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A View To A Kill (1985)

Up until about a month ago, I had only seen the James Bond films from The Living Daylights onward.  So, this became my first exposure to Roger Moore as Agent 007.  I was mainly attracted to the film because I got hooked on the title song by Duran Duran.  While A View To A Kill received a very negative criticism in its day, and even Moore himself holds it as his least favorite that he did, I found the movie to be quite enjoyable.  It’s clear that Moore likely did have far stronger outings, but other Bond actors would have far more ill entries in the franchise.

British spy Agent 007, James Bond (Roger Moore), retrieves a high-tech silicon chip from the U.S.S.R., a chip that is identical to a prototype British design capable of withstanding a nuclear electromagnetic pulse.  The British suspect industrialist Max Zorin (Christopher Walken) of leaking details of the design to the Russians. When Bond is sent to investigate he finds that Zorin is stockpiling silicon microchips, and is secretly planning to corner the world microchip market by literally wiping out Silicon Valley.  In addition to Zorin himself, 007 must contend with the madman’s beautiful and deadly companion May Day (Grace Jones), but is aided by the lovely geologist Stacey Sutton (Tanya Roberts).  Bond’s mission will take him from the heights of the Eiffel Tower to the towering danger of the Golden Gate Bridge to stop Zorin’s maniacal scheme.

What always turned me away from checking out Roger Moore’s Bond films was the stated campy nature of them.  I didn’t want to see a silly James Bond.  However, if this film is any evidence as to Moore’s overall best quality approach to the character, I find it quite entertaining without betraying the integrity of the character’s legacy.  I certainly do prefer Bond actors who put more dramatic weight into their performances, but Roger Moore is far from giving a bad performance in this film.  While his 57 year old age was clearly evident in this film, which was partly to blame for the film’s negative criticisms, Moore still brings a charming, suave sensibility mixed with a fine wit and levity.  The only real downside to his age is the fact that he couldn’t be highly involved with the action scenes.  Right from the pre-credits sequence, you can tell it is a stunt double doing the rigorous work while the filmmakers edit in close-up shots of Moore done on a soundstage.  It gets more seamless in later action sequences with much better close-ups, but it varies, especially with the rear screen projection shots in the San Francisco chase sequence.  Regardless of this, I think Roger Moore is quite enjoyable in this portrayal of Agent 007.

Now, I really like the opening title sequence.  Obviously, Duran Duran’s title track ensnared me into watching the film, and it is a great collaboration with composer John Barry which became a classic for the band.  I really like a couple of Duran Duran songs, but this one really hits up another level with a mysterious and seductive quality with an exciting sonic punch.  It definitely has the feel of a Bond title track, but with a sound distinctive of its times.  The credits sequence goes along well with the lyrics with the use of fire and ice, and using some very 1980s black light effects to create a series of vibrant, stylized images against black backgrounds.  As the best of these sequences do, it sets up a very exciting and intriguing tone for the movie as a whole.

Overall, the action scenes are pretty good.  They are thrilling and imaginative as well as well plotted, shot, and executed.  While they often have a little dash of humor from Bond ultimately driving a car that’s been sliced in half to comically hanging off the back end of a fire engine in San Francisco, I don’t mind them.  They are well done, and just added to the entertainment value of the film.  These moments never become ridiculous, thankfully.  The closest we get is during the pre-credits sequences where Bond begins snowboarding down a mountain, and the Beach Boys’ “California Girls” begins to play.  It certainly could rub you the wrong way, but I was able to roll with it.  Once you grasp the tone of the film, and come to accept it, you shouldn’t have a problem with these quirks.

That tone is mostly focused on the dramatic aspects and implications of the plot, but it’s a film that is able to have some fun with itself, when appropriate.  It maintains a serious threat level with Zorin’s plans, and the film flows very nicely.  Like most Bond films, it makes the most of its runtime keeping everything focused on the plot, and moving it forward in very efficient and smart ways.  It doesn’t have as much dramatic weight as some of my favorite Bond films do.  Instead, it does try to maintain some levity throughout, but balances everything very well.  It never goes too far in one direction or another, but never really excels in either direction.

