, progress – both technological and social – began its intrusion upon the community for better or worse. The arrival of a young doctor named Frank Harrison with modern new ideas about medical practices, and a railway construction crew on the town’s outskirts that meant the arrival of the railway, change and possibly unwelcomed citizens; seemed to be the prime symbols of the encroaching Industrial Age.

Many humorous and tragic incidents shown as minor plotlines are scattered throughout ”CRANFORD”. But the main stories seemed to focus upon the following characters:

*Miss Matilda “Matty” Jenkyns – the younger of two elderly sisters who had to endure a series of travails that included the death of a loved one, the reunion with an old love and the loss of her income.

*Dr. Frank Harrison – Cranford’s new young doctor who has to struggle to win the trust of Cranford’s citizens and the love of the vicar’s oldest daughter, Sophy Hutton.

*Lady Ludlow – the Lady of Hanbury Court who struggles to maintain funds for her spendthrift son and heir living in Italy.

*Mr. Edmund Carter – Lady Ludlow’s land agent, who views Lady Ludlow’s attempts to raise funds for her dissolute son with a leery eye and clashes with his employer over the fate of the young son of a poacher.

*Harry Gregson – the very son of the poacher, whom Mr. Carter views as promising and whom Lady Ludlow views as someone who should remain in his station.

*Octavia Pole – a spinster and Cranford’s town gossip who proves to be the subject of a series of hilarious events.

I realize that ”CRANFORD” is a highly acclaimed program. And I also understand why it became so popular. The production team for “CRANFORD” did an excellent job in conveying television viewers back in time to the early Victorian Age. The miniseries possessed some very whimsical moments that I found particularly funny. These moments included Miss Deborah Jenkyns’ assistance in helping Miss Jessie Brown and Major Gordon stay in beat during their rendition of ”Loch Lomond” with a spoon and a teacup; Miss Pole’s hysteria over a thief in Cranford; Caroline Tomkinson’ infatuation with Dr. Harrison; and especially the incident regarding the cat that swallowed Mrs. Forrester’s valuable lace.

Yet, ”CRANFORD” had its poignant moments. Dr. Harrison’s futile efforts to save young Walter Hutton from the croup, along with Miss Deborah Jenkyns’ death allowed Episode 2 to end on a sober note. And the doctor’s more successful efforts to save Sophy Hutton from typhoid gave the last episode a great deal of drama and angst. I found it almost difficult to watch Miss Matty endure one crisis after another – until she finally prevailed with the establishment of her own tea shop, with the help of the ladies of Cranford and her reunion with her long lost brother. My heartstrings also tugged when the conflict between Mr. Carter and Lady Ludlow over Harry Gregson ended on a tragic, yet poignant note. But the one scene that left me in tears turned out to be the series’ final shot of Cranford’s citizens bidding good-bye to the recently married Dr. Harrison and Sophy. The miniseries closed on what seemed to be a real sense of community.

And that is what the theme of ”CRANFORD” seemed to be about – at least to me. Community. However, this theme and the Gaskell novellas that the miniseries were based upon have led me to a conclusion. There seemed to be a lack of balance or blending between the series’ format and the material. If ”CRANFORD” had been based upon one novel or a series of novels that served as a continuing saga, I would never have any problems with its tight structure of a five-episode miniseries. But ”CRANFORD” was based upon three novellas written over a period of time that were certainly not part of a continuing saga. And if I must be frank, I personally feel that the miniseries could have served its source of material a lot better as a one or two-season television series.

