The Living Daylights

“Go ahead, tell him what you want.  If he fires me, I’ll thank him for it.”

1987 was the 25^th anniversary of the release of the first Bond film, Dr No, and the film released to celebrate it was a treat (ranked 8^th on my list).  The Living Daylights originated as a short story in which Bond spends three nights waiting for a British spy to cross from East Berlin to West Berlin, with the job to shoot a sniper who is targeting the defector.  During the long nights as he fights sleepiness Bond comes to admire a female cellist, who turns out to be the sniper he was sent to kill.  When the time comes, Bond cannot bring himself to kill the beautiful woman and shoots the gun instead.  The defector still manages to make it.  Bond is willing to lose his job for not following orders and recognizes that he might be tired of this life.

As always, I will discuss spoilers and third act revelations so please see the film first.

The film version takes this set piece, changes the setting to Bratislava, Czechoslovakia, and uses it launch the story.   The defection is part of an elaborate assassination plot since the defector, Russian General Koskov, played by Jeroen Krabbe, sets up Bond to kill his boss, General Pushkin, played by John Rhys Davies, to keep Pushkin from discovering Koskov’s plot to use Russian state funds, originally intended to buy weapons to support the Russians in Afghanistan, to instead buy opium in Afghanistan.  Koskov presumably plans to sell the opium in the U.S.  After doing so Koskov could still buy the weapons but keep the substantial profits.

The plot could feel dated as the first two acts contain Cold War elements and the third act is set in Afghanistan during the Russian occupation of the 1980s, but is still refreshing and the characters often act based on their emotions rather than following story threads.   Director John Glen keeps the story moving and the tone relatively light.  John Barry’s final Bond score is one of his best, with the synthesized theme mixed in with the traditional Bond score, along with a new action theme.  The romantic theme with the flute and the music during the defection sequence make good understated use of Barry’s traditional brass sound. 

Screenwriters Richard Maibaum and Michael G. Wilson originally drafted a treatment focusing on a young Bond learning his trade.  However producer Cubby Broccoli ultimately felt audiences would prefer to see Bond as a veteran agent, which led to the scripting of the finished story.

The story of casting Bond in The Living Daylights is interesting.  After A View to a Kill left theatres Roger Moore announced he would not play Bond again.  Broccoli and Glen considered several actors, including Sam Neill.  Pierce Brosnan, who had an acting style similar to Moore, eventually won the part.  Brosnan had also played a Bond-like character on TV with Remington Steele, which had just been cancelled. 

NBC, ostensibly due to the publicity of Brosnan becoming Bond, exercised its right to order more Remington Steele episodes which led to Brosnan being unavailable for the role (Broccoli also did not want his star playing a similar character on TV).  As a result Timothy Dalton, who had been a candidate for a long time, was hired.  Brosnan eventually played Bond after Dalton starting with 1995’s Goldeneye.

The Living Daylights is Dalton’s first of what was then thought to be at least three films.  Dalton is a skilled actor with a lot of stage experience who largely based his interpretation on the book character.  In the books Bond is intense, impatient, and ruthless yet also very vulnerable at times.  Although much of the discussion of The Living Daylights revolves around Dalton’s Bond, the film could be modified to work with any of the other Bond actors, though Moore might look out of place in the sniper scenes.   

As with Connery and Craig, Dalton completely owns the part in his first time, nailing the tiny character moments, whereas Moore did not really click until his third film and Brosnan until his second.  He is hard when he is engaged in his mission but otherwise is charming, if set in his ways.  This Bond is a little less smooth; see his scenes with Kara where he at times is a bit awkward when not pretending to be Koskov’s friend.  Dalton’s Bond makes mistakes when enraged (ie he pulls a gun on a boy and his mother) and to give another example is not always on balance when he runs.  Until Craig, Dalton was my favorite Bond as I love intensity of the character from books.  Dalton’s Welsh accent and occasionally fierce look enhances the interpretation. 

