Licence to Kill

Tags

007, 1980's, Anthony Zerbe, Benicio Del Toro, Carey Lowell, Caroline Bliss, David Hedison, Desmond Llewelyn, Everett McGill, Frank McRae, James Bond, John Glen, Licence to Kill, Robert Brown, Robert Davi, Spy, Talisa Soto, Timothy Dalton

Film Title

Licence to Kill

Director

John Glen

Starring

• Timothy Dalton as James Bond
• Carey Lowell as Pam Bouvier
• Robert Davi as Franz Sanchez
• Talisa Soto as Lupe Lamora
• Anthony Zerbe as Milton Krest
• Desmond Llewelyn as Q
• David Hedison as Felix Leiter
• Frank McRae as Sharkey
• Everett McGill as Ed Killifer
• Benicio Del Toro as Dario
• Robert Brown as M
• Caroline Bliss as Moneypenny

After his excellent turn as 007 in The Living Daylights, Timothy Dalton returned for what was to be his last outing as the agent. With Licence to Kill, the mood is much more serious than your average Bond fare and the results are dark and very brutal. Yet this change brings something new to the series and there is much to praise in this polarizing entry into the franchise.

In the beginning of the movie, Bond aids old CIA friend Felix Leiter in his search with the DEA for the powerful drugs lord Franz Sanchez. After the successful capture of the fleeing Sanchez, Felix marries a new bride by the name of Della and all seems to be going well. Their wedded bliss is cut tragically short after people on the inside and working for Sanchez, help the psychopath to escape and he has Felix’s bride murdered and Felix horribly mutilated by a shark. Severely angered and filled with a large sense of loyalty to his friend, Bond takes it upon himself to track down Sanchez and get revenge for what he did to Felix. This attitude for personal revenge has him stripped of his licence to kill by MI6 so Bond goes rogue in his vendetta against Sanchez. Recruiting tough-talking CIA agent and skilled pilot Pam Bouvier and helped by a vacationing Q, 007 goes from Florida to Mexico in his search for Sanchez and cunningly enters his inner circle, hoping it will bring him face to face with the violent drugs baron. Lets just say the results are going to be explosive and very tense to say the least.

In comparison to other Bond movies, Licence to Kill is by far the most adult of the series. With realistic violence and aggression a plenty, it is something of a departure from the adventurous nature of other Bond flicks. John Glen, in his last outing as Bond director, gives the film a welcome dose of savagery as Bond severs ties with restrictions of Government and goes at it alone. Violence is at its highest in Licence to Kill as people are maimed by sharks, Lupe, the caged girlfriend of Sanchez, is savagely whipped by him using a stingray tail and one character has his head stretched and blown up in sadistically, grisly fashion. Admittedly, some of this change may not all be effective, but it’s interesting to see the formula be twisted into something harsher and darker than before. There is a sense of brutality that hangs over Licence to Kill that marks it as a Bond movie with a different purpose than most. Even the whole main villain is not a mastermind trying to destroy the world which is usually the case, he is a powerful drugs baron with a hidden business. In this movie it brings the threats posed by him more profound as they are very believable in nature and the menace it provides is chilling. Michael Kamen provides the accented score, that gets to the heart of the revenge theme and fashions it into Latin rhythms and slinking drums. Soul diva Gladys Knight belts out the title track with power and finesse, giving the song passion and drama to boot.

Even though his tenure as 007 was too short, Dalton gave it his all. This really shows in Licence to Kill as we see Bond for the first time on a personal mission that only he can end. Dalton excellently shows the anger and hate Bond has for Sanchez and how he cunningly begins to infiltrate the drugs baron’s impenetrable system. Up until this point we hadn’t seen Bond at the end of his tether and bruised, but Dalton pulls this side of him off with grit and determination. Ably supporting him is Carey Lowell, who brings a sultry yet tough quality to the part of CIA agent Pam. This is a Bond girl who can fight her own battles, use her sexual prowess to get what she wants, match Bond in terms of intellect and is more than resilient in terms of resources. Exuding brooding menace and burning paranoia is Robert Davi as the antagonist Sanchez. Davi genuinely gives the role a darkness and he truly makes Sanchez a chilling adversary for 007. It is really interesting watching the dynamic between Bond and Sanchez and how Bond plants seeds of doubt in the head of Sanchez that cause him to doubt the loyalty of those around him. Talisa Soto exhibits vulnerability and the need for escape as Lupe, the girlfriend of Sanchez who has had enough of his cruelty. Anthony Zerbe is cunning as one Sanchez’s many workers, while there is a happy extended turn from Desmond Llewelyn as Q. In this entry, Q loyally aids Bond on his vendetta and this film really shows how valuable Q is as 007 comes up against enemies. David Hedison returns as Felix Leiter after portraying the character in Live and Let Die, and gives Felix a tragedy as his fate is what sets in motion Bond’s revenge mission. Frank McRae is a likable ally for Bond and Everett McGill is supremely slimy as the man who betrayed Felix because of Sanchez. In an early role, Benicio Del Toro is sinister and unhinged as Dario, a young henchman for Sanchez who is skilled with a switch blade and relishes the chance to dispatch those in his way. Robert Brown is strong and gruff in his last outing as M, yet Caroline Bliss this time around is not given enough to do as Moneypenny.