I realize that producing a television series that was also a period drama would have been more expensive than a miniseries or a series set in the present. But Heidi Thomas’ script seemed vague for the miniseries format. With the exception one particular storyline, ”CRANFORD” seemed to be filled with minor stories that were usually resolved within one to three episodes. For example, the Valentine card storyline that left Dr. Harrison in trouble with the ladies of Cranford stretched across three episodes. Even the railway construction storyline only appeared in three episodes and not in any particular order. Miss Matty’s financial situation only stretched into two episodes. And plots featuring the lace-swallowing cat, Miss Matty’s relationship with Mr. Thomas Holbrook, and Jem Hearne’s broken arm only appeared in one episode. The only storyline that consistently appeared in all five episodes turned out to be the conflict between Lady Ludlow and Mr. Carter over Harry Gregson’s future.

But one cannot deny that ”CRANFORD” was blessed with a first-rate cast. The cream of this cast consisted of a sterling group of veteran British actresses, whose characters dominated the series. However, only a handful of performances really caught my attention. Two of them belonged to Judi Dench and Eileen Atkins as the Jenkyns sisters – the mild-mannered Matty and the domineering Deborah. Judging from their outstanding performances, I can easily understand how one of them earned an Emmy nomination for Outstanding Lead Actress and the other won both an Emmy and a BAFTA for Outstanding Lead Actress. Another outstanding performance from a veteran actress came from Francesca Annis, who portrayed the intensely conservative Lady Ludlow. Annis did a wonderful job in conveying her character’s rigid opposition to education for the lower classes and struggle to overcome these feelings in the face of her kindness and compassion. Philip Glenister, who made a name for himself in the 1995 miniseries ”VANITY FAIR”and in the award winning series ”LIFE ON MARS” and its sequel, ”ASHES TO ASHES”; certainly proved his talents as an actor and strong screen presence in his portrayal of the intense, yet very practical Mr. Edmund Carter. I especially enjoyed Glenister’s scenes with Annis, while their characters clashed over the fate of young Harry Gregson. Providing the bulk of comic relief were actresses Imelda Staunton (from 1995’s ”SENSE AND SENSIBILITY” and ”HARRY POTTER AND THE ORDER OF THE PHOENIX”) and Julia McKenzie (the new Miss Jane Marple for ITV). They portrayed two of Cranford’s biggest gossips, Miss Octavia Pole and Mrs. Forrester. Staunton seemed truly hilarious, while portraying Miss Pole’s terror and anxiety over becoming the victim of a thief. And not only was McKenzie funny as the finicky Mrs. Forrester, she gave a poignant soliloquy in which her character recalled a past act of kindness from Miss Matty.

In conclusion, I really enjoyed ”CRANFORD”. Thanks to directors Simon Curtis and Steve Hudson, along with production designer Donal Woods, screenwriter Heidi Thomas and costume designer Jenny Beavan; the miniseries gave television audiences a warm, humorous and poignant look into village life in early Victorian England. But despite the production team and the cast, I believe the miniseries has a major flaw. Its source material – three novellas written by Elizabeth Gaskell – did not mesh very well with the miniseries format. I believe that ”CRANFORD” would have been better off as a television series. Such a format could have served its stories a lot better.

“THE LIVING DAYLIGHTS” (1987) Review


“THE LIVING DAYLIGHTS” (1987) Review

Twenty-four years have passed since EON Productions first released its 15th entry in the Bond franchise – THE LIVING DAYLIGHTS, starring Welsh-actor Timothy Dalton I first saw THE LIVING DAYLIGHTS on the night of July 31, 1987 – the date of its original U.S. release. My family and I saw it at the Grauman Chinese Theater in Hollywood. The theater was so packed that we ended up seated near the screen. I had a headache by the time the movie ended. Yet, watching “THE LIVING DAYLIGHTS” that night was one of the most enjoyable movie going experiences of my life.

I have to say that EON Productions has been lucky in its choice of the six actors who managed to bring their own sense of style to the role of James Bond . . . and I mean all of them. And all were smart enough to portray Bond in a way that suited them, instead of adhering to what the public or the producers wanted them to play Bond.