Caroline Bliss as the new Moneypenny has been criticized as being too beautiful to pine after Bond.  I think she is fine, just that Bliss’ Moneypenny does not have much sass and does not put Bond in his place when he teases her.  Bond’s patting of her backside is inappropriate now.  There is some sexism in her casting as the film has the same actors playing Q, M, and the Minister of Defence as before but Lois Maxwell has been cast aside for a Moneypenny closer to the new Bond’s age.  The rest of the actors playing the MI6 staff do their usual solid work with Llewelyn as usual being the most fun as Q. 

The approach with the villains is to be similar to Octopussy with two partners and a henchman.  Krabbe is an exurberant, shifty presence as Koskov.  However he is not believable as a Russian general.  The character might have been improved if Koskov were a member of the government or Politboro.  Joe Don Baker as Whittaker has an interesting background, but does not make much of an impression and often pouts. Andres Wisniewski as the versatile henchman Necros injects some much needed malice.

Maryam D’Abo plays Kara Milovy, the cellist who poses as a sniper.  Kara is a warm character who spends a lot of the film being used by Koskov and then Bond but after she learns the truth about Bond their relationship strengthens.  Bond sometimes loses patience with her as she does not always act in a way best suited someone facing the threats they are but he also appreciates the beauty that her music brings into his sometimes ugly life.  The relationship is enhanced by Bond being more monogamous than usual and for most of the film Kara has Bond to herself.

John Rhys-Davies has a charismatic presence as Pushkin.  Although Pushkin’s role was originally written for Walter Gotell’s General Gogol, a recurring character, after Gotell could not get insured, the writers created Pushkin.  Although the history with Gogol would have given more weight to the scenes in which the British have to consider killing him (even though Gogol had appeared opposite a different Bond), Davies perfectly embodies Pushkin’s dignity, ruthlessness, and humor (notice the way he opens his eyes and moves his eyebrows when it is revealed he is alive). 

Art Malik plays the Kamran Shah, who initially fools Bond with his impersonation of a helpless prisoner and then turns out to be an Oxford educated head of the Mujahadeen.  Shah probably could pursue a better life abroad but is dedicated to fighting the threat to his home.  I found it a bit disappointing a few years later when Malik played a stereotypical Islamic terrorist in True Lies. 

Here are some observations that came to mind during my last viewing.

The gunbarrel uses the same music as the last two John Barry scored Moore films.

The film has fun with Bond’s introduction, with a fantastic aerial shot from above of the three Double-0s parachuting down.  Dalton’s first close-up is riveting, and scored perfectly.

A mistake occurs when Bond finds the body of the guard below where 004’s body is.  The guard who the imposter killed was above the mountain that 004 was climbing up.

When I first saw the film I was surprised when Bond started chasing after the truck on foot as I had never seen Connery or Moore exert themselves in that way.  During the chase down the mountain the photography is creative and a little more realistic.  When the truck explodes, Bond’s POV is shown with his boots above the fray and he gets hit with shrapnel.

The defection sequence is a well planned and executed operation without any fights.  Saunders is trying to control Bond and the mission, despite not being a field agent.  Bond, without trying to draw attention to his actions, keeps taking it over so it works, not caring at all about who gets credit.  Bond seems to have set up his own way that he activates as soon as he sees that Saunders’ plan won’t work. 

Bond quickly looks around as he goes into the apartment across the street and his walk is very alert. 

The strawberry jam line is paraphrased from the story.  Dalton punctuates “jam” when delivering the line.

Kovkov checks to see if Kara is in place before starting to run and Bond stays behind after shooting to watch Kara, curious about her.  Although Bond’s argument that Kara is not a professional is valid, the questions remains if he would he killed her if she were a man or had handled the rifle more capably?

Bond’s line, “I’d rather not think about it” works on a couple of levels.  Bond keeps Koskov in the dark as to whether or not he killed Kara, which later helps him.  It also makes sense that he would not want to discuss an assassination, especially in the midst of an active operation.

Q’s first line is well placed, confirming that Koskov is across the border.  I do not know what Q is doing there but it is always great to see him.