Brutal and unflinching, Licence to Kill may divide opinion but it does have an impact as we see the DNA of the series morph into something darker than normal.

 

The Living Daylights

Tags

007, 1980's, Andreas Wisniewski, Art Malik, Caroline Bliss, Desmond Llewelyn, James Bond, Jeroen Krabbé, Joe Don Baker, John Glen, John Rhys-Davies, Maryam d'Abo, Robert Brown, Spy, The Living Daylights, Thomas Wheatley, Timothy Dalton

Film Title

The Living Daylights

Director

John Glen

Starring

• Timothy Dalton as James Bond
• Maryam d’Abo as Kara Milovy
• Jeroen Krabbé as General Georgi Koskov
• Joe Don Baker as Brad Whitaker
• John Rhys-Davies as General Pushkin
• Art Malik as Kamran Shah
• Andreas Wisniewski as Necros
• Thomas Wheatley as Saunders
• Robert Brown as M
• Desmond Llewelyn as Q
• Caroline Bliss as Moneypenny

After Roger Moore signed off with the underwhelming A View to a Kill, the Bond producers went on the lookout for a new actor to step into the shoes of 007. The eventual casting choice was Timothy Dalton, who brought to the role a gritty quality that was more in tune with the hero of Ian Fleming’s novels. The Living Daylights is a refreshingly grounded spy thriller that brought the series back to its roots and generally succeeded in bringing the franchise into the realms of believable espionage.

Bond is sent to aid the defection of KGB officer General Georgi Koskov along with the by the book Saunders. Koskov believes he has been marked for death and that a sniper will eliminate him if he attempts to defect during a concert in Bratislava. Bond helps him and manages to avert the sniper, who is a beautiful woman that Bond thinks is not in on the plot. Koskov informs MI6 that the man behind all of this is the KGB chief General Pushkin. Yet there is something about the accusation that alarms Bond and arouses his suspicions. After aiding Koskov, the defector is snatched back by Necros, a menacing assassin. While MI6 begins panicking about the repercussions of this, Bond has already smelt a rat. He deduces that Koskov cunningly faked his defection, tried to implicate Pushkin and is in league with a maniacal arms dealer named Brad Whitaker. Travelling back to Bratislava, 007 comes into contact with the girl with the sniper, Kara Milovy. She is in fact the naive, cello playing girlfriend of Koskov, who has no idea about the sinister plans surrounding her and believed she was helping Koskov. It is now up to Bond to stop Koskov and Whitaker from a scheme involving diamonds, opium and arms dealing. From Vienna to Tangier and finally Afghanistan for one hell of a showdown, Bond must use all his wits if he is to stop this plot from falling into motion. With the confused but willing Kara in tow and assistance from Kamran Shah, an Afghan freedom fighter, 007 enters the international game of cat and mouse.

After the humour of the Moore era, it was refreshing to bring a seriousness to the Bond series. The Living Daylights more than does this by giving us an atmosphere of intense intrigue, that has shadows of Cold War thrillers with defections, double crosses and death at every corner. John Glen is back to his best in this effort, directing with a grit and globe-trotting appeal. Unlike the last film, which had an emphasis on comedy, Glen manages to control the humour to splashes of quick wit and sophistication. Only at certain times does the complex plot become a little too complicated for its own good, yet The Living Daylights still remains enthralling. The action is high and excellently choreographed, the attack on a Russian air base in Afghanistan is an exciting battle that has the hairs on your neck standing up. John Barry signs off with panache by contributing an enthralling and intriguing score that ranks as some of his best work. The title song by A-Ha is a catchy track that incorporates synths and orchestra to compliment the modern elements and the tradition of the Bond series.

Timothy Dalton gives the character of Bond a serious edge and exudes some real intensity as he investigates this complex state of affairs. He may not have the wit for the part, but Dalton makes the role his own with his darker take on the character. Maryam d’Abo is suitably winsome and naive as Kara, who is thrust into these extraordinary situations. d’Abo brings a certain charm and benevolent innocence to the part of Kara, and this proves to be interesting as we watch this ordinary woman fall into these circumstances and into the arms of Bond. Unusually for a Bond movie, he isn’t that much of a womanizer and Kara is the only Bond girl. This makes the relationship between him and Kara natural and strangely effective. Jeroen Krabbé may nail the smarmy personality of the double-crossing Koskov, but at times he appears a little to phony to be believable and as a villain, he doesn’t quite have the intimidation needed. Joe Don Baker has the right qualities for a maniacal villain in the form of Whitaker, but he comes off as more than a little cartoonish. John Rhys-Davies is on fine form as the newest KGB chief Pushkin, he gives him a humour and sagacity that aids Bond in uncovering deception. Art Malik is resourceful and witty as Kamran Shah, the freedom fighter who is freed from prison by Bond and repays the favor. By far the most menacing of the trio of villains, Andreas Wisniewski utilities his height and athletic appearance to great effect as master assassin Necros. Thomas Wheatley has fun as the strict and rule abiding agent Saunders, flabbergasted by Bond’s methods who later comes to respect him. Robert Brown as MI6 boss M and Desmond Llewelyn give their usual expertise to their roles, but the new Moneypenny, in the form of Caroline Bliss, is not a patch on Lois Maxwell.