The movie’s title comes from the 1966 short story, ”The Living Daylights” in which Bond is assigned to assassinate a KGB sniper out to kill a MI-6 agent trying to escape from the Soviet Bloc in Berlin. The movie’s director, John Glen, along with screenwriters Richard Maibaum and Michael G. Wilson, took aspects of that short story and used it to initiate the screen plot. ”THE LIVING DAYLIGHTS” starts with a military exercise on Gilbratar in which three 00 agents – including Bond – test the British base by infiltrating it. One of the agents is killed by a KGB agent, who leaves a clue behind with the following words, ”Smiert Spionam”. The phrase, which means ”Death to Spies”, is repeated by Soviet general Georgi Koskov (portrayed by Jeroen Krabbe), after Bond helps him defect from Bratislava, Czechoslovakia. The defection sequence turns out to be a slight remake of the Fleming short story. But whereas the female sniper turns out to be a genuine killer in Fleming’s version; in the movie, she turns out to be Czech celloist, Kara Milovy (portrayed by Maryam D’Abo), who pretends to be a sniper in order to convince MI-6 that Koskov’s defection is genuine. The movie later reveals that Koskov also had Kara impersonate a sniper in order to set her up to be killed by MI-6, namely Bond. And why? It turns out that Koskov is a renegade who has allied himself with an arms dealer named Brad Whittaker (Joe Don Baker) who have been using KBG funds to profit from drug dealing, instead of purchasing arms for the Soviet Army. When another general, Leonid Puskin (John Rhys-Davies) becomes suspicious, Koskov and Whittaker frame the general for the murder of 002 on Gilbratar so that MI-6 will terminate him. Thanks to Bond’s suspicions and his alliance with Kara, the CIA and Afghan freedom fighters named the Mujahedeen, he prevents Koskov and Whittaker’s plans from coming to fruition.

First of all, THE LIVING DAYLIGHTS is not a perfect movie. It has its flaws. The movie’s main flaw came in the form of the new Aston Martin Volante used by Bond during his escape from the Soviet authorities in Czechoslovakia to Austria. The car was equipped with weaponry such as to use during The Living Daylights mission, the car was equipped with all the essential weaponry that includes rocket launchers and lasers mounted in the hubcaps. Now if this had been”GOLDFINGER””THE SPY WHO LOVED ME” or ”TOMORROW NEVER DIES” this would not seem out of place. But a gadget laden Aston Martin does seem out of place in a taunt thriller like THE LIVING DAYLIGHTS and Dalton’s Bond does not seem like the type of guy who would feel comfortable driving such a vehicle.

The Aston Martin sequence emphasized another problem with THE LIVING DAYLIGHTS – namely the humor that accompanied this scene. Some critics had complained of Timothy Dalton’s lack of humor during his tenure as Bond. Actually, one could plainly see that Dalton did have a sense of humor – but one that seemed subtle, dry and slightly dark. It was not the type of humor that drew belly laughs like Roger Moore’s. Most of the movie managed to display Dalton’s type of humor very well. Except during the Aston Martin sequence that featured Bond and Kara’s escape from the Soviet authorities and troops. During this sequence, the producers obviously had not only decided to burden Dalton’s Bond with a gadget-filled car, but also jokes that seemed to fit Roger Moore’s style of humor. I hate to say this but Dalton simply lacked Moore’s talent for broad humor. And it showed during this sequence.

Another problem with the movie turned out to be the character of Brad Whittaker, an American arms dealer. Granted, Joe Don Baker turns in a very competent performance. But his character contributes very little to the story. True, his business as an arms dealer serves as a catalyst to the story, but as a Bond villain he comes off as somewhat weak. Quite simply, he hardly does anything. The movie’s entire plot – using MI-6 to kill off the suspicious Pushkin in order to continue misuse of KGB funds – turned out to be Koskov’s brain child. It was Koskov who plotted to get rid of Pushkin. It was Koskov who plotted to get rid of Kara. It was Koskov who had plotted to frame Bond for Pushkin’s murder. And I suspect that it was Koskov who had originally created the scheme to misuse KGB funds for drug dealing in the first place. Frankly, I think that Whittaker should have met the same fate as Hai Fat from ”THE MAN WITH THE GOLDEN GUN”. He was that irrelevant. Only in his final scene with Dalton does Baker’s Whittaker seem impressive. Instead of arranging some ridiculous death that would give 007 an opportunity to escape, Whittaker did not hesitate to kill Bond in the most brutal manner possible.

