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GoldenEye (1995)

GoldenEye is the first Bond film I ever saw.  My sister has been a big Pierce Brosnan fan since Remington Steele.  So, us and some friends saw this on opening weekend, and even if there wasn’t that sentimental value, I would still call this one of the finest James Bond films I’ve ever seen.  While it’s not perfect, it excels far beyond so many others that I’ve already reviewed here, and even Brosnan’s follow-ups.

Nine years ago, British Secret Agent James Bond 007 (Pierce Brosnan) infiltrated a chemical weapons facility in Russia with friend and fellow MI-6 Agent Alec Trevelyan 006 (Sean Bean), but the mission went awry when corrupt Russian military officer General Ourumov (Gottfried John) murdered 006.  Today, Bond is assigned by his new boss, a female ‘M’ (Judi Dench) to recover GoldenEye, an orbiting Russian radiation pulse weapon that can destroy any electronic device within its blast radius.  The GoldenEye has been stolen from the Severnya research station by General Ourumov and the lethal and deadly Xenia Onatopp (Famke Janssen), where they also slaughtered the entire staff.  However, there was a lone survivor in computer programmer Natalya Siminova (Izabella Scorupco) who Bonds seeks out in addition to the criminal figure named Janus who Ourumov and Xenia are working for.  Yet, after navigating through the Russian criminal underworld, 007 soon comes face-to-face with the man himself, revealed to be a scarred but living Alec Trevelyan who now seeks to wipe out London with GoldenEye.  With Natalya’s help, Bond races to save London from destruction as well as combat a man that knows him better than he knows himself.

GoldenEye features a great pre-credits sequence that is smart, suspenseful, and lays a strong emotional groundwork for the film, introducing two of its lead villains and our new Bond in Pierce Brosnan.  It also gives the sense of unfinished business amongst these characters which is greatly punctuated by the mysterious title song sung by Tina Turner and written by Bono and The Edge of U2.  The song feels like classic Bond with a gorgeous sound which fits Ms. Turner beautifully.  The title sequence is equally breathtaking with its fall of communism theme.  Making great use of digital effects, this is a title sequence that is able to be very ambitious with its ideas and make them pure reality.  It makes a fantastic splash to an audience that had been without new Bond for six years.

Pierce Brosnan’s Bond both embodies a serious sense of action and dramatic weight as well as a sly, suave, and fun mentality.  He’s a man that enjoys indulging himself in the finer things, and sharing some witty repartee with his friends or adversaries.  Brosnan gracefully balances the slightly immature or playful aspects of the character with the straight seriousness Bond must demonstrate as an agent of Her Majesty’s Secret Service.  He’s sophisticated, charming, classy, and elegant.  Brosnan certainly had the charisma and sex appeal to make his portrayal exciting and fresh.  Beyond all else, Brosnan is clearly taking a lot of pleasure in his performance.

The screenwriters and especially director Martin Campbell do an excellent job of building up suspense in this story.  Plot elements are strategically and methodically laid out setting the stage for a very strong story and masterfully executed film.  It has plenty of atmosphere and dramatic tension as 007 weaves his way through the Russian criminal underworld.  What starts out seeming like a subversive plot by a man Bond harbors feelings of revenge against develops into something far more startling for 007.  Revenge is abandoned for betrayal, and the plot becomes a more dimensionally personal one for James Bond.  We get many strong moments of emotional depth from various characters.  Natalya especially shows sorrow, grief, and anger, but is able to connect with James on a very honest and passionate level.  She is able to give him perspective on his feelings of betrayal, and he is able to focus them into a very sharp and clear intent.  The script gives every featured character dimension and purpose with their own relationships.  Natalya has some payback to deliver to Boris, the Severnaya computer programmer who also works for Alec and Ourumov, and James has plenty of sordid business with Ourumov, Xenia, and certainly Alec.  It’s all woven together into a very smartly structured and interconnected plot.  No issues are left unresolved, and everyone has their moments of prominence and purpose.  Simply said, this is a great work of screenwriting with a fresh approach that brought Bond strongly and smartly into a post-Cold War world.

The filmmakers use a combination of digital, practical, and miniature effects work to create some absolutely stunning sequences.  The destruction of the Severnaya facility alone is spectacular.  While the mixture of effects are noticeable to my well trained eyes, they are still damn great.  They create a high quality look for Bond’s first foray into the 90s, and deliver on the standards that you’ve come to except from this series.

The cinematography is also excellent creating some strong atmosphere that gives the film some edge, but never gets especially heavy.  It greatly holds the dramatic weight and urgency of the story with gorgeous lighting and an expert use of angles and composition.  All of the action is shot superbly giving us a great sense of fast paced movement while never sacrificing a clear sense of geography.  This is a golden example of how to competently and thrillingly shoot an action movie.  Enhancing that is some tight, solid editing.  Further credit goes to director Martin Campbell for knowing how to assemble all of these stunning elements into an amazing, rock solid, and exciting film.

