Licence to Kill
Licence to Kill | |
---|---|
Directed by | John Glen |
Written by | |
Based on | James Bond by Ian Fleming |
Produced by |
|
Starring | |
Cinematography | Alec Mills |
Edited by | John Grover |
Music by | Michael Kamen |
Production companies | |
Distributed by | MGM/UA Communications Co. (United States) United International Pictures (International) |
Release dates |
|
Running time | 133 minutes |
Countries | United Kingdom[1] United States[2] |
Language | English |
Budget | $32 million |
Box office | $156.1 million |
Licence to Kill is a 1989
Licence to Kill was the fifth and final Bond film directed by John Glen, the last to feature Robert Brown as M and Caroline Bliss as Miss Moneypenny. It was also the last to feature the work of the screenwriter Richard Maibaum, the title designer Maurice Binder and the producer Albert R. Broccoli, all of whom died in the following years.
Licence to Kill was the first Bond film to not use the title of an
For budget reasons, Licence to Kill became the first Bond film shot entirely outside the United Kingdom: principal photography took place on location in Mexico and the US, while interiors were filmed at Estudios Churubusco instead of Pinewood Studios. The film earned over $156 million worldwide and received generally positive reviews, with praise for the stunts, but attracted criticism for its darker tone, which carried into Dalton's portrayal of Bond.
Plot
Sanchez bribes DEA agent Ed Killifer and escapes. Meanwhile, Sanchez's henchman Dario and his crew ambush Leiter and his wife Della (murdering her in the process) while taking Leiter to an aquarium owned by one of Sanchez's accomplices, Milton Krest. Sanchez has Leiter lowered into a pond holding a
After Bond kills Killifer using the same shark pond used for Leiter, M meets Bond in Key West's Hemingway House and orders him to an assignment in Istanbul, Turkey. Bond resigns after turning down the assignment, but M suspends Bond instead and revokes his licence to kill. Bond becomes a rogue agent, although he later receives unauthorised assistance from Q.
Bond boards Krest's ship Wavekrest and foils Sanchez's latest drug shipment, stealing five million dollars in the process. He discovers that Sharkey has been killed by Sanchez's henchmen. Bond meets and teams up with Pam Bouvier, a pilot and DEA informant, at a
Sanchez takes Bond to his base, which is disguised as the headquarters of a religious cult. Bond learns that Sanchez's scientists can dissolve
Sanchez and most of the others flee as fire consumes his base, taking with him four tankers full of the cocaine and petrol mixture. Bond pursues them by plane, with Bouvier at the controls. During the course of a stunt-filled chase through the desert, Bond destroys three of the tankers and kills several of Sanchez's men. Sanchez attacks Bond with a machete aboard the final remaining tanker, which crashes down a hillside. A petrol-soaked Sanchez attempts to kill Bond with his machete. Bond then reveals his cigarette lighter—the Leiters' gift for being the best man at their wedding—and sets Sanchez on fire. Sanchez stumbles into the wrecked tanker, causing a big explosion and killing himself. Bouvier arrives shortly afterward, and picks up Bond.
Later, a party is held at Sanchez's former residence. Bond receives a call from Leiter telling him that M has congratulated him for his work and offers him his job back. He then rejects Lupe's advances and romances Bouvier instead.
Cast
- MI6agent who resigns to take his revenge on drug lord Franz Sanchez.
- DEAinformant.
- Robert Davi as Franz Sanchez, the most powerful drug lord in Latin America, mentioned as having been wanted by the DEA for years.
- Talisa Soto as Lupe Lamora, Sanchez's girlfriend who has romantic feelings for Bond.
- Anthony Zerbe as Milton Krest, Sanchez's henchman who operates Wavekrest Marine Research, and whom Bond sets up to turn Sanchez against him
- Everett McGill as Ed Killifer, a corrupt DEA agent who frees Sanchez from custody.
- Frank McRae as Sharkey, a friend of Felix Leiter who owns a boat charter business.
- Desmond Llewelyn as Q, Bond's ally who supplies Bond with various gadgets and helps him in the field.
- Robert Brown as M, the head of MI6 and Bond's superior who revokes Bond's double-0 licence
- Caroline Bliss as Miss Moneypenny, M's personal secretary.