With a weak villain such as Whittaker, one would expect THE LIVING DAYLIGHTS to fall apart. But it did not, thanks to the movie’s other main villain – Soviet General Georgi Koskov. Many Bond fans tend to dismiss Koskov as another weak villain. I disagree. Dutch actor Jeroen Krabbe did a fantastic job in creating a character that seemed extroverted, charming and very likeable on the surface . . . and intelligent, devious, ruthless and cold-blooded underneath. This subtle duality in his personality comes to the fore in his relationship with Kara Milovy. He obviously had some kind of affection toward the blond cellist . . . enough to purchase a famous Stradivarius cello for her. Yet, when his deception threatens to be exposed, he cold-bloodedly arranged for her to be mistaken as a KGB assassin by Bond, so that the latter would kill her. After all, Kara knew about his relationship with Whittaker. If I had to be honest, I would prefer to be face-to-face wtih an obvious villain like Auric Goldfinger than to be unexpectedly stabbed in the back by the likes of Georgi Koskov.

Not only did Jeroen Krabbe contributed to the quality of THE LIVING DAYLIGHTS, but so did the rest of the cast, including the London-born actress of Dutch-Georgian ancestry – Maryam D’Abo. Her Kara Milovy, the effervescent Czech cellist, seemed like a sister in spirit to the Bond leading lady of FROM RUSSIA WITH LOVE . . . only with a little more backbone. D’Abo infuses Kara with a fresh naivety and passion that has not been since Daniela Bianchi in FRWL. Even better, she and Dalton managed to create a magnetic, yet natural screen chemistry. But D’Abo has never been that popular with Bond fans. Apparently, she seemed too ladylike and not sexy enough for them. Another Bond fan had complained that once Bond learned all he could about Koskov from Kara in Vienna and she set him up to be captured by Koskov in Tangiers, her character became irrelevant to the story. This could be true. But if Kara became irrelevant after Tangiers, what were the writers supposed to do with her? Leave her there? I doubt that Koskov would allow a living Kara loose on the world to expose him. No wonder he had brought her along to Afghanistan. But even there, Kara proved to be more than “comic relief” as someone had put it. Thanks to her, Kamal Khan and his Mujahedeen fighters attacked the Soviet airbase and distracted the military personnel long enough to save Bond and give him the opportunity to steal the plane loaded with Whittaker and Koskov’s opium. Kara Milovy may not be the most popular of Bond leading ladies, but thanks to D’Abo’s performance, she is certainly one of my favorites.

I must admit that I found myself rather impressed by the rest of THE LIVING DAYLIGHTS cast. Robert Brown proved to be a more interesting “M” than he did in either OCTOPUSSY and A VIEW TO A KILL. His stuffy head of MI-6 proved to be an excellent contrast to Dalton’s Bond, with whom he constantly butt heads with. Although Robert Shaw had set the standards for the blond, muscle-bound henchman/killer in FROM RUSSIA WITH LOVE, many have failed to be as memorable as him. As far as I am concerned, only one has come close . . . namely Andreas Wisniewski as Necros, Whittaker and Koskov’s hired killer. Like Shaw before him, Wisniewski had very little dialogue – in fact, probably less than the British actor. But he managed to project menace, intelligence and style without coming off as some muscle-bound clone like the Hans character in YOU ONLY LIVE TWICE and the Stamper character in TOMORROW NEVER DIES. Also included in the cast was legendary character actor, John Rhys-Davies, portraying Soviet General Leonid Pushkin, the very character whose suspicions of the Whittaker-Koskov partnership helped set the plot in motion. Unlike many of his other well-known roles, Rhys-Davies portrayed a more restrained character, yet managing to project his usual strong presence. He and Dalton played off each other very well in the famous Tangier hotel room scene, in which Pushkin nearly became one of Bond’s victims. And of course, there is Art Malik from THE JEWEL IN THE CROWNfame. In TLD, he played Kamran Shah, leader of a local Mujardeen unit. In a way, Malik’s character reminds me of Georgi Koskov – a strong and intelligent man who uses a benign persona to hide his true self. And Malik portrayed Shah with a giddy mixture of authority, charm, and mischievous wit.