An exciting, serious and down to earth spy thriller, The Living Daylights gives the series a real jolt and makes the ride extremely enjoyable announcing Timothy Dalton as a different kind of 007.

 

A View to a Kill

Tags

007, 1980's, A View to a Kill, Christopher Walken, Desmond Llewelyn, Fiona Fullerton, Grace Jones, James Bond, John Glen, Lois Maxwell, Patrick Macnee, Robert Brown, Roger Moore, Spy, Tanya Roberts, Walter Gotell, Willoughby Grey

Film Title

A View to a Kill

Director

John Glen

Starring

• Roger Moore as James Bond
• Christopher Walken as Max Zorin
• Tanya Roberts as Stacey Sutton
• Grace Jones as May Day
• Patrick Macnee as Sir Godfrey Tibbett
• Willoughby Grey as Dr Carl Mortner
• Fiona Fullerton as Pola Ivanova
• Robert Brown as M
• Desmond Llewelyn as Q
• Lois Maxwell as Moneypenny
• Walter Gotell as General Gogol

Roger Moore finally bowed out of the role of 007 with A View to a Kill, which was his record seventh appearance as the spy. Whilst there are parts that are entertaining, it isn’t really a worthy farewell to the Moore era.  Octopussy would have been a much better swan song for Moore to go out on than this underwhelming effort that ranks as one of the weaker Bond entries.

After discovering a microchip on the body of a fellow agent who was killed in Siberia and narrowly escaping, MI6’s best agent James Bond investigates the case. The chip leads him to Max Zorin, an industrialist with the microchip business as well as horse racing. The seemingly respectable Zorin is actually a psychopath, who along with his loyal but deadly assistant and lover May Day,was the result of a biological test by Dr Carl Mortner, a Nazi doctor . 007 traces Zorin from Ascot, then Paris and for the grand finale San Francisco, where the full extent of Zorin’s scheme comes into a disturbing light. Aided first by fellow MI6 agent Godfrey Tibbett and later by geologist Stacey Sutton, who has history with Zorin, Bond attempts to foil the twisted psychopath’s dastardly plan to flood Silicon Valley and gain a monopoly on the world microchip market. Coming up against the fearsome May Day and other cronies of Zorin’s along with many life and death situations, Bond knows the mission is going to be far from easy if he is to successfully take down this psychopath.

Part of the problem with Moore’s last entry is the overuse of comedy that detracts from many effective sequences. I don’t mind a bit of humour in the Bond movies, but here it just goes overboard with it and never really recovers. Other entries have successfully combined humour, suspense and action, but A View to a Kill doesn’t fall into that category. John Glen is once again in the director’s chair, but his touch isn’t as assured as it has been and A View to a Kill isn’t glowing in terms of greatness. The fact also is that Roger Moore looks too old for the part now and the suspension in disbelief of him as 007 really waned with this entry, which proved to be his last. With those negatives out of the way, here come the positives. The locations used are once again stunning, from the snows of Siberia, the finery of a French Chateau to the use of San Francisco in sun-bathed glory as Bond attempts to stop Zorin and his plan. John Barry is thankfully on hand to compose the beautiful score, which harks back to the classic Bond feel and succeeds in giving this entry something worthy of praise. Duran Duran provide the electrifying title song, which marries 80’s rock riffs with classic strings and the result is impressive. The title sequence has a rebellious edge, with seductive women sporting Mohawks and neon-body paint.

Although he still has style and panache, Roger Moore is just too old for the role in his last installment. Which is a real shame as he had made the role his own and deserved much better material for his final entry as 007. Christopher Walken is an inspired choice for the role of Zorin and he plays him with unhinged menace, cunning smile and odd sense of humour. Tanya Roberts may be gorgeous to look at but her role isn’t the best example of a Bond girl and the character of Stacey is just not that interesting. It’s hard to take her seriously as a geologist and her constant screaming for help really does become annoying after a while. Far more effective is Grace Jones as the villainous May Day, Zorin’s sidekick and deadly weapon. Jones imbues May Day with an unusually intimidating demeanor, brute strength and an Amazonian glamour, which really makes her an excellent female villain to add to the series. Patrick Macnee contributes old-school wit and upper-crust knowledge as a fellow MI6 agent, but Willoughby Grey is too over the top to be believable as the crazed doctor whose experiments resulted in Zorin and May Day. Briefly appearing but oozing sex appeal is Fiona Fullerton as a KGB honey trap who tries to outsmart Bond on his mission. Robert Brown and Desmond Llewelyn are respectively great as M and Q. Lois Maxwell signs off in style as Moneypenny and her contribution to the series can really be felt in her last outing as the loyal secretary. Walter Gotell is back as Gogol, this time helping MI6 in their pursuit of Zorin as he was once a member of the KGB who has decided to go renegade.

