And You Thought It Was Safe(?)


Licence to Kill (1989)
Isn't it just as cute as a death button?

Isn’t it just as cute as a death button?

By now, EON Productions had these Bond films running on a rock-solid two year schedule. Writers Richard Maibaum and Michael G. Wilson seemed to have hit upon a winning formula: fuse the few remaining pieces of Fleming’s short stories together with plot elements “torn straight from the headlines of today’s newspapers.” This served the twin purpose of keeping James Bond “relevant” to a changing movie landscape and shaking up the stale formulas that had constrained the series for two decades.

Inevitably, the loudest criticisms of The Living Daylights and its sequel come from Bond fans who felt (and still feel) this series grand quest for “relevance” was a whole lot of tilting at windmills. The Dalton Era gets a lot of flack for a lot of things, but nothing more so than its lack of “fun”; that “campy” “charm” which supposedly made the Moore Era so much “enjoyable” and the Connery films “instant classics.” Gods forbid anyone treat those like “serious” spy-fi action pictures…even if that’s exactly what they were intended to be.

They succeed on their own merits with no “camp,” required, save the kind its audience brings with it via the expectations in their heads. If you want real “camp,” I’ve got a version of Casino Royale you should check out…me, I think Bond should’ve gone “darker” decades prior. He might’ve stayed ahead of the trends instead of constantly playing catch-up. Licence to Kill almost does this and, on the strength of that almost, becomes my favorite Bond film of its decade…and the preceding one. Continue reading



Live and Let Die (1973)

First, a salute to Baron Samedi:

Dig my grave some other day.

Dig my grave some other day.

"Why yes, I *have* heard that particular bit of good news. Now, if you'll excuse me, I've got international relations to...improve...yes."

“Why yes, I *have* heard that particular bit of good news. Now, if you’ll excuse me, I’ve got international relations to…improve…yes.”

Great Tracy’s ghost, it’s finally here! The debut of Roger Moore, the Third and Longest-Lasting Bond (so far), who’ll carry the weight of these next seven films for a very long time. I feel like a kid at Christmas because the Moore Era contains some of the series best and worst, irrevocably cementing Bond’s place in modern cinema as a character who’d outlive his actors….for better or worse…

Where Connery feared the role would dominate his career, Moore came to it already “groomed” by eight years as TV’s The Saint. He seemed to embrace that….despite having to cut his hair and loose some weight for this part. He’d packed it on and let it grow out during the disastrous slow-motion train wreck of his TV show The Persuaders! (Yes, the exclamation point’s part of the title – whaddya expect? It was the 70s.) At that point, Moore could’ve helmed ten bad TV shows and people still would’ve flocked to their theaters to see him as James Bond in (a heavily altered facsimile of) Ian Fleming’s Live and Let Die. Continue reading