The final scene in the sequence shows us how Bond is unaffected by Saunders’ indignant attitude and would seemingly welcome being removed from the Secret Service, which also echoes the books, though he would be likely be bored by civilian life.  The violin slowly playing the Bond theme underlines that 007 is in full control.

In the debriefing scene the somewhat stuffy M and the Defence Minister are clearly a bit fed up with Koskov’s extravagant behavior by the time Bond arrives with the package from Harrods.  Bond’s quick reaction to the champagne on the list (in the lab scene) and M’s reaction to seeing it are amusing. 

At the end of the scene Bond looks at Koskov as if he does not believe him.

Necros uses four accents when infiltrating the safe house.  He pretends to be an American, when jogging past the milkman, a Cockney when impersonating the milkman, a more posh accent when imitating “Green Four”, and then a Russian for the benefit of the stenographer. 

The kitchen fight scene is vicious.  The whole rescue seems well planned though I wonder how Necros knew where Koskov was.

Dalton’s Bond does not play the puns that well but he is funny when quibbling with Kara over the cello, the way an annoyed spouse would be.  Bond can’t keep himself from bringing it up.

The escape sequence gives some good showcase moments to the Volante.  At a couple of points the car appears to be in neutral when it is supposedly moving. The different sound effects as the car hits the mountain are effective.

The final piece of the sequence, Bond and Kara, using the cello case as a sled, is comical while also showing how well Bond thinks on his feet.  The scene is a nice twist on a traditional Bond ski chase.

Vienna appears to be very romantic with the soft lighting, the full romantic theme and the carriage. 

When Bond says “Shaken, not stirred” to the hotel concierge, the suggestion is that the hotel perhaps got it wrong once before.  Moore never said the line in any of his films not wanting to be compared to Connery, but Dalton, Brosnan, and Craig all have.  I think Dalton delivered it the best.

In both of Bond films Dalton he fully went for the “Shaken, not stirred” line but underplayed the far more important “Bond, James Bond.  Perhaps the meaning is Dalton’s Bond cares more about how his drink is prepared than who he actually is.

During the opera Bond acknowledges Saunders without changing his relaxed expression.

Saunders’ look at Kara after talking to Bond is funny.  He cannot believe Bond is dating the “sniper”.

When Bond and Kara get on the ferris wheel (where Orson Welles delivered his “cuckoo clock” line in The Third Man), Bond notices Necros following Saunders.

Bond and Saunders finally develop a respect for each other right before Saunders’ violent death.

Bond’s reaction to Saunders’ death is electric. He goes from stricken to enraged when he sees the balloon, which seems to mock the moment (when did Necros tie a balloon to Saunders’ shoes?).  The close up of Dalton’s cold eyes and quivering jaw is one of the best in the series.  Afterwards Bond can barely contain himself a moment later when Kara starts asking him innocent questions.

Bond’s interrogation of Pushkin is a bit terrifying as we do not know what he is going to do but we know that Pushkin is innocent.  Bond’s anger at Saunders’ death just a moment or so before on screen feeds the feeling here.  As much as I love the Dalton’s ruthlessness (note the force Bond uses to grabs Pushkin’s wrist), Rhys Davies also deserves a lot of credit.  He plays a man who thinks he is going to see his mistress and finds himself staring down the long barrel of the gun of a dangerous man.  

Pushkin’s disbelief of Smiert Spionom may save his life.  Davies gives Pushkin as much dignity as he can while begging for his life (“I am in the dark as much as you”).  When Pushkin says “then I must die” the silencer for the Walther enters the frame.

It is disturbing when Bond forces Pushkin’s mistress to take her robe off.

Curiously both Bond and Necros use pistols instead of rifles to “assassinate” Pushkin.  When Bond shoots out the spotlight it puts him in contact with Necros for the first time.

The scene with Bond and Kara in the hotel room combines a domestic situation with the spy world.  Bond comes back to the hotel room after a being shot at and briefly kidnapped and he seeks solace in Kara’s music.  When Kara drugs Bond it is the price he pays for lying to her.  As Bond realizes he has been drugged his instinct is to prove to Kara that Koskov is dangerous to her.  It is tragic to hear Bond’s weakened voice saying that he was “the man they sent to kill you” as he is falling down.  Both actors are tremendous and D’Abo especially captures the hurt of being lied to.