So despite some moments of greatness, A View to a Kill sadly ranks as an unworthy way for Roger Moore to bow out on.

Octopussy

Tags

007, 1980's, Desmond Llewelyn, James Bond, John Glen, Kabir Bedi, Kristina Wayborn, Lois Maxwell, Louis Jourdan, Maud Adams, Octopussy, Robert Brown, Roger Moore, Spy, Steven Berkoff, Vijay Amritraj, Walter Gotell

Film Title

Octopussy

Director

John Glen

Starring

• Roger Moore as James Bond
• Maud Adams as Octopussy
• Louis Jourdan as Kamal Khan
• Kristina Wayborn as Magda
• Kabir Bedi as Gobinda
• Steven Berkoff as General Orlov
• Vijay Amritraj as Vijay
• Robert Brown as M
• Desmond Llewelyn as Q
• Walter Gotell as General Gogol
• Lois Maxwell as Moneypenny

It may be something of a conundrum within the Bond community on the opinions of Octopussy, some see it as an effective spy yarn, others see it as too outrageous and too confusing. But for me, I fall into the former category and consider Octopussy a really excellent entry into the series, full of exotic locales and interesting characters. It may be a little convoluted and silly at times, but there is more than enough enjoyment to be had with Octopussy.

When British agent 009 turns up dead at the British Embassy in Berlin, dressed as a clown and clutching a fake Fabergé egg, MI6 begin to investigate. Bond is assigned with finding the seller of the fake egg and comes across Kamal Khan, an exiled Afghan prince who bids for the real egg at auction. Following him to India, Bond investigates Khan and his association with Russian General Orlov, with the help of fellow agent Vijay. Khan and Orlov have been forging valuable jewels and replacing them with replicas, allowing them to smuggle them into various countries. Orlov is power-crazed and wants the Soviet Union to take back more control over the West, which alarms KGB chief and sometimes helper to the British General Gogol. Collaborating with the two in the diamond smuggling is the mysterious Octopussy, a fabulously wealthy woman who lives in a highly guarded palace on the river, guarded by athletic and dangerous women . Meeting Octopussy, Bond sees that her circus business is being used as the front for the scam. Yet Octopussy is unaware of the more sinister motives of Orlov and Khan and just thinks that they are just smuggling priceless jewels across the border. Orlov plans to detonate a bomb at an American military base in West Germany. He believes that this will cause the US to pull out of Germany and leave it open to Soviet invasion, fulfilling his maniacal scheme. Coming up against Khan’s henchman Gobinda, the lithe Magda and the various foes that stand in his way, Bond teams with Octopussy to stop the nefarious scheme before it is too late and bring down Khan and Orlov in the process.

The first thing to praise in Octopussy is the visuals which are beyond stunning. India, with its colourful saris, opulent palaces and exotic mystique makes for a perfect location for a Bond movie. The production design, especially in Octopussy’s palace is breathtaking to say the least and is done to the highest golden standard there is. John Glen directs with a fun and adventurous quality, that also gives the series its fair share of suspense. Nowhere is this more apparent that in the opening when 009 is chased by knife-wielding twins to his eventual death. Yet in comparison to the subdued and grounded For Your Eyes Only, Octopussy has more of an excitement and fantastical quality to it, which always adds to my personal enjoyment of it. The plot, while very interesting, can become a little complex for its own good, but with stunning action and surroundings, you may hardly notice. Standout action scenes are Bond being pursued as the prey in a safari, a tense train fight and a chase through the marketplace on tuk tuks. While the humour is kept to some excellent one-liners, some over the top moments do seep into Octopussy, (need I mention Bond swinging from the vines in the jungle a la Tarzan?) John Barry triumphantly returns for musical duties with a sweepingly romantic score, peppered with exotic strings and drifting flutes. Rita Coolidge sings the main song, entitled ‘All Time High’ with conviction and makes it one of the more romantic of the Bond theme songs.