The plot is pretty standard with some megalomaniac wanting to destroy in order to benefit his own greed.  It is nice that it’s actually a corporate mogul at the head of this scheme, wanting to dominate industry instead of dominating the world.  So, it has a somewhat more believable approach, but still has its unique Bond quirks which make the characters entertaining and the film nicely exciting.  I wouldn’t classify A View To A Kill as any adrenalin rush, but again, it has its fair share of danger and action which properly support the story.  The climax on the Golden Gate bridge has some fantastic visuals which I’m sure there must have been some optical effects work done, but the shots were entirely seamless to my eyes.  The action is definitely suspenseful as Bond hangs perilously from high atop the bridge, fending off Zorin’s attacks.  Ultimately, it’s an explosive finale that is quite satisfying, and tops the film off spectacularly.

Christopher Walken’s Max Zorin is an all right villain.  He’s certainly better than some of the misconceived ones I experienced in the Pierce Brosnan era, but Walken’s performance is pretty lightweight when compared to many of his later, more prominent roles.  Being familiar with Walken’s string of heavies from King of New York, Batman Returns, True Romance, The Prophecy, and Suicide Kings, I anticipated something much more impressive here.  I had wanted to see A View To A Kill since the VHS rental era because Walken was the villain, and so, there was some anticipation to see him really deliver something meaty as Zorin.  His performance is certainly not substandard, but it’s not as fascinating or intimidating as I had hoped.  In the least, it’s obvious that Walken was having a lot of fun on this movie resulting in a villain who is entertaining to watch.  There is plenty of charisma flowing out of Christopher Walken here.  I do think the blonde hair was a nice touch which gave Walken’s appearance a little more distinctiveness.

Tanya Roberts is a fairly decent Bond girl as Stacey Sutton.  There’s not much substance for her to dig into, and thus, her performance is also a little lightweight.  She plays well off of Roger Moore, but I’m sure the obvious twenty-eight year age difference between them might not work so well for some viewers.  Despite that, Roberts and Moore have fine chemistry that I feel is effective, and helps enhance the peril they fall into together.  I could honestly feel the genuine feelings between the characters in those moments.  Tanya Roberts is also quite gorgeous and charming, making her welcoming to look at.

Quite interesting is Grace Jones as the henchwoman May Day.  I think she complements Walken very well.  They seem like a peculiar couple with a shared mind for villainy.  They definitely have a solid, natural chemistry that puts them on an equal footing.  May Day rarely feels like a subordinate, but someone Zorin respects quite a bit, to a point.  Jones showcases some very good physicality, likely doing most if not all of her own stunts.  She proves to be a unique villain with an original fashion sense, but the film has her take a turn when Zorin leaves her to die in a mine explosion.  It does rob the audience of an appropriate comeuppance, but it can be nice to see a villain change sides.  She at least has a solid farewell scene.

Overall, I find A View To A Kill to be a generally enjoyable Bond film.  As I said, I’m sure Roger Moore had far stronger outings, in both performance and story, but this really doesn’t deserve the scorn it was originally met with.  It’s a fun adventure with plenty of wit and charm, but not much else to speak of.  Yes, it was time for Moore to bow out for a younger actor to revitalize the franchise, and maybe it’s not the swan song Sir Roger Moore would have preferred.  Despite that, A View To A Kill is a very competently made film that is very expertly shot with a fine score and entertaining action.  It maintains enough integrity for the series and the characters to be respectable.  It wasn’t an ambitious entry in the franchise, but there’s nothing at all wrong with that.  For me, it was an enjoyable ride that opened the door to possibly check out earlier James Bond films starring Roger Moore, but as 007 Week moves forward, so do the reviews.  With that said, James Bond will return in The Living Daylights.

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