My favorite action sequence is indeed the tank chase through St. Petersburg in Russia.  Bond commandeering a Russian tank to chase after Ourumov, who has captured Natalya, is just pure Bond excess and indulgence which has its equal shares of thrills and humor.  It comes off as light-hearted and fun, but never truly silly.  Other sequences are immensely excellent defining the tone of Brosnan’s Bond, and building up a very rousing action film with plenty of consequences.  The climax is absolutely awesome with plenty of big action and fiery thrills to result in an excellent pay-off.  James and Alec battle on the satellite dish in Cuba at a very precarious height.  Both Brosnan and Bean show their immense physical condition and ability to create a very intense and dynamic fight.

GoldenEye features three very good and enjoyable villains.  I think my personal favorite is General Ourumov.  He’s perfectly underhanded and slimy.  Actor Gottfried John put a little bit of wit and humorous charisma into the role making him a lot of fun to watch.  He’s very entertaining during the tank chase where he’s drinking from a flask, obviously a little stressed out, but John maintains him as a cunning and threatening villain.  It’s only a little too bad he doesn’t make it through to the final act of the film, and gets a rather unceremonious departure.

Of course, there’s the incredible Famke Janssen as the very lustful Xenia Onatopp.  She is a very wild woman who gains sensual ecstasy, not from sexual pleasure, but from violence and murder.  Janssen puts so much vile, dangerous passion into this role that she is instantly memorable.  The fact that Xenia likes to kill men by squeezing the life out of them with her legs wrapped around them is only found in a Bond film, and enhances the sexual drive of the character.  This is the role that easily broke her career wide open, and she has enjoyed the subsequent success ever since.

This film also introduced me to Sean Bean and his fine acting talents.  I think it was a great idea to have a villain with a personal connection to James Bond, someone that was once his friend, and could be viewed as his equal in many ways.  Instead of it being a revenge motivation like in Licence to Kill, we get a story of betrayal.  Bean’s performance is almost a dark reflection of Bond, but with a more malicious, malevolent vibe instead of a sly arrogance.  The best part of Alec and James’ exchanges are how deep their words penetrate past their facades or personas.  Still, it seems Alec has the upper hand in bruising James’ soul, probably because he still has one to bruise.  Sean Bean gives us a solid Bond villain who doesn’t fall into the clichéd tropes of old.  He’s more modern and personal of a character that was a fresh, solid fit for this film.

Alan Cumming also chimes in as the very funny and charismatic Boris Grishenko.  Cumming is a marvelously diverse actor who can do practically anything, and he does it amazingly well.  As Boris, he delivers a particularly salacious character who is so entertaining that it’s hard to entirely hate him.  While he is a traitor that left Natalya to die, Cumming’s too much of a vibrant source of laughs to condemn Boris fully, but you still enjoy it when he gets his comeuppance.

On the heroic Bond girl side, Izabella Scorupco proves to be a remarkable talent who shows a wide range of emotion as Natalya.  She can be fun and endearing as well as dig down deep with the pain and grief, such as in the ruins of the Severnaya facility.  What Scorupco puts forth in those scenes is very powerful and a bit heartbreaking.  The emotion really penetrates through the screen as it flows out of every fiber of her being.  She also has plenty of strength and fire as well as compassion and vulnerability to make Natalya a very well rounded and realistic person to invest our sympathies with.  Unlike some other Bond girls, she’s not just along for the ride.  She has a strong, personal stake in everything, and is willing to fight right alongside James at every step.  Her and Brosnan have great chemistry and rhythm between them sharing in the funny, dramatic, and heartfelt moments.  They were a beautiful fit that really gives this film even more strength and weight.

Also, we get a far more satisfying performance from Joe Don Baker here as CIA contact Jack Wade than with his Bond villain turn in The Living Daylights.  He uses his charisma and comic timing to great effect making Wade a genuinely funny personality that became a welcomed returning character in Tomorrow Never Dies.  Considering Felix Leiter got his leg chomped off by a shark in the previous Bond film, the filmmakers decided to change things up with a new CIA contact for Bond, and I think they created a very fresh and entertaining character that contrasted Bond while still complementing him.

Last, but not least, Judi Dench was a brilliant choice for this role, and the idea behind the character was brilliant as well.  Making the head of MI-6 now a woman made the old Bond concepts fresh with new perspectives applied to them.  Her “M” only has two scenes early on, but she really sets a tone that challenges James Bond’s misogynistic and cavalier attitudes.  Yet, for as much as she creates friction with Bond, she also shows her compassion by wishing Bond to come back in one piece.  Dench’s character is appropriately hard when she needs to be, but soft when it counts.  Through both Brosnan and Daniel Craig, she has really developed an excellent character who has become a welcomed highlight of every Bond film for the last seventeen years.

