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[@malcolm_mann]

A lovely interview! Licence to Kill was the first Bond film that I saw at the cinema. I enjoyed it terrifically, so despite having already seen the others on TV it became my ur-Bond, the one by which I judged all the others. In light of that, it’s great to see that the film is growing in appreciation now. What’s really exciting about LtK is watching it and knowing that contained within it are the seeds of the post-Arnie/Stallone/Willis action film genre. Mission Impossible, Jason Bourne and Daniel Craig’s Bond owe so much to it. Finally, thank you very much for the credit at the end. It is rather exciting to see my IG name there!

[@CSwalmiusDato]

@malcolm_mann Apologies, for not replying to your comment earlier, and thank you for letting me use your images. I'm glad you enjoyed Cary's remarks. He is rather fond of Dalton and very knowledgeable about film in general. I will try to speak to him again when his book about Paul Verhoeven's 1980s action films is published.

[@bolajialli8226]

Great interview for a very misunderstood, under rated Bond film.

[@CSwalmiusDato]

Although Dalton is not my favourite Bond, I agree that his films, and LTK in particular, do not get the love they deserve. Cary is obviously a Dalton afficionado and makes some very good points about why Dalton's portrayal of 007 should be rated much higher than it commonly is. I'm delighted that you enjoyed his remarks.

[@marcuswenger]

In 1987 I had the pleasure to see Daltons first appearance in the german premiere of " living daylights" and was suprised about the new, harder Bond version after the Moore area. I enjoyed living daylights because Bond got more serious, but in licence to kill there are some scenes (shark, etc.) in a kind of violence I did not exspect. So my favorite Dalton Bond movie is still living daylights.

[@CSwalmiusDato]

My take: While the graphic scenes of violence in “Licence to Kill” were surprising for the #JamesBond series, which had become family entertainment during #RogerMoore's tenure, it was at least in part motivated by the need to compete with the popular action film franchises starring #BruceWillis, #SylvesterStallone, and #ArnoldSchwarzenegger. By the late 1980s, these films were becoming increasingly intense and graphic, and the Bond franchise likely felt the pressure to adapt to these trends to remain relevant and appeal to a young male audience. Dalton’s Bond was intended to be a more serious and gritty character, aligning with the darker tone of contemporary action films, which was a significant departure from the lighter, more humorous style of the Roger Moore era. "The Living Daylights" was at heart still a Roger Moore film with a few hard edges. As Cary Edwards argues in our conversation, “Licence to Kill” was the one Bond film that had really been moulded around Dalton and was therefore most representative of his interpretation of the character. However, it’s completely understandable that this change does not resonate with everyone, and I also appreciate “The Living Daylights” as a competent film and a vast improvement over "A View to a Kill". The introduction of Dalton in the Gibraltar landing must rank amongst the best pre-title sequences of the series.

[@yestoadventure007]

Dalton is my favorite Bond and my appreciation for him increased greatly after reading the books.

[@CSwalmiusDato]

While I personally enjoy #PierceBrosnan's #007 even more, I agree that Dalton's interpretation is very compelling. He has that edginess that none of the others achieved, and he brings an inner conflict to the character that we have never seen before or after.

[@macpi-422ard]

​@@CSwalmiusDatoI think this edginess is always there, at least to a point, but it's more like an add-on whereas in Dalton's portrayal it seems to be the source of Bond's strength and motivation, at least for me.

[@CSwalmiusDato]

@@macpi-422ard I agree. Dalton also conveys the ability to reflect on his actions and decisions, especially in "Licence to Kill". Something we never see the other Bond's do. Dalton’s Bond is not just a suave spy but a character who visibly grapples with the moral and personal consequences of his actions. His Bond is marked by a sense of vulnerability, often showing doubt, particularly in moments of loss or betrayal. This sets Dalton’s Bond apart from the more stoic and detached portrayals that came before and after, although #RogerMoore's interpretationl briefly moved in that direction in "For Your Eyes Only", and #GeorgeLazenby attempted to show a more human Bond, but lacked the acting ability to pull it off.

[@bigtstyle123]

@@CSwalmiusDatowhy do you prefer Brosnans interpretation more?

