As a long-time admirer of the Bond franchise, I must say that Licence to Kill left an indelible mark on me. Now, I ain’t no movie critic, mind you, but I’ve seen my fair share of action flicks, and this one here, it’s got a certain grit to it that sets it apart from the rest.
Initially, I wasn’t impressed with The Living Daylights (1987) and considered Timothy Dalton’s tenure as 007 a flop. However, Licence to Kill captivated me and refused to let go. It presented an entirely new kind of Bond adventure, revealing aspects of the character that fans hadn’t previously encountered. Yet, raw intensity, grit, and a shift in tempo don’t guarantee success in every case.
In 1989, James stars in License to Kill, a gruesome tale of drug-induced vengeance. Instead of enjoying a holiday, our dedicated agent tracks down a ruthless drug lord who’s been evading capture. Despite successfully bribing his way past the authorities, this villain, Franz Sanchez (Robert Davi), exacts revenge on Felix Leiter (David Hedison) by murdering his new wife, Della Churchill (Priscilla Barnes), and maiming him with a shark attack during their wedding night. This act resonates deeply with Bond, as it echoes the tragic fate of his own bride on their wedding day in On Her Majesty’s Secret Service (1969). Additionally, the peculiar bond between James and Della hints at a personal vendetta for both Felix’s suffering and Della’s death.
In this 007 film, the opening scene seamlessly ties into the main plot, while the theme song, though not particularly memorable, sets the stage for an exhilarating adventure. Initially tasked with avoiding any rogue behavior, Bond surprisingly disobeys orders – a deviation from the norm in earlier films. The original title was “Licence Revoked,” but producers feared American audiences might misunderstand it as a driving permit issue, and test viewers linked it more to a revoked license. While I’d like to believe we’re not that simple-minded, perhaps there is some truth to the concern.
In this action-packed storyline, Bond isn’t shy about unleashing brutal and ingenious attacks reminiscent of horror movies. The violence escalates quickly with sharks, maggots, and electric eels as the initial threats, but it doesn’t stop there. We soon encounter forklifts, grinders (processing machines), and decompression chambers in a series of intense scenes. The climax involves an impressive display of 16 large trucks, some of which were modified for spectacular stunts, before we reach our explosive conclusion. This narrative is filled with underwater sequences, daring aircraft maneuvers, tank battles, and concludes with a grand finale that utilizes 16 big rig trucks.
The narrative is relatively straightforward, and it could be said that any character might have embarked on this adventure. Yet, the tale presents a unique twist for Bond, deviating from traditional franchise elements and crafting a fresh story that remains faithful to its origins. Certain aspects draw inspiration from Ian Fleming’s “Live and Let Die” and “The Hilderbrand Rarity,” while Akira Kurosawa’s “Yojimbo” influenced the second half of the plot. I find it intriguing how Bond manages to infiltrate Sanchez’s organization, creating discord among his followers using clever strategies and a touch of serendipity.
In a subtle and engaging manner, License to Kill advises viewers against tying the knot, especially if they find themselves in a 07-like scenario. The emotional impact of this particular event resonates deeply with Bond, as it strikes a chord that many of his relationships have failed to touch. This personal connection intensifies the movie’s overall tension. Initially, the film was set to unfold in China and follow a different narrative, but financial constraints and discovering that other films had already utilized desired locations led to alterations. Furthermore, due to the 1988 Writers’ Guild strike, Richard Maibaum, the series’ regular scribe, couldn’t contribute to the story. Consequently, Michael G. Wilson was left to complete the script on his own.
In the eyes of numerous Bond enthusiasts, Licence to Kill showcases an exceptionally authentic portrayal of the character, resembling the books more closely due to Dalton’s chilly demeanor. Unlike his typical cool and polished persona, this time around, Bond appears more vulnerable. He makes mistakes, takes unwise chances, gets captured, and insists on working alone to prevent further losses. This film marked a significant turning point for the character of Bond, revitalizing him after a lengthy spell where he was not taken seriously by many. Dalton was adamant about delivering a memorable performance in this movie, even performing several stunts himself, which led some members of the stunt team to be reprimanded for allowing him to do too much.
In a similar vein to Fleming’s villains, Sanchez serves as a mirror opposite to James Bond, albeit with a sinister twist. Unlike traditional Bond villains seeking global domination, Sanchez’s ambition lies in controlling the drug trade. Despite his questionable morals and seemingly twisted sense of loyalty and honor, he is fiercely loyal to his code, even if it means paying debts excessively.
Although Bond appears to be estranged from his government, he’s not entirely on his own. He has the aid of his ally and supplier, Q (Desmond Llewelyn), who usually dislikes fieldwork, but Bond is an exception. This movie presents some remarkable interactions between these characters, more than any other film in the series. Unfortunately, the gadgets seem a bit outlandish at times, as if they were borrowed from different movies rather than fitting this one’s tone. However, it’s intriguing to speculate that M (Robert Brown) was aware of Moneypenny (Caroline Bliss) and Q’s actions, choosing not to interfere with their efforts to assist James Bond.