On the plane Glen frames Bond and Kara’s hands holding each other to show where they are at emotionally. 

The familiarity between Bond and Koskov makes for a nice contrast to the traditional captive scene.  Bond is amused by the irony of Koskov turning him into the Russians for a “murder” Koskov had Bond committed.  Twice Bond fools Koskov into thinking he had killed someone that he in fact had not.

When Bond and Kara come into the jail Bond goes down to the floor to get the guard to leave Kara alone, taking a couple of brutal blows with the baton, something Moore’s Bond never had to endure.

The jailhouse fight is more realistically staged (apart from the stun gas) than many fights in other Bond films.  The guard seems to be a pretty rough character.

Bond and Kara enter the jail in late afternoon but it is night when they exit moments later.

I wonder about Kara’s relationship with Koskov.  Clearly Koskov wanted Bond to kill Kara to protect his secrets.  Kara seemed to have strong feelings for Koskov but perhaps in part saw him more as a way out from the Iron Curtain. 

In Afghanistan (the scenes of which were filmed in Morroco which has similar terrain) some of the brutality of the Russian treatment of the local Afghans during the invasion is suggested with the presence of the sadistic guard and Colonel Feyador.  Notably Pushkin, a sympathetic Russian character, is nowhere near these scenes, although he had purchased weapons to use against the Afghans.

The environment of the Mujahadeen is briefly glimpsed, containing both a strong sense of brotherhood (look how Kamran greets his friends) and roughness, as witnessed by Bond and Kara through their window.  Rambo III, released the following year, focused a lot more attention on it. 

The set design of Kamran’s home seems culturally accurate but everything is a bit old, which would be expected there.

In the scene that focuses on the established relationship between Bond and Kara, Kara is upset that Bond is going after Koskov and the slight tears in his eyes show that it hurts him to do so.  The soft flute music and her anger the way they quickly make up capture the volatility of a new relationship under heightened circumstances.  The nature of the conflict suggests that this relationship has little future.

Kamran is selling drugs to the Russians but does not realize that it is so they can sell it.

The base attack works initially in favor of the Afghans due to the surprise and the chaotic nature of the attack but we later see that the Russians have overpowered and are pursuing them.

Kara is resourceful in the battle.  Bond’s frustration when Kara does not understand his visual instructions are pretty funny.

Glen cleverly shows Necros jumping toward the plane but does not show us if he makes it.

The net over Bond’s face and the start of the music are shockingly reveal Necros’ presence and gives us the long-awaited showdown between the two men.  One of the best stunts in the series is the cargo net coming out of the plane.  Bond hitting Necros through the rope is ingenious.

The “He got the boot” line is fun as Bond gets it out while rushing to the pilot’s seat.  It does however make Kara look a little clueless as she must have seen they were about to crash into a mountain.  It might have worked better if she had seen the mountain it but was unable to redirect the plane.

Although the escape from the plane scene is fun it looks like the plane could have landed.

When Bond is breaking into Whittaker’s house it looks like it is day trying to pass for night.

Dalton underplays the scene with Whittaker.  Bond does not seem to consider Whittaker as much of a threat.  When the shooting starts Whittaker is having so much fun he does not seem to realize that he is shooting up his house.  I think the scene is a little too big as it hard to believe Bond is not even wounded.

Koskov’s final scene, with Bond’s reaction and Koskov’s clear desperation to get away with his scheming, and Pushkin’s line to him make an appropriate finale for a nice exit for that character.

Bond must have snuck into the concert to keep M from spotting him.

In conclusion The Living Daylights is a fine piece of entertainment that is both character based and action packed.  It serves as a fine introduction to Timothy Dalton and has just the right tone for a Bond film.  I enthusiastically recommend it to anyone looking for an enjoyable couple of hours. **** (out of five)