[@CSwalmiusDato]

@@bigtstyle123 He has the right combination of charme, wit and edge. Dalton is a bit more on the side of edge, which is a valid characterisation of Bond, and why Edwards describes him as closest to Fleming's literary Bond, since the early Connery movies. But personally, I find Brosnan's 007 just that little more enjoyable. However, that is my personal taste and does not invalidate others' preferences for any of the other actors, including Dalton.

[@mattk5020]

It's brilliant

[@thomaschacko6320]

Many fans and critics whined about Timothy Dalton’s Bond. Having been weaned on a 12-year diet of Moore, their delicate feelings were hurt because Dalton didn’t dress as a clown, hide in a gorilla suit, wield a tennis racquet (without soiling his white dinner jacket), fight off a dwarf, blow up a villain like a balloon, get tossed around by “Jaws,” or jump into bed with Grace Jones. Dalton made clear from the outset that he wasn’t interested in a Moore-style script. Getting back to Ian Fleming’s Bond was of paramount importance. After feeling his way in the so-so “The Living Daylights” (with a dull romantic interest), he hit his stride in “Licence To Kill,” a superb action drama with a tight, well-structured script and for once, well-drawn characters - including a strong, capable woman. Without a doubt, it is one of the best! The result was the most human James Bond since “On Her Majesty’s Secret Service” and “From Russia With Love.” Not to mention one close to Fleming’s concept. (Full alert, friends: George Lazenby tops my list, as does his film!) Dalton was perfect for a Bond who places friendship - and a personal desire for revenge - above Queen and Country. It was amazing to see an actual Fleming incident (the maiming of Felix Leiter) serve as the catalyst for the story. Like “On Her Majesty’s Secret Service,” Licence To Kill” was underrated in its time. Both have grown in fan appreciation over the years. John Glen, in his memoir, expressed great pride in it; I’m sure Timothy Dalton shares that sentiment.

[@ysthafellgynghori8423]

No is the answer to your question. Dalton's performance alienated large sections of the public, and they stayed at home. Pierce Brosnan was brought in to save the franchise, which he did - brilliantly - with 'Goldeneye'.

[@CSwalmiusDato]

Personally, I enjoy Brosnan's films more than Dalton's, but that also has to do with the stories and the tone. However, I wouldn't go as far as saying that Dalton alienated the public. His films were commercially less successful, but I wouldn't attribute this wholly to his performance.

[@NH1973]

Licence to Kill was the movie version of Fleming's Live and Let Die book. It absolutely belongs in the same pantheon as FRWL and OHMSS.

[@CSwalmiusDato]

High praise! For my taste, it's a good action thriller, but it falls somewhat short of what I love about Bond. It's a bit too generic. But as Cary Edwards says in the video, LTK is closer in tone to Fleming's thrillers than much of what came before.

[@NH1973]

@@CSwalmiusDato I know what you mean. If LTK had the music scored by John Barry, would that have made a big difference to you?

[@CSwalmiusDato]

@@NH1973 Possibly, but it would have still lacked many of the elements that I enjoy about the Bond films.

[@NH1973]

@@CSwalmiusDato I get it,, and do agree. I do wish it had been made to look and sound more like The Living Daylights than like Die Hard. With such a radical departure from the Bond formula though, it was inevitable that some of the traditional elements would be missing.

[@ricardocantoral7672]

I have read Fleming's books. I think Licence To Kill was much more concerned about being in tune with the likes of Die Hard and Lethal Weapon. With that said, it's not bad but the scenes in America felt low-rent.

[@CSwalmiusDato]

Yes, once again, the producers appear to have jumped onto a trend to capture or retain the audience of the day. As a result, Licence to Kill feels less like the Bond films that had come before. Other examples of this in the series are Live and Let Die (influenced by blaxploitation films like Shaft), Moonraker (Star Wars), and The Daniel Craig era (the Jason Bourne franchise).

[@macpi-422ard]

Just watch Dr No, FRWL and then LTK, pretending none of the other films existed - how 'Fleming' would LTK appear to be? Considering that a quarter of a century had passed I think it's as close as you could get.

[@CSwalmiusDato]

In fairness to Edwards, he does call LTK "the most Fleming since the early films that were closer to the novels." I omitted this qualifying condition in the title, but do mention it in the description.