- Anthony Starke as Truman-Lodge, Sanchez's financial advisor.
- Grand L. Bush as Hawkins, a DEA operative who opposes Bond's vendetta.
- Benicio del Toro as Dario, Sanchez's personal henchman.
- Alejandro Bracho as Perez, one of Sanchez's henchmen.
- Guy De Saint Cyr as Braun, one of Sanchez's henchmen.
- Diana Lee-Hsu as Loti, a female Hong Kong narcotics agent working with Kwang.
- Rafer Johnson as Mullens, a DEA operative.
- David Hedison as Felix Leiter, a former CIA agent now with DEA and a close friend of James Bond.
- Don Stroud as Colonel Heller, Sanchez's head of security.
- Priscilla Barnes as Della Churchill, Felix Leiter's fiancée then bride.
- Cary-Hiroyuki Tagawa as Kwang, a Hong Kong Police narcotics agent sent to infiltrate Sanchez's heart of operations.
- Pedro Armendariz as President Hector Lopez, the president of Isthmus.
- Wayne Newton as Professor Joe Butcher, Sanchez's middleman and TV evangelist for Olimpatec Meditation Institute.
- Christopher Neame as Fallon, an MI6 agent sent by M to arrest Bond, dead or alive
- Roger Cudney as Wavekrest Captain
- Jeannine Bisignano as Stripper, working in the Barrelhead bar.
- Claudio Brook as Montelongo, the manager of the Banco de Isthmus and legitimate front for Sanchez.
Production
Shortly after The Living Daylights was released, producer Albert R. Broccoli and writers Michael G. Wilson and Richard Maibaum started discussing its successor. The film would retain a realistic style, as well as showing the "darker edge" of the Bond character. For the primary location, the producers wanted a place where the series had not yet visited.[6] While China was visited after an invitation by its government, the idea fell through partly because the 1987 film The Last Emperor had removed some of the novelty from filming in China.[7] By this stage the writers had already talked about a chase sequence along the Great Wall, as well as a fight scene amongst the Terracotta Army.[8] Wilson also wrote two plot outlines about a drug lord in the Golden Triangle before the plans fell through out of Broccoli's concerns that the Chinese government would censor the script.[8][9] The writers eventually decided on a setting in a tropical country while Broccoli negotiated to film in Mexico,[6] at the Estudios Churubusco in Mexico City.[8] In 1985, the Films Act was passed, removing the Eady Levy, resulting in foreign artists being taxed more heavily.[7] The associated rising costs to Eon Productions meant no part of Licence to Kill was filmed in the UK,[10] the first Bond film not to do so.[7] Pinewood Studios, used in every previous Bond film, undertook only the post-production and sound re-recording.[11]
Writing and themes
The initial outline of what would become Licence to Kill was drawn up by Wilson and Maibaum.[7] Before the pair could develop the script, the Writers Guild of America (WGA) went on strike and Maibaum was unable to continue writing, leaving Wilson to work on the script on his own.[12] Although both the main plot and title of Licence to Kill owe nothing to any of the Fleming novels, there are elements from the books that are used in the storyline, including a number of aspects of the short story "The Hildebrand Rarity", such as the character Milton Krest.[6][13] The novel Live and Let Die provided the material surrounding Felix Leiter's mauling by a shark,[7] whilst the film version of the book provided the close similarity between the main villain, Mr. Big, and Licence to Kill's main villain Sanchez.[14] The screenplay was not ready by the time casting had begun, with Carey Lowell being auditioned with lines from A View to a Kill.[6]
The script—initially called Licence Revoked—was written with Dalton's characterisation of Bond in mind,
For the location Wilson created the Republic of Isthmus, a banana republic based on Panama, with the pock-marked Sanchez bearing similarities to General Manuel Noriega.[14] The parallels between the two figures were based on Noriega's political use of drug trafficking and money laundering to provide revenues for Panama.[16] Robert Davi suggested the line "loyalty is more important than money", which he felt was fitting to the character of Franz Sanchez, whose actions were noticed by Davi to be concerned with betrayal and retaliation.[11]
The United Artists press kits referred to the film's background as being "Torn straight from the headlines of today's newspapers"[17] and the backdrop of Panama was connected to "the Medellín Cartel in Colombia and corruption of government officials in Mexico thrown in for good measure."[18] This use of the cocaine-smuggling backdrop put Licence to Kill alongside other cinema blockbusters, such as the 1987 films Lethal Weapon, Beverly Hills Cop II and RoboCop, and Bond was seen to be "poaching on their turf" with the drug-related revenge story.[19]