If there’s one thing to levy against GoldenEye is the lack of the classic Bond style scope.  The bulk of the film takes place inside Russia with the final half hour in Cuba.  There are not many exotic locales, or a wide spread canvas for Bond to traverse.  Because of this, the film feels a little narrow in scope.  This was definitely rectified in Pierce Brosnan’s subsequent Bond films, but I feel those films lost the edge this film had.  While Brosnan’s performances never went down in quality, the scripts or filmmakers could never quite hit the personal or passionate nerve that GoldenEye hit for the character.  While not all Bond films need to have plots of a strongly personal nature, I think that element helps to keep the films grounded.  Die Another Day certainly tried to walk the line of personal revenge and over the top indulgence, but the latter tended to dilute the former.  So, while the scopes of the following three films were certainly broadened, the stories didn’t quite have the personal drive of GoldenEye.  While it’s not the perfect or quintessential Bond film that Brosnan could’ve made, I do feel it’s his strongest, most consistent outing.  Although, this is just my personal taste.

After such a long absence from cinemas, many questioned whether or not James Bond was still relevant after the end of the Cold War.  GoldenEye dealt with that blatantly, and answered it with a resounding “yes.”  Director Martin Campbell brought together just the right elements to make this a refreshing, revitalizing success.  It’s no wonder that he was brought back about a decade later to reboot the franchise with yet another fresh approach and tone.  With this film, Pierce Brosnan made a big impact with a James Bond that instantly won over audiences.  It returned us to the suave and sophisticated sensibilities of the character while losing none of the intense action oriented excitement that we all desire from 007.  With a great cast inhabiting some solid and entertaining characters, and a solid foundation of talent behind the camera in all departments, GoldenEye still proves to be an excellent and highly satisfying entry in this franchise.  And yes, James Bond will return, again.

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The Living Daylights (1987)

The Living Daylights was the debut of Timothy Dalton as James Bond on the twenty-fifth anniversary of the franchise.  It also marked a distinct shift in tone from Roger Moore’s more light-hearted approach, and brought Bond back closer to the core of Ian Fleming’s character.  With Dalton came a more dangerous Bond who carried more weight and urgency with him, and it is a portrayal that I very much enjoy.  While this first outing was generally well received, I believe Dalton’s two film run with the character was unjustly maligned, and I hope this review and that of the following film will detail why.

After James Bond (Timothy Dalton) helps Russian officer Georgi Koskov (Jeroen Krabbé) make a daring defection to the West, the intelligence community is shocked when Koskov is abducted from his remote hiding place.  Bond leaps into action, following a trail that leads to the gorgeous Kara (Maryam d’Abo), who plays Bond as easily as she plays her Stradivari cello.  As they unravel a complex weapons scheme with global implications, linking up with arms dealer Brad Whitaker (Joe Don Baker) and Russian General Pushkin (John Rhys-Davies), James and Kara escape first to Vienna, then to Morocco, finally ending up in a prison in Soviet occupied Afghanistan as they track down the elements in this mystery.

The opening action sequence is very smart and exciting.  M sends three Agents to test the security of a military installation on Gibraltar, but are ambushed by an assassin.  I’ve always liked the touch by the filmmakers to cast two other actors who resemble previous Bond actors George Lazenby and Roger Moore before revealing Dalton himself.  Obviously, with marketing of the film and all, the trick loses its intended impact, but it’s a clever idea to keep an uninitiated audience guessing as these other agents fall by the wayside.  Regardless, this sequence sets the tone for this more action packed and daring approach of this new Bond.  It’s really a perfect start to a very promising film that does deliver in many satisfying ways.

The opening credits sequence for The Living Daylights is nothing special or distinct.  Watery images and silhouettes really don’t have much to do with the title song from Norwegian pop group A-ha.  It’s not particularly bad, just very uninspired.  While this musical track doesn’t have as much punch as Duran Duran’s had for the previous film, the high pitched vocals and melodic quality are still catchy and appropriately Bond-esque.  I like it quite a lot.

Timothy Dalton injects a seriousness into the role of Bond that I find very compelling.  He carries himself with sophistication and integrity creating a strong screen presence.  He firmly grounds Bond while still giving him charisma, wit, and a subtle depth of emotion.  He can be humorous and charming while never betraying the dramatic intent of the portrayal.  Dalton’s Bond is one that grasps the seriousness of situations, and acts with due intelligence and action.  There’s definitely a gritty vigor he brings into Bond that makes the film instantly more energetic and exciting.  It’s a dimensional performance that is thoroughly enjoyable, and creates a James Bond that can smartly weave in and out of the world espionage.  Beyond everything else, Dalton makes 007 a character that can be taken seriously, and allow for serious stakes to be highlighted in his films.  While there is room for fun, it is ultimately a better film when there’s real tension and risk at hand.  I think Dalton did an excellent job stepping into this role bringing realism back into the fold.  Timothy Dalton likely did many of his own stunts, and it really shows through, benefitting the quality of the action immensely.

