License to Kill

Roger Ebert started his review out by saying, “The James Bond movies have by now taken on the discipline of a sonnet or a kabuki drama: Every film follows the same story outline so rigidly that we can predict almost to the minute such obligatory developments as (1) the introduction of the villain's specialized hit man; (2) the long shot that establishes the villain's incredibly luxurious secret hideout; (3) the villain's fatal invitation to Bond to spend the night; (4) the moment when the villain's mistress falls for Bond; (5) the series of explosions destroying the secret fortress, and (6) the final spectacular stunt sequence.”

Ebert continued to say, “Connoisseurs evaluate the elements in a Bond picture as if they were movements in a symphony, or courses in a meal.” There are a few surprises, and the changes come over time, so that the newest Bond movie is recognizable as a sequel to the first, “Dr. No,” in 1962. Within this tradition of the same elements, “License to Kill,” released in 1989, does manages to bring in some interesting surprises. One is that the Bond character, reprised by Timothy Dalton for a second time, has become less of a British ambassador and more of an international action hero. Next is that the speed has been increased, probably to respond to the fast-pace of the Rambo and Indian Jones franchise. Finally is that the villain has honestly uncertain goals for a change. He doesn’t want to take over the world, he only wants to be a cocaine billionaire.

Ebert admitted, “I've grown uneasy lately about the fashion of portraying drug smugglers in glamorous lifestyles; they're viewed with some of the same glamor as gangsters were, in films of the 1930s.” Sure, they die in the end, but they have a lot of fun along the way. In “License to Kill,” however, using the drug kingpin named Sanchez (Robert Davi) and his minions (Anthony Zerbe, Frank McRae) is apparently part of trying to update the franchise and make it feel more modern.

Obviously, there are still the necessary scenes. The film starts with an amazingly eye-popping stunt scene (Bond and his comrade catch a plane, then parachute to a wedding ceremony). Then it changes gears to the recognizable modern world in and around Key West, Fl., where 007 finds himself in the middle of a mission to capture Sanchez and cut his pipeline of cocaine.

Like every Bond villain, Sanchez has everything he needs and a beautiful mistress. His operation uses an underwater shark aquarium company as the façade, and keeps a few sharks with him so they can feast on federal agents. After Bond’s friend, Felix Leiter, played by David Hedison, is mistreated by the villains, Bond starts this rancor against Sanchez, which involves a clear and violent stunt part in the air, on land, and underwater.

His helped in his mission by the beautiful Pam Bouvier (Carey Lowell, introduced as “Miss Kennedy, my executive secretary”), and saved more than once by Sanchez’ beautiful mistress, Lupe Lamora (Talisa Soto). Both women are as beautiful by Bond’s standard, but more modern – more experienced, intelligent and capable, and not simply objects for men. This is undeniably part of the plan, which was planned before Dalton’s first Bond movie, to break down Bond’s love life. Compared to his previous films, Bond is practically innocent this time.

Ebert admitted, “My favorite moments in all the Bond pictures involve The Fallacy of the Talking Killer, in which the villain has Bond clearly in his power, and then, instead of killing him instantly, makes the mistake of talking just long enough for Bond to make a plan. The fallacy saves Bond's life two or three times in this movie - especially once when all that Davi has to do is slice his neck.”

“License to Kill” ends, as every Bond film foes, with an extended chase and stunt scene. This one has some really amazing stunt work, as three giant gasoline trucks race down a winding mountain road, while a helicopter and a light aircraft also join in the chase. Ebert admitted, “There were moments when I was straining to spot the trickery, as a big semi-rig spun along tilted to one side, to miss a missile aimed by the bad guys.” Every stunt looks convincing, and the effect of the ending is adrenaline-pumping.

Seeing how this is the second time Dalton played Bond, he can keep reprising the role if he enjoys it. He makes a convincing Bond – lacking Sean Connery’s style and humor and Roger Moore’s polite self-ridicule, but with a slim tension and a toughness that is possibly more modern. The major difference between Dalton and the earlier Bond actors is that he looks like he prefers action over women. Then again, audiences these days seem to prefer the same thing. “License to Kill” is one of the best of the recent Bonds.

If you didn’t like “The Living Daylights,” like I did, then you will definitely get back on track with this one. This one is actually really good and I think Dalton did a better time this around. Don’t skip this one because it is definitely worth seeing.

However, Dalton did not come back to reprise the role of 007. Stay tuned tomorrow when we get into the more modern Bond movies that everyone knows about. I think a lot of people started with those, so you’re in luck. I will be starting those tomorrow so stay tuned for the excitement in “James Bond Month.”