 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Both of Dalton's Bonds are much to my liking. One note about LTK: it was about my seventh viewing before I watched Anthony Zerbe meet his fate with my eyes open.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Mar 28, 2015 - 3:26 PM
|
|
|
|
By: |
Disco Stu
(Member)
|
My opinion has changed dramatically since the first time I saw it. Started out not caring for it, but now it's one of my favorites.
Dalton has become my favorite Bond, and I'm glad he was spared the rubbish that came after him. He stopped exactly when the world stopped being interesting and fun.
Dalton is the most rounded out character; not the creep that is Connery's bond, not the clown that is Moore and not the emo thug that is Craig. He portrayed a light and agile Bond and not the tank Bond is now. The things I like about Dalton's Bond are those things that made him unloved with a large audiene.
LTK's plot is also unique in that it's drug hunt; no big world domination, no spying or nation against nation. It has the most realistic enemy which is expertly played too. No cartoon henchman (however fun they are) but a miserable sadistic pisser who you wish to die in the horrible way he does at the end.
Another unique thing is that Bond really infiltrates, and befriends his enemy, and that he uses the Mission Impossible method of divide and conquer. He creates doubt after doubt, making the bad guy kill his own allies.
Except for the truck chase, which is not spectacular but Moorishly over the top, I love this film.
Gladys Night's song is also smooth and powerful and not the earrape that is everything that came after it or the audiosonic sandblast that is Bassey.
D.S.
|
|
|
|
|
|
|
|
|
|
Posted: |
Mar 28, 2015 - 6:45 PM
|
|
|
|
By: |
Richard-W
(Member)
|
That's Richard Maibaum's story and script and ideas Disc Stu praises, and rightfully so.
Sean Connery's Bond was never a creep, and Shirley Bassey's vocals were never a sonicblast. If it weren't for these two remarks I'd agree with everything Disc Stu said.
Also, Timothy Dalton was much loved by the widespread audience in 1989.
I wish the Wayne Newton business had not been added to the film. One of those stupid and unnecessary sidetracks that is neither funny, nor exciting nor relevant that Michael Wilson patted himself on the back for. It slows things down. I also wish the film had a different director. John Glen was a plodding mediocrity. He never knew whose scene it was or what was important, and he didn't take good camera care of Timothy Dalton, who was worth his weight in gold.
The photography is flat and boring and Michael Kamen's music, although it starts out well on a downbeat, is as uninspired as the directing. Nevertheless I like the film and watch it occasionally. I agree with Music Mad, it's the last genuine James Bond film, flaws and all.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The transition from the hijinks of Moore to the harder edge of Dalton was just too much to take for most people at the time.
Dalton probably comes closest to Fleming's Bond, but that version had pretty much been forgotten by most people after almost 2 decades of silly comedy.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I truly love all the Bond films, just some more than others. 