The action of the film is excellent.  The chase sequence through the snowy landscape with the Aston Martin showing many of its “optional extras” is very thrilling and fun.  Plenty of explosive moments and clever twists and turns make it a memorable highlight of the film.  The foot chase across the rooftops of Tangier was very well done, also.  All of the action sequences are very fun and inventive using the unique locations, from the snow to the desert, to great effect.  The climactic action scene where Bond hangs off the back of a cargo plane, set to explode in a matter of minutes, while battling the Russian mercenary Necros is very tense and exhilarating.  Yet, it doesn’t end there as we get further explosions and a dangerous mid-air escape.  Then, Bond still has to finish off Whitaker in a great firefight.  It’s an immensely satisfying conclusion that does not hold back on the thrills.

Maryam d’Abo is probably not as alluring or sexy as most other Bond girls, but she is definitely a good actress that had a lot to bring to Kara Milovy.  She’s very likable and relatable as an innocent and talented young woman deceived by her deceitful boyfriend Koskov.  Maryam brings a strong will to the role, but also finds the vulnerability in Kara.  Kara and James share some moments of strong emotion that d’Abo conveys remarkably well.  She was a very good fit for this initial outing for Dalton as she satisfies on stronger levels than mere sex appeal.

I feel the only downside to the film are the villains.  Joe Don Baker is decently charismatic, but never really develops into a serious threat.  Opposite a more formidable acting talent in John Rhys-Davies, whose character is implicated as the true villain by Whitaker and Koskov, it’s even harder to perceive Whitaker as someone to contend with.  He’s portrayed as a man who doesn’t take anything too seriously, but any hint of arrogance or ego that could have been there, simply is traded off for a character that’s lacking in formidable competence.  Thankfully, he’s not a forefront villain.  Jeroen Krabbé’s General Koskov does definitely go down the path of arrogance, but it takes quite a while before he becomes intimidating at all.  He’s certainly the better quality villain of the two, ultimately, and at least has more of a detestable element to him due to how he eventually treats Kara.  Yet, he still could’ve used a lot more work.  I feel it’s more the near insurmountable odds that Bond faces which make the film tense and exciting than the villains he faces.  They are nothing major to contend with.  It’s just the forces they command are what create the danger the film needs.

I really like that the plot features a tangled web of deceit for Bond to unravel.  He has to tread cautiously amongst those he encounters before he can determine who he can trust, if anyone at all.  He works his way through a deceptive abduction, a faked assassination, opium trade, arms deals, and rebel fighters in the Middle Eastern desert to uncover the depth of this plot, and to stop it dead in its tracks.  It’s an excellently crafted story that never falls into a lull.  There’s a consistent development and progression of plot while never leaving our main characters of James and Kara in the dust.  Their motivations remain clear, and their relationship develops very solidly.  Despite James having to lie to her while attempting to determine her role in Koskov’s plan, Kara is able to eventually trust him, and they forge a convincing romantic relationship.  Everything is smartly wrapped together in a very satisfying package making for an entertaining ride.

I was very pleased by John Barry’s score for this franchise entry.  He gave a little more edge to the traditional Bond theme in a few of the action scenes, and nicely incorporated the melody of the opening title track into the score during the third act.  It’s a very tight, very good piece of orchestration that complemented the film’s tone and pace strongly.  It was a very fine and respectable final bow for Barry as this was the last James Bond film he worked on.

Ultimately, The Living Daylights is a very good film in this franchise.  There is more than enough action to spare while still delivering a very smart and well plotted story.  It brings espionage more skillfully back into Bond’s world, and the film is better off for it.  The real cog of success was Timothy Dalton who made the character honest and real, again.  Between his presence and beautifully deeper voice, you get that sense of dramatic tone from him throughout the film.  He simply made the film more exciting and interesting.  While there is a more gritty, dark style to this film, it still has plenty of fun moments to smile at that do not betray the tone veteran Bond director John Glen was going for.  If the film had strong villains, or simply stronger performances from the villains, I could really give this a very strong endorsement.  They just lack that edge of intimidating and formidability to push them over as a major threat on their own.  The excitement and engaging narrative is due to the twisting and turning mystery Bond has to weave through, and it’s all done with expert quality and precision.  The Living Daylights is definitely a big step up from A View To A Kill, and for those desiring a more traditional Bond film from Dalton, this is definitely the one to check out.  I do very highly recommend the film despite any shortcomings it has with the villains.  It’s a fun, thrilling ride that will entertain you.  Next up, James Bond will return in Licence to Kill.