In typical fashion, there are the Bond ladies, among them is Lupe Lamora (Talisa Soto), a woman with an intriguing name and a desire to break free from her boyfriend, Sanchez. She’s ready to team up with Bond for this purpose. Lupe is adept at flirting, playing cards, and has a knack for trying to control people’s actions, particularly when she notices that Pam Bouvier (Carey Lowell) also has feelings for James. Bouvier is tough as nails – an ex-Army pilot turned informant, accustomed to handling rough characters. However, she shows a different side later on, with her stylish short haircut and following Lupe’s lead by seducing Professor Joe Butcher (Wayne Newton). Both actresses received some criticism for their performances, especially Soto for her dialogue delivery, but I believe she was intentionally overacting, perhaps even playing mind games with Pam. They each bring something unique to the storyline and make it more engaging.
In this film, there are other significant characters with their own objectives, but Bond is singularly focused on his quest for vengeance. However, these secondary plots eventually become relevant, albeit briefly. For instance, we see Benicio del Toro portraying Sanchez’s primary henchman, Grand L. Bush as a DEA agent, and Cary-Hiroyuki Tagawa as an undercover officer from Hong Kong police. While many might recognize del Toro, others may not be familiar with Bush by name, but they are part of the duo of Agents Johnson and Johnson from Die Hard (1988). Interestingly, Bush later starred in Street Fighter (1994) as Balrog, and Soto and Tagawa appeared in Mortal Kombat (1995), creating a trio of formidable video game characters.
In a similar fashion to a brief appearance, the theme song “Licence to Kill” was sung by Gladys Knight, incorporating parts of the horn melody from the 1964 theme song “Goldfinger.” This was significant enough that royalties were due, as it was meant as a tribute to the film. While it’s not as catchy in my opinion, the same can be said for the film score by Michael Kamen. For me, the song that stands out most is “If You Asked Me to,” sung by Patti LaBelle, which plays during the end and credits. However, it seems people recognize this tune more from the Celine Dion version. So, let’s put aside the playful fish symbolism and focus on the music itself.
Although I greatly appreciate this Bond film and consider it one of my favorites, it does have its flaws. For instance, the gadgets from Q, while creative, are questionable. There’s also an oddity in the casting – the actress who played Chrissy Seaver in Three’s Company seemed a bit off-kilter as Leiter’s wife. I can’t quite put my finger on why, but her presence felt out of place. Moreover, the Chinese operatives dressed like ninjas is a peculiar choice that I find common in many espionage films. As for the action sequences, they are impressive – some even inspired scenes in Christopher Nolan’s Batman series and True Lies (1994). However, the bar fight gets a bit too exaggerated, and the tanker truck doing a wheelie is quite implausible, yet somehow endearing.
The climax is equally enjoyable until the villain meets his demise. The pace picks up remarkably, despite the movie being quite lengthy (2 hours and 13 minutes), but once the explosions subside, the story comes to a hasty and tidy conclusion. Felix phones James from the hospital, appearing content, glancing at his attractive nurse, even though he’s lost a leg, a spouse, and a dear friend, Sharkey (Frank McRae). Almost as an afterthought, he informs Bond that the British government finds independence appealing, hinting at a possible return to his position. If only the ending were more impactful, with Leiter thanking his friend for eliminating Sanchez but reminding him that it couldn’t bring back his deceased lover, and leaving Bond’s fate uncertain for the following film, or at least suggesting he was still in peril. A more compelling closing scene would have been a great addition.
As a devoted Bond fan, I must share my insights on the intriguing journey behind the scenes of the film. This production faced its own setbacks, needing to trim numerous sections to maintain the PG-13 rating, setting a fresh precedent for Bond films. Regrettably, the censored violence wasn’t reinstated until much later when the Ultimate Editions were released for home viewing.
Fortunately, the movie titled “Licence to Kill” was completed, and according to director John Glen, it’s his top pick among the five Bond films he directed for the franchise. Given his expertise in this field, his opinion carries weight. However, the box office response in the U.S. wasn’t as favorable, but it performed well overseas. Despite being labeled as the least successful movie in the series, some argue that its darker tone and increased violence may have deterred audiences, while others suggest that the marketing strategy for the film could have been more effective (a valid point). Additionally, some viewers found it too dissimilar from previous Bond films. To add to its challenges, it was released in a competitive summer season alongside movies like “Batman” (1989). Nonetheless, subsequent Bond films drew inspiration from this movie’s adventures, and over time, many have re-evaluated their initial opinions of Licence to Kill.
The shift in the franchise was substantial as Dalton’s third film faced delays due to studio-related legal issues and his unwillingness to commit to multiple films. This situation also led to the departure of key crew members who had been instrumental in shaping the franchise for years, marking a significant conclusion to that phase. It foreshadowed the arrival of a new hero, though perhaps they were attempting to advance too quickly, resembling Icarus who flew too close to the sun. Not the Bond we desired at the time, but arguably the one that future generations needed.
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2024-07-31 19:12