Roger Moore is still as charming as ever as 007, perfectly balancing humour with the necessary action that is thrown in his way in this tangled web of intrigue. Maud Adams, returning to Bond after her role in The Man With the Golden Gun, makes for a formidable and independent Bond girl. Adams plays the eponymous character as an intelligent businesswoman, who knows her own mind and what she wants. Adams has excellent chemistry with Moore and they really do make a great couple as Bond and Octopussy realize that they are ‘two of a kind’. The late Louis Jourdan exudes suave charisma and villainous glee as Kamal Khan, who is skilled in the art of double-crossing those around him. Khan is such a slimy villain and Jourdan plays him with charm and oily slyness to the hilt. I would like to say here rest in peace Louis Jourdan, you will be certainly be missed. Kristina Wayborn shows off athletic prowess and stunning sexuality as Magda, a member of Octopussy’s women who acts as the linchpin between Khan and Octopussy. Kabir Bedi is intimidating and frightening as the loyal henchman Gobinda, while Steven Berkoff clearly relishes the theatrical role as the unhinged General Orlov. Tennis pro Vijay Amritraj makes for a likable ally to Bond in this exotic adventure. We have a new M in the form of Robert Brown, who while never going to rival the impression left by Bernard Lee, is suitable for the role of the gruff boss of Bond. Desmond Llewelyn supplies Q with an eye-rolling and confounded humour as Bond wrecks more of his effective gadgets in the line of duty. Walter Gotell returns as General Gogol, who this time is worried about Orlov’s delusions of the future. Unfortunately Lois Maxwell isn’t given enough to do this time around as secretary Moneypenny.

Apart from the sometimes long-winded plot and dips into silliness, Octopussy stands as an exciting and enthralling Bond movie.

 

 

For Your Eyes Only

Tags

007, 1980's, Carole Bouquet, Cassandra Harris, Desmond Llewelyn, For Your Eyes Only, Geoffrey Keen, James Bond, Jill Bennett, John Glen, Julian Glover, Lois Maxwell, Lynn-Holly Johnson, Michael Gothard, Roger Moore, Spy, Topol

Film Title

For Your Eyes Only

Director

John Glen

Starring

• Roger Moore as James Bond
• Carole Bouquet as Melina Havelock
• Julian Glover as Aristotle Kristatos
• Topol as Milos Columbo
• Lynn-Holly Johnson as Bibi Dahl
• Cassandra Harris as Countess Lisl
• Michael Gothard as Locque
• Jill Bennett as Jacoba Brink
• Geoffrey Keen as Frederick Gray
• Desmond Llewelyn as Q
• Lois Maxwell as Moneypenny

After the sci-fi excess of Moonraker, the Bond producers had to bring him back down to Earth. They did this by giving this film a seriousness and return to the spy formula, crossed with elements of a thriller. Some of For Your Eyes Only may look a little subdued in comparison with other Bond adventures, but after the spectacle of the previous film, it succeeds in bringing Bond back from outrageous fantasy and contributing a little more grit to the series.

The sinking of a British spy ship, the St. George’s in the Ionian Sea disturbs MI6. The ship was equipped with ATAC, a system that helps order the firing of missiles from the British fleet. If the precious device falls into the wrong hands, then world devastation could be arriving very soon. It is up to our man, James Bond to uncover the location of the device. Another element of this case is Melina Havelock, a beautiful woman who is out for revenge after witnessing the brutal murder of her parents. Her parents where helping MI6 to locate the sunken ship just before their tragic murder. Travelling to Spain, Italy and then Greece, Bond comes into contact with Aristotle Kristatos, a well-informed Greek businessman who gives him information regarding a smuggling operation, supposedly headed by Milos Columbo. Yet there is something not right about Kristatos and Bond soon concludes he is the enemy and the one who has the intent on selling ATAC to the Soviets. With the vengeful Melina, who is nifty with a crossbow, and Columbo, who has the necessary supplies and the men to bring down Kristatos on hand, Bond sets out to save the world once more.

The direction taken with For Your Eyes Only into the serious spy film, with action and some genuine suspense, is a wise one and one that grounds the series, yet still keeps it going. John Glen, who had worked as an editor on many a Bond film, makes an assured first entry into directing by carefully downplaying some of the broad humour and injecting a thrilling atmosphere as Bond comes up against interesting characters and duplicitous motives. The sense of realism is further enhanced by using a minimal amount of gadgets, leaving Bond as a spy relying on his wits and his gun to survive death. Saying this, the serious approach does become a little boring at various points in For Your Eyes Only. Yet, it does add a different dimension to the usual formula. Thrilling moments abound in this adventure, whether it be Bond scaling a mountainside to him and Melina tied to a ship and being dragged through shark infested waters, it isn’t short on excitement that’s for sure. Location work is of the highest order, with the islands of Greece serving as beautiful places for Bond to uncover plots and the snowy mountains of Cortina lending itself to a ski chase sequence. Bill Conti scores the movie and it does have its moments of classic Bond cues, but at times feels a little to loud for its own good and this does detract from many a scene. The same can’t be said about the title song, which is sung with earnest emotion by Sheena Easton. The ballad perfectly enhances the underwater lovelies and aquatic theme of the title sequence, which are super imposed over Easton as she sings.