That said, I want to say a few things about Timothy Dalton. Even though I was a major fan of Roger Moore, I realized by the mid-80s that it was time for him to retire from the role. With great fondness, I said adieu and breathlessly anticipated Timothy Dalton’s debut inTHE LIVING DAYLIGHTS. When THE LIVING DAYLIGHTS first came out, the media pointed out that Dalton had read all of Fleming’s novels, along with a biography of the author to get a vibe on the James Bond character. It is possible that many fans and critics, used to Roger Moore’s more humorous portrayal, found it difficult to accept Dalton’s grittier Bond. Personally, I feel all of that research had paid off. Dalton’s Bond was a tense and serious man with occasional flashes of grittiness, dark humor and a human heart – very much the personification of Fleming’s literary portrayal. Judging from the success of previous Bond actors, perhaps it was not necessary for Dalton to portray the role in such a serious manner. But hey! It worked for him. Many fans may not have appreciated his efforts twenty years ago, but now they do.

In the past seventeen-and-a-half years since LICENSE TO KILL‘s release, I have come to appreciate Dalton’s contribution to the Bond franchise even more. Whoever said that he was the right Bond at the wrong time was probably right. The man was ahead of his time . . . not just for the Bond franchise, but for many espionage films. People have also stated that Dalton had made a great impact on the franchise. Again, I believe that Dalton not only influenced Daniel Craig’s debut as Bond in the early 21st century, but many other espionage characters. Pierce Brosnan was not above utilizing Dalton’s darker take on Bond, every now and then. I also suspect that Dalton might be partially responsible for the influx of edgy, angst-filled spy or action/adventure characters that have emerged over the years. Characters portrayed by the likes of Matt Damon, Matthew McFaydden, Kiefer Sutherland, Harrison Ford and possibly even Richard Chamberlain and Robert DeNiro. Even the Tangier hotel scene between Dalton and D’Abo in THE LIVING DAYLIGHTS seemed to have been copied in many action movies in the years that followed – including one between Dalton and Carey Lowell in LICENSE TO KILLand Harrison Ford and Allison Doody in INDIANA JONES AND THE LAST CRUSADE. But no one did it better than Dalton and D’Abo, as far as I’m concerned.

Screenwriters Richard Maibaum and Michael G. Wilson, created a taunt thriller, reminiscent of past Bond movies like FROM RUSSIA WITH LOVE and FOR YOUR EYES ONLY. Instead of the usual super villain bent upon controlling a major world market or the world itself, or the super terrorist groups up to its elbows in gadgets, Maibaum and Wilson took Fleming’s short story and created a tale of emotions, greed and betrayal. What I especially like about THE LIVING DAYLIGHTS is that it featured a series of excellent scenes and moments:

-the entire defection sequence starting from Kara’s appearance in the window and ending with Koskov’s departure from Austria