Casting
After Carey Lowell was chosen to play Pam Bouvier, she watched many of the films in the series for inspiration. Lowell had described becoming a Bond girl as "huge shoes to fill", as she did not see herself as a "glamour girl", even coming to audition in jeans and a leather jacket. While Lowell wore a wig for the scenes set in the United States, a scene where Bouvier is given money and told by Bond to go and buy some new clothes (and, going off and doing so, also has her hair cut) was added so that Lowell's own short hair style could be used.[20]
Robert Davi was cast following a suggestion by Broccoli's daughter Tina,[6] and screenwriter Richard Maibaum, who had seen Davi in the television film Terrorist on Trial: The United States vs. Salim Ajami.[21] To portray Sanchez, Davi researched the Colombian drug cartels and how to do a Colombian accent,[11] and since he was method acting, he would stay in character off-set. After Davi read Casino Royale for preparation, he decided to turn Sanchez into a "mirror image" of James Bond, based on Ian Fleming's descriptions of Le Chiffre.[6] The actor also learned scuba diving for the scene where Sanchez is rescued from the sunken armoured car.[11]
Davi later helped with the casting of Sanchez's mistress Lupe Lamora, by playing Bond in the audition.[8] Talisa Soto was picked from twelve candidates because Davi said he "would kill for her".[6] David Hedison returned to play Felix Leiter, sixteen years after playing the character in Live and Let Die. Hedison did not expect to return to the role, saying "I was sure that [Live and Let Die] would be my first – and last"[22] and Glen was reluctant to cast the 61-year-old actor, since the role included a scene parachuting.
Up-and-coming actor
John Rhys-Davies claimed he was asked to reprise his role from the previous film as General Pushkin in a cameo appearance, but declined since he felt the character was not necessary to the plot.[9]
Filming
Principal photography ran from 18 July to 18 November 1988. Shooting began in the Estudios Churubusco in Mexico, which mostly doubled for the fictional Republic of Isthmus:[24][6] locations in Mexico City included the Biblioteca del Banco de Mexico for the exterior of El Presidente Hotel and the Casino Español for the interior of Casino de Isthmus whilst the Teatro de la Ciudad was used for its exterior. Villa Arabesque in Acapulco was used for Sanchez's lavish villa, and the La Rumorosa Mountain Pass in Tecate was used as the filming site for the tanker chase during the climax of the film. Sanchez's Olympiatec Meditation Institute was shot at the Otomi Ceremonial Center in Temoaya.[25] Other underwater sequences were shot at the Isla Mujeres near Cancún.[26]
In August 1988, production moved to the
The scene where Sanchez's plane is hijacked was filmed on location in Florida, with stuntman Jake Lombard jumping from a helicopter to a plane and Dalton himself tying Sanchez's plane with a cable. The plane towed by the helicopter was a life-sized model created by special effects supervisor John Richardson. After filming wide shots of David Hedison and Dalton parachuting, closer shots were made near the church location.[6] During one of the takes, a malfunction of the harness equipment caused Hedison to fall on the pavement. The injury made him limp for the remainder of filming.[22] The aquatic battle between Bond and the henchmen required two separate units, a surface one led by Arthur Wooster which used Dalton himself, and an underwater one which involved experienced divers. The barefoot waterskiing was done by world champion Dave Reinhart, with some close-ups using Dalton on a special rig.[6] Milton Krest's death used a prosthetic head which was created by John Richardson's team based on a mould of Anthony Zerbe's face.[27] The result was so gruesome that it was shortened and toned down to avoid censorship problems.[13]
For the climactic
Music
Initially Vic Flick, who had played lead guitar on Monty Norman's original 007 theme, and Eric Clapton were asked to write and perform the theme song to Licence to Kill and they produced a theme to match Dalton's gritty performance, but the producers turned it down[30] and instead Gladys Knight's song and performance was chosen. The song was based on the "horn line" from "Goldfinger", seen as an homage to the film of the same name,[30] which required royalty payments to the original writers.[31] The song gave Knight her first British top-ten hit since 1977.[32] The end credits feature the Top 10 R&B hit "If You Asked Me To", sung by Patti LaBelle.[33]