Roger Moore gives his trademark charm to the role of 007, but he also gets a chance to inject a seriousness into the part that he hasn’t had the opportunity to do before. Moore may be seen as the comedic Bond, but he has his share of unexpectedly cold-blooded moments during his tenure, the highlight here being him kicking an assassins car into a rocky ravine. Carole Bouquet makes a mature impression as the strong and vengeful Melina Havelock. Through her melancholy eyes and wounded glares, we see a young woman who can clearly handle herself with her trusted crossbow and will not rest until she kills those responsible for shattering her heart. Julian Glover makes for a more subdued villain in the shape of Kristatos than the usual evil masterminds, but he does have a sly smile and wit that stands him in good stead when faced with Bond coming up against him. In a colourful performance full of panache and humour, Topol stars as Columbo, a smuggler with many friends who aids Bond on his journey with his knowledge and resources. Wholly out-of-place in the movie and the Bond universe is Lynn-Holly Johnson as Bibi, a lovesick teenage figure skater, sponsored by Kristatos who takes an amorous interest in Bond. The whole character just feels superfluous and the film could have been better if her character wasn’t in it. Cassandra Harris is lovely and serene as a countess romanced by Bond, while Michael Gothard is on form as the silent assassin Locque. Jill Bennett is wasted as Bibi’s stern coach Jacoba Brink and like Bibi, her character doesn’t add anything to the plot in the slightest. This is also the first movie to not feature M, as Bernard Lee died before production on this film and the producers respectfully didn’t cast the role immediately. Bond receives his instructions from the high-ranking but flabbergasted Minister of Defense Frederick, who is played with wise humour by Geoffrey Keen. Desmond Llewelyn and Lois Maxwell are once again on hand for their short but memorable turns as Q and Moneypenny.

Subdued but also thrilling and tense, For Your Eyes Only presents a serious return to the gritty side of Bond and succeeds very well indeed.

 

Moonraker

Tags

007, 1970's, Bernard Lee, Corinne Cléry, Desmond Llewelyn, Geoffrey Keen, James Bond, Lewis Gilbert, Lois Chiles, Lois Maxwell, Michael Lonsdale, Moonraker, Richard Kiel, Roger Moore, Spy

Film Title

Moonraker

Director

Lewis Gilbert

Starring

• Roger Moore as James Bond
• Lois Chiles as Holly Goodhead
• Michael Lonsdale as Hugo Drax
• Richard Kiel as Jaws
• Corinne Cléry as Corinne Dufour
• Bernard Lee as M
• Desmond Llewelyn as Q
• Geoffrey Keen as Frederick Gray
• Lois Maxwell as Moneypenny

Often referred to as one of the weaker entries into the Bond canon, Moonraker does have its appeal every now and then. But after the greatness that was The Spy Who Loved Me, Moonraker feels like a bit of a let down and just an attempt to cash in on the Star Wars phenomenon that was raging at the time of release. Saying that, every movie in the Bond series has something to praise in one way or another.

After surviving an aerial battle with old enemy Jaws, 007 arrives in London to receive his briefing from his superior M. In this adventure for James Bond, he is sent to uncover the theft of a space shuttle. Travelling to California, he investigates Hugo Drax, a suave industrialist with a passion for space whose corporation builds and owns the Moonraker space ship that was hijacked. What Bond uncovers is that Drax has a more dastardly plan than mere space travel. He plans to wipe out the world’s civilization with a deadly poison he has extracted from a rare orchid. After this and with human life gone, a specially picked group of people, who Drax dubs his master race will populate the Earth. With astronaut and CIA agent Holly Goodhead on hand in this mission, Bond must go from America to Venice, from Brazil to eventually the outer reaches of space in order to thwart the maniacal plot of Drax. Yet with Jaws once again on his tail, it won’t be easy for 007 to save the world from utter devastation.

As I mentioned earlier, Moonraker isn’t my favourite of the cavalcade of Bond flicks. Chief among the problems are the outlandish space angle that the movie has. Granted some of the space scenes are visually amazing, I just think the producers went a bit too far with the outrageous tone. As well, the plot just seems like a rehash of The Spy Who Loved Me, with only the settings being changed from underwater to outer space. Lewis Gilbert, to his credit, does his best to keep the action going, but too many examples of kookiness get in the way. Onto the positives of Moonraker and believe it or not, there are many good moments to mention. There is the kitsch appeal of Bond driving a motorized Gondola through the streets of Venice( keep an eye out for the double take pigeon). There is a very menacing scene in which Corinne, one of Drax’s workers who helps Bond find covert information, is chased through the morning woods by vicious Doberman’s to her eventual death. The set design is impeccable, from the house in which Drax resides to his stunning space station, every set is a marvel. I must admit that the space battle is quite thrilling with laser guns and gravity defying bodies, even if it is nothing more than just a riff on Star Wars. John Barry returns and gives Moonraker a beautiful score, with some chilling suspense pieces appearing that heighten a certain tension in the film. Shirley Bassey returns to sing the title song, and although it isn’t the best Bond song, Bassey performs admirably.