-Koskov’s exuberant greeting of Bond

-Necros’ attack on the MI-6 safe house

-Bond and Kara’s first meeting

-Bond and Kara’s arrival in Vienna

-Bond and Pushkin’s confrontation in Tangiers

-the fake assassination of Pushkin

-Bond and Kara’s confrontation in Tangiers

-Bond and Kara’s escape from the Soviet military jail in Afghanistan

-Kamran Shah’s revelation of true nature

-the Mujardeen’s attack on the Soviet air base

-Bond and Kara’s arrival in Pakistan

-Bond and Whittaker’s confrontation in Tangiers

Thanks to the above scenes and the script, the story came close to feeling like a real spy thriller, instead of a quasi-fantasy/action-adventure flick. As I had stated before, the movie’s only misstep seemed to be the use of the gadget-laden Aston-Martin and the insertion of dialogue not suited for Dalton’s acting style in the Czechoslovakia-to-Austria chase sequence. In fact, the sequence’s style seemed out of place for such a taunt thriller like THE LIVING DAYLIGHTS. Despite that particular sequence, the cast and the story, combined with John Glen’s competent direction and Alec Mills’ cinematography made THE LIVING DAYLIGHTS one of the finest – in my opinion – Bond movies in the franchise.

Returning back to that night in Hollywood, I recalled that the audience went wild over THE LIVING DAYLIGHTS. They especially seemed to take pleasure in the scene in which Bond and Kara managed to escape across the border into Austria. I had enjoyed “THE LIVING DAYLIGHTS” so much that I saw it at least six or seven more times in the theaters before it was released on video. And for me that is a personal record – especially in regard to the James Bond film. Happy birthday, THE LIVING DAYLIGHTS!

Memorable Lines

[after escaping out of a small jail cell]
Kara: You were fantastic. We’re free.
Bond: Kara, we’re inside a Russian airbase in the middle of Afghanistan.

“That’s too bad, Bond. You could’ve been a live rich man, instead of a poor dead one.” – Brad Whittaker

[James Bond and Kara Milovy snow-slide through customs in a cello case]
Bond: [yelling] We have nothing to declare.
Kara: [yelling] Except this cello.
[the word ‘cello’ echoes through the valley a few times]

[On Whitaker being crushed under a statue of the Duke of Wellington]
Bond: He met his Waterloo.

Koskov: I’m sorry, James. For you I have great affection, but we have an old saying: duty has no sweethearts.
Bond: We have an old saying too, Georgi. And you’re full of it.

Kara: What happened?
Bond: He got the boot.

[Bond is pointing a gun at him]
Pushkin: You are professional. You do not kill without reason.
Bond: Two of our men are dead. Koskov named you.
Pushkin: It is a question of trust. Who do you believe? Koskov, or me?
Bond: If I trusted Koskov we wouldn’t be talking. As long as you’re alive, we’ll never know what he’s up to.
Pushkin: [Slowly] Then I must die.

[after demonstrating a boom-box rocket launcher]
Q: [to Bond] Something we’re making for the Americans. It’s called a “Ghetto Blaster”.

[struggling with Kara’s cello]
Bond: Why didn’t you learn the violin?

[Bond and Saunders are discussing the change of plans on Koskov’s defection]
Koskov: James. James Bond!
Bond: [hugging Koskov] Later, General! [to Saunders] Lose them. I’ll pick you up at the border, twenty-three hundred hours. Be there.
Saunders: Where are you taking him? How will you get him out?
Bond: Sorry, old man, section 26, paragraph 5. Need-to-know. Sure you understand.

[Saunders has just been assassnated]
Kara: Did you hear?
Bond: Hear from Georgi?
Bond: Yes, I *got* the message.

Pushkin: Put him on the next plane to Moscow…
Koskov: Oh, thank you General, thank you so much…
Pushkin: …in the diplomatic bag.

[after removing his disguise] “Thank you both for your help. My name is Kamran Shah. Please forgive the theatricals, it’s a hangover from my Oxford days.” – Kamran Shah

[after destroying his car] “Glad I insisted you brought that cello.” – Bond

Bond: Just taking the Aston out for a spin, Q.
Q: Be careful, 007! It’s just had a new coat of paint!