Release
Licence to Kill premiered at the
There were also issues with the promotion of the film: promotional material in the form of teaser posters created by Bob Peak, based on the Licence Revoked title and commissioned by Albert Broccoli, had been produced, but MGM decided against using them[39] after American test screenings showed 'Licence Revoked' to be a common American phrase for the withdrawal of a driving licence.[10] The delayed, updated advertising by Steven Chorney, in the traditional style, limited the film's pre-release screenings.[6] MGM also discarded a campaign created by advertising executive Don Smolen, who had worked in the publicity campaign for eight previous Bond films, emphasising the rougher content of the film.[40][41]
Reception
Box office
At the
Despite grossing more than 4.3 times its budget, Licence to Kill has made the lowest inflation-adjusted box-office return—as well as having the lowest profit margin—out of all 25 of the official Bond films as of 2022. Interestingly, the only other Bond movie with "Kill" in the title—A View To a Kill, which was also directed by John Glen—has the second-lowest inflation-adjusted return of any Bond movie. However, Licence to Kill's return ratio of 4.3 ranks it 18th out of the 25 official film entries from the series.
Contemporary reviews
Derek Malcolm in The Guardian was broadly approving of Licence to Kill, liking the "harder edge of the earlier Bonds" that the film emulated, but wishing that "it was written and directed with a bit more flair."[51] Malcolm praised the way the film attempted "to tell a story rather than use one for the decorative purposes of endless spectacular tropes."[51] Writing in The Guardian's sister paper, The Observer, Philip French noted that "despite the playful sparkle in his eyes, Timothy Dalton's Bond is ... serious here."[52] Overall French called Licence to Kill "an entertaining, untaxing film".[52] Ian Christie in the Daily Express excoriated the film, saying that the plot was "absurd but fundamentally dull",[53] a further problem being that as "there isn't a coherent storyline to link [the stunts], they eventually become tiresome."[53]
Hilary Mantel in The Spectator dismissed the film:
It is a very noisy film. There is a weary and repetitive note to the frenzy. ... The sex is low key and off-screen but there is a smirking perverse undertow which makes the film more disagreeable than a
slasher movie.[54]
David Robinson, writing in The Times, observed that Licence to Kill "will probably neither disappoint nor surprise the great, faithful audience",[55] but bemoaned the fact that "over the years the plots have become less ambitious".[55] Robinson thought that Dalton's Bond "has more class"[55] than the previous Bonds and was "a warmer personality".[55] Iain Johnstone of The Sunday Times pointed out that "any vestiges of the gentleman spy ... by Ian Fleming" have now gone,[56] and in its place is a Bond that is "remarkably close both in deed and action to the eponymous hero of the Batman film"[56] that was released at the same time as Licence to Kill.
Adam Mars-Jones of The Independent gave the film a mixed review, pointing out that it took out some of the more dated ideas from the Fleming novels, such as imperialism; he wrote that the writers were "trying in effect to reproduce the recipe while leaving out ingredients that would now seem distasteful".[57] Overall Mars-Jones thought that:
James Bond is more like a low-tar cigarette than anything else—less stimulating than the throat-curdling gaspers of yesteryear, but still naggingly implicated in unhealthiness, a feeble bad habit without the kick of a vice.[57]
For the Canadian newspaper The Globe and Mail, Rick Groen wrote that in Licence to Kill "they've excised Bond from the Bond flicks; they've turned James into Jimmy, strong and silent and (roll over, Britannia) downright American",[58] resulting in a Bond film that is "essentially Bond-less".[58] Summing up, Groen thought "Actually, that dialogue ... ain't bad. The silence looks good on Timothy Dalton".[58]