It may not be his best outing as 007, but Roger Moore nails the debonair wit and style of Bond with his mix of suave assurance and boyish charm. Lois Chiles, who is saddled with an underwritten role, does her best with the part of the suggestively named Holly Goodhead by giving her a feisty self-assurance and resistance to Bond’s seduction. I wouldn’t rank him among the best in the villains that 007 has encountered, but Michael Lonsdale has a cultured and ruthless quality that gives Hugo Drax a warped side that is good enough to give the character a presence. While he was menace personified as Jaws in the last film, Richard Kiel is unfortunately lumbered with the more comedic aspects of the character. This is largely distracting and the introduction of a love interest for him is just plain goofy in my eyes. Corinne Cléry is suitably winsome as the doomed worker who pays the price for betraying Drax for the affections of Bond. In what was his final performance as M before his death, Bernard Lee is arch and eye-rolling as Bond’s superior. It really is sad that Lee died as he made the role his own from the very beginning. Thank God he got an excellent send off and out of respect they didn’t feature the character in the next movie. Desmond Llewelyn has some witty moments as Q, while Geoffrey Keen is excellently exasperated by Bond’s methods as Minister of Defense Frederick Gray. Lois Maxwell is still as lovely and charming as ever in the part of loyal secretary Moneypenny.

All in all, Moonraker is a flawed Bond movie, but it does have a certain kitsch appeal in various moments and certainly stands out as one of the most outlandish movies featuring 007.

Pride & Prejudice

Tags

2000's, Brenda Blethyn, Carey Mulligan, Donald Sutherland, Jane Austen, Jena Malone, Joe Wright, Judi Dench, Keira Knightley, Kelly Reilly, Matthew Macfadyen, Period Drama, Pride & Prejudice, Romance, Rosamund Pike, Simon Woods, Talulah Riley, Tom Hollander

Film Title

Pride & Prejudice

Director

Joe Wright

Starring

• Keira Knightley as Elizabeth Bennet
• Matthew Macfadyen as Mr Darcy
• Brenda Blethyn as Mrs Bennet
• Donald Sutherland as Mr Bennet
• Rosamund Pike as Jane Bennet
• Carey Mulligan as Kitty Bennet
• Jena Malone as Lydia Bennet
• Tom Hollander as Mr Collins
• Simon Woods as Mr Bingley
• Judi Dench as Lady Catherine de Bourgh
• Kelly Reilly as Caroline Bingley
• Talulah Riley as Mary Bennet

Based on the classic novel by Jane Austen, Pride & Prejudice is a vibrant and witty version of the source material that brings the themes of misconceptions, social standing and matchmaking into a context that modern viewers can enjoy, but purists can appreciate as well.

In 18th Century England, the Bennet family are part of the Landed Gentry, who whilst not poor by any means are far off being rich. The family comprises of the nervous but determined Mrs Bennett, her eye-rolling and sagacious husband Mr Bennett and their five daughters; beautiful but modest Jane, stubborn and spirited Elizabeth, plain Mary, coquettish Lydia and childlike Kitty . As women can’t inherit property at this time, the house will pass to the nearest male relative, in this case it is a distant cousin Mr Collins. Mrs Bennett has her heart set on marrying her girls to secure their future, but the second eldest Elizabeth is headstrong and not fond of the idea of matrimony. When Mrs Bennet hears that a nearby hall is to be purchased by an eligible bachelor Mr Bingley, she’s sees the opening ball as a perfect way to find suitors for her daughters. It is here that Elizabeth meets the snobbish but broodingly handsome Mr Darcy, who she takes an immediate dislike to because of his proud nature. While Jane is obviously taken with the kindly Mr Bingley, the spark has been lit between Darcy and Elizabeth, and although neither will admit it, they soon begin to develop feelings for one another. But can a relationship survive because of Darcy’s sullen and proud attitude? And can the waspish Elizabeth truly love a man she has sworn to hate? Watch as this delightful version of the story unfolds with humour and vivacity as morality, romance and family form the backbone to the timeless tale.

Joe Wright, who made quite the debut here, directs Pride & Prejudice with a fluidity that gives the story a constant movement as romance changes between characters and misconceptions are rectified. Yet rather than focus on the quaint beauty that many a period drama centers on, he injects Pride & Prejudice with a modernity, while still retaining the acute social observations of etiquette and manners from Jane Austen’s source. Yes many of the locations used are beautiful, but they don’t overpower the story and this gives this take on the book a much more realistic tone than a romanticized one. A standout scene have to be the confrontation and later exclamation of love between Darcy and Elizabeth, whilst they shelter from the pouring rain. The chemistry between the two characters is most evident here, and they may quarrel with each other, but we can see that there is passion beneath the surface that is waiting to be released. Also, worth mentioning is the two would be lovers who can’t sleep taking a walk and meeting one another in the misty morning, just as the first rays of the sun emerge. The excellent script allows for humour and drama in a dynamic way that perfectly compliment one another. It also gives us a gallery of interesting characters, all caught up in the machinations of dating and social status. A gentle but urgent score by the talented Dario Marianelli is a beautiful thing to listen to as the gliding rhythms of the piano and strings give voice to the unspoken passions and initial indifference between Elizabeth and Mr Darcy.

