|
By
NICK ZEGARAC
"The Living Daylights"
(1987) is Timothy Dalton's introduction to the
Bond franchise and in hindsight is a far more
engaging film than critics of the time gave it
credit. After aiding in Soviet General, Gregori
Koskov's (Jeroen Krabbe) escape from behind the
Iron Curtain, James Bond (Dalton) realizes that he
has been the unwilling accomplice to an elaborate
hoax. Furthermore, he begins to find himself
falling in love with Russian cellist, Kara Milovy
(Maryam d'Abo), Koskov's paramour. When the
general is recaptured, Bond decides to help Kara
escape prosecution for Koskov's attempted murder,
first to Vienna, then Morocco, and finally
Afghanistan.
In every way, this film is big. From its pre-title
sequence, in which Bond and several allies
parachute over the rock of Gibraltar, to its
stunning car chase staged across the frozen Alps,
director John Glen infuses his production with a
scope and balance that at least attempts to keep
the camp elements at bay. What he is hampered by
is a trio of unbelievable and foppish villains;
Koskov, the psychopathic, Necros (Andreas
Wisniewski) and war enthusiast, Brad Whitaker (Jo
Don Baker). None are up to the task of generating
diabolical thrills or innate hatred from an
audience. Instead, they appear as three blind mice
lined up in sequence for the forgone conclusion of
having Bond destroy them en route to the final
fade out.
As with On Her Majesty's Secret Service, the
narrative of this Bond flick goes for much more
detail and depth of plotting than most films in
the series -- simply because it recognizes that,
in lack of any genuinely indelible style from its
leading man -- substance is a fairly valiant
substitute for box office success. Although The
Living Daylights did not live up to its
expectations, it was nevertheless a solid effort
at preserving Bond's supremacy in films.
The MGM/UA DVD is a fairly pleasant viewing
experience. Although there is a considerable
amount of edge enhancement throughout, colors are
fairly accurate and deeply saturated. Contrast
levels appear bang on, with deep blacks, near
pristine whites, and fine details realized
throughout. There are hints of age-related
artifacts but none that will distract. The audio
is stereo surround and presented at an adequate
listening level. Extras include two documentaries,
audio commentaries, junket promo materials and the
film's theatrical trailer. |