Gary Arnold of The Washington Times wrote that a number of factors "fail to prevent the finished product from jamming and misfiring with disillusioning frequency".[59] Arnold opined that "demanding that he [Dalton] play Bond's wrathfulness in a transparently seething and hotheaded manner"[59] means that Dalton "seems to waste away on this second outing as Bond."[59] Overall Arnold sees that there is a "failure to recognize that Bond productions are simply too extravagant to permit an uncompromised return to first principles."[59] The critic for The New York Times, Caryn James, thought Dalton was "the first James Bond with angst, a moody spy for the fin de siecle",[60] and that Licence to Kill "retains its familiar, effective mix of despicably powerful villains, suspiciously tantalizing women and ever-wilder special effects",[60] but was impressed that "Dalton's glowering presence adds a darker tone".[60] James concluded that "for all its clever updatings, stylish action and witty escapism, Licence to Kill ... is still a little too much by the book."[60]
Roger Ebert for the Chicago Sun-Times gave the film 31⁄2 stars out of 4, saying "the stunts all look convincing, and the effect of the closing sequence is exhilarating ... Licence to Kill is one of the best of the recent Bonds."[61] Jack Kroll, writing in Newsweek, described Licence to Kill as "a pure, rousingly entertaining action movie".[62] Kroll was mixed in his appraisal of Dalton, calling him "a fine actor who hasn't yet stamped Bond with his own personality",[62] observing "Director John Glen is the Busby Berkeley of action flicks, and his chorus line is the legendary team of Bond stunt-persons who are at their death-defying best here".[62] For Time magazine, Richard Corliss bemoaned that although the truck stunts were good, it was "a pity nobody – not writers Michael G. Wilson, and Richard Maibaum nor director John Glen – thought to give the humans anything very clever to do."[63] Corliss found Dalton "misused" in the film, adding that "for every plausible reason, he looks as bored in his second Bond film as Sean Connery did in his sixth."[63]
Retrospective reviews
Opinion on Licence to Kill has changed with the passing of time: some reviews are still mixed, though film review aggregator Rotten Tomatoes lists the film with a positive 79% rating from 62 reviews with consensus stating that "Licence to Kill is darker than many of the other Bond entries, with Timothy Dalton playing the character with intensity, but it still has some solid chases and fight scenes."[64]
Tom Hibbert of Empire gives the film only two of a possible five stars, observing that "Dalton ... is really quite hopeless".[65] Hibbert concluded that "he may look the part, but Timothy Dalton fails the boots, the scuba gear, or the automobiles left him by Moore and Connery."[65] In 2006, IGN ranked Licence to Kill fifteenth out of the then 21 Bond films, claiming it is "too grim and had strayed too far from the Bond formula."[66]
Norman Wilner of
Celebrating the 25th anniversary of the film, Esquire's Bob Sassone urged readers to give it a second look.[69] High-Def Digest awarded it four out of five stars when re-released on Blu-ray.[70] British GQ considered it the most underrated in the series, thinking the change in tone caused upset among fans.[71] Digital Spy called Dalton the best Bond of the six actors, praising his depth,[72] terming Licence to Kill a "violently enjoyable 007 detour".[73]
Some critics, such as James Berardinelli, saw a fundamental weakness in the film: the "overemphasis on story may be a mistake, because there are times when Licence to Kill's narrative bogs down."[74] Berardinelli gave the film three out of a possible four stars, adding "Licence to Kill may be taut and gripping, but it's not traditional Bond, and that, as much as any other reason, may explain the public's rejection of this reasonably well-constructed picture."[74] Raymond Benson, the author of nine Bond novels, said of the film: "It boggles my mind that Licence to Kill is so controversial. There's really more of a true Ian Fleming story in that script than in most of the post-60s Bond movies."[75] John Glen has said Licence to Kill "is among my best Bond films, if not the best".[6]
Appearances in other media
The Licence to Kill screenplay was novelised by the then-novelist of the Bond series John Gardner. It was the first Bond film novelisation since James Bond and Moonraker in 1979.[76]
Licence to Kill was also adapted as a forty-four-page, colour
The 2012 video game 007 Legends features a level based on Licence to Kill with Carey Lowell reprising her role by providing the voice for the Pam Bouvier character.
Awards and nominations
- 1990 Edgar Allan Poe Award – Best Motion Picture – nomination for Michael G. Wilson and Richard Maibaum[80]
- 1989 MPSE Golden Reel – Outstanding Sound Mixing – nomination for Graham Hartstone[81]
See also
Citations
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- ^ a b c d e f g h i j k l m n o p q r s Cork, John (1999). Inside Licence to Kill (DVD). Licence to Kill: Ultimate Edition: MGM.
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