Keira Knightley makes for an excellent Elizabeth Bennet, giving her an independence, stubbornness and charm that is a joy to watch. Knightley makes the role her own with her expressive face, witty tongue and glint of playfulness in her eyes. She has great chemistry with Matthew Macfadyen as the two characters lock horns with a mixture of intellect and barbed observations. Macfadyen plays Darcy as a snobbish and sullen bachelor. He gives Darcy an insolence but also a kindness, as we witness his proud state of mind altered and forever changed by the spirited Elizabeth. Brenda Blethyn is a hoot as the caring but highly strung mother who wants all her daughters married, while Donald Sutherland contributes a firm but warm performance as her observant husband. Rosamund Pike makes for a radiant Jane. Carey Mulligan and Jena Malone are funny as two of the younger sisters who flirt and giggle, usually at the most inappropriate times. Tom Hollander is simpering and nervous as a possible suitor and the man who stands to inherit the house, while Simon Woods is charming and polite as Jane’s suitor Mr Bingley. Only appearing briefly but making a scene-stealing impression is Judi Dench as the haughty lady with many opinions on those she deems beneath her. Kelly Reilly is suitably bitchy as Caroline Bingley, who does not approve of the family but Talulah Riley isn’t given enough to do as the plain sister Mary.

A spirited triumph filled with humour and romance, Pride & Prejudice is a handsomely produced period drama with a wide range of appeal, due to its excellent direction, witty screenplay and fine performances.

What are your favourite romantic movie scenes?

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Romantic Scenes

Happy Valentine’s Day everyone. After the great response to my sexiest movie scenes post, I decided as it’s the day of love to do another question post on celluloid romance. The question today is, what are your favourite romantic scenes in the movies? This can be from a tender kiss or loving gesture to a passionate encounter, but it has to be romantic in some sort of way. With decades worth of nostalgic and loving moments to choose from and the gamut of genres running from comedy to drama, please give your answers. And as I said earlier, Happy Valentine’s Day to everyone.

What are the sexiest scenes in film?

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Sexiest Scenes

With Valentine’s Day approaching and many people getting hot under the collar about 50 Shades of Grey( by the way I’m not excited as the film doesn’t seem like something I’d watch, but I keep seeing the constant influx of trailers and gossip about it), I started to think about what moments in film history are the sexiest. Since the inception of film, sexuality and desire have been shown at varying degrees from the subtle kiss to the in your face love scenes that are often seen in the movies of today. With countless moments of steamy encounters, sex appeal and attractive stars, the cinema has never been short on sexiness. So the question this time around is, what are the sexiest moments in film and why? Whatever your thoughts please give them. I have a feeling I’m going to get an interesting response to this question.

Happy Birthday Christina Ricci

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Birthday, Black Snake Moan, Casper, Christina Ricci, Happy Birthday, Mermaids, Monster, Sleepy Hollow, The Addams Family, The Opposite of Sex

Today is the 35th birthday of Christina Ricci, who ranks as one of my favourite actresses and one who I always think is very underrated, considering her many outstanding performances throughout the years. With her large eyes, petite frame, dark hair and expressive face, Christina Ricci possesses a charm, kookiness and maturity that she imbues in her work, that helped her transition from child actress to adult star with relative ease. I love how her work in movies is so fearless and her willingness to play dark and unconventional characters. She never seems to go for the safe option in movies, no role seems too out there or to edgy for her and I respect her for that. Listing her amazing credits is a hard task but here are some of the best moments from her career that come to my mind when I think of her:

 

Debuting in Mermaids and acting alongside Cher and Winona Ryder, as a wannabe Olympic Swimmer in a kooky and dysfunctional family, Ricci made an impression.

 

 

As the morbidly fascinated Wednesday Addams in the big screen adaptation of The Addams Family, Ricci found her niche for playing dark and unusual characters.

 

 

As the lonely young girl who befriends a benevolent ghost after moving into an old and creepy old house in Casper.

 

 

 

 

 

 

As the sleazy, vindictive and alluring runaway bitch who wreaks havoc on many lives, Ricci’s performance in The Opposite of Sex helped her make the transition to adult roles.

 

 

 

As the romantic yet enigmatic witch in the fantasy horror Sleepy Hollow, Ricci’s Gothic beauty and kookiness came in handy.

 

 

 

As the outcast lesbian lover of serial killer Aileen Wuornos in the emotionally devastating Monster, Ricci turned in an effective performance opposite Charlize Theron.

 

 

 

Exuding raw pain, unrestrained anger and deep vulnerability, Ricci contributed a no holds barred performance as a nymphomaniac in Black Snake Moan.

 

 

All I have left to say is, Happy Birthday Christina Ricci.