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Why Did People Not Accept the 'Angry Bond' in '89 ?


As a teenager, I saw both Dalton Bond films in the theater. I distinctly remember, however, going to see License to Kill about 2 weeks after it came out in July 1989, and literally being the only person in the audience !

Alot of critics in 1989 complained that Dalton was too angry. But frankly, I don't see his Bond's personality as being much different than Daniel Craig, and his 2 films have been a huge success.

So why then did people not accept the "angry" Bond in '89 ? Were they not ready for him yet ?

Or perhaps it is simply like other people have theorized, that License to Kill WOULD have done better had United Artists released it in late 1989, instead of the summer, when it was killed by Batman and Indiana Jones.

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I think its just the sign of the times. The Roger Moore films were hilarious (and still are in my opinion) and set a standard of silly outrageous fun. When Dalton came on board they tried to reconnect the character to that of the books. But it was so different from what had been established and popularized that audience's (at least in America) rejected it.

When Bond was brought back in '95 he was brought back with lots of fun value, and Goldeneye was a huge success. But as the Brosnan films got cheesier and culminated in Die Another Day, there was fan demand for a more realistic Bond.

One of the reasons audiences like Craig is because he's the Bond response to Bourne. There were lots of people saying that Bond as a character was too dependent on gadgets and wasn't physical enough. Whereas Jason Bourne was very physical and his films had lots of cool chase scenes and so on. MGM wanted (again) to get back in touch with the Fleming books, so they adapted Casino Royale and emphasized Bond's humanity and psychology. Now Licence to Kill had done this 15 years earlier, but no one saw it, which made Casino Royale feel very fresh.

There are still plenty of people who prefer the slapstick bond, though. Not everyone enjoys the darker version.




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I agree with everything you said.

Perhaps also people were turned off by the Sanchez drug plot, because there was no fantasy element to it. It was too "ordinary." True, Roger Moore fought drug dealers in Live and Let Die, but that movie had all of the bizarre characters (Solitaire, Tee Hee, etc) which made it more interesting

Even the Daniel Craig Bond films have "over the top" plots, both Casino Royale and Quantum of Solace. The villains' schemes are much more interesting than smuggling cocaine in tanker trucks of gasoline.

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https://www.datalounge.com/thread/21631960-anyone-follow-james-bond-films-

Dalton didn't do well because the first was a Moore film and the second was more violent than any other Bond film before it. Oddly enough, License To Kill is the most like the Bond books in tone and violence. Audiences just weren't ready for a violent Bond but Dalton ushered in that style.

—Anonymous

reply 64 39 minutes ago

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I'm not a huge fan of the Bourne films, sure they're great films, but I'm not a die hard fan of them. I actually really enjoy a darker Bond though and "Licence To Kill" and Casino Royale" both hit the spot. I didn't like "Quantum of Solace" much though and I think that's because it feels too much like a Bourne film and feels the least like a Bond film out of all of them.

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I think you summed it up perfectly!

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[deleted]

Exactly! I guess people didn't care that the Moore Bonds were burning out, and hoped that it would still be a comical series.

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Moore Bond movies were by far the best Bond movies, cause Brocolli back then realized that Bond is noting else then excitement. That was also the era when Bond was most succesful ever (Craig doesnt even come close to the Moore era).

So at that time movie viewers were brave enough to ask for funny and value entertainment.

Today we have an complete idiot as "Bond". Daniel Craig isnt Bond at any point in this movies. and no, Flemings books arent improtant at all. Flemiong was a hiorrible writer and Bond wasnt a success before he was kicked out of the franchise. So going back to Flemings Bond always means going back to a loser, that no sane person is interested in. A dumb and drunken serial killer.

And the term you are searching for is ..... excitement. And yes, that is of most value. Not showing a boring a incompetent actor for 2 lame hours.

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Timothy Dalton's Bond movies were probably the most "reality" (instead of unabashed escapist entertainment like those that preceded) based Bond movies up until that point. In The Living Daylights, it touches upon the Soviet occupation of Afghanistan (which was also a major plot point in Rambo III) and Licence to Kill dealt with the war on drugs (another big '80s crisis). Before that, the Bond movies seemed to be very cautious in regards to talking about real-world and then current politics and social issues. This may in part explain why we have all of the SPECTRE stuff (essentially, a comic book super-villain team like the Legion of Doom or the Sinister Six) for Bond to battle against.

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Movies are about stories! If you like realism .... leave your room and enjoy all the reality around you. Reality is just an lame excuse if someone isnt able to tell good stories.

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I never used "reality" as an excuse. And even if they were "reality" based you still have to formulaic a narrative (they aren't exactly "documentaries"). My point is that Timothy Dalton's movies may have been a tad ahead of their time so to speak or did things that the franchise tried to avoid prior to that.

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Which isnt a good thing. Todays movies are most time (not any time!) missing a valid plot, mostly are agenda-centric and have no actors which you feel with. One good example for the last problem is Rogue One. They characters never were introduced and when they died it was like .... nothing. Thats, and the stupid dakr atmosphere, was the reason why Rogue One was a failure.

And no .... neither violence nor dark atmosphere is either realistic or more adult at all.

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I don´t care much for the Moore films. The Spy Who Loved Me is supposed to be the best Moore film and its a complete drag. Not to mention Moore never looked believable physically as a secret agent. It didn´t help that he was over the hill for about four of his Bond films.

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Those who prefer slapstick, effete Bond are like those who prefer McFood: they don’t know what the real thing is. This is a reply to igniggandsoon’s post, not to the one immediately above. To Quint, I say that it’s rare to see the author of a character like Bond, or Sherlock Holmes, or Frodo Baggins, or Harry Potter dismissed, but you seem to know more about the source novel sales than I and perhaps Broccoli et al. saw commercial potential in the stories that the publishers did not; rare, but not necessarily without merit. We are here talking about Dalton in Livense To Kill, not about the Craig Bond movies; and Dalton’s vengeance for his friend Felix Leighter being mutilated (which was much more graphic in the source novel of a different title) is entirely in keeping with the source Bond’s sense of honor and justice, which I concede may have become cloudy in the Craig films’ narratives. Bond is exciting, but, more to the point, Bond is a mortal Ubermensch, “the best we’ve got,” as Dench’s M once said. More important than exciting, Superman James Bond is inspiring. Slapstick is not inspiring.

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OP - if you remember that summer, 1989, everything and everything and everything was BATMAN. It's sometimes hard to remember what a phenomenon that film was during that summer - Indiana Jones gave a strong showing, for sure, but James Bond vs. Batman that summer was simply no contest. I don't think this film's failure had much to do with the film itself, or Dalton, or the "angry Bond", etc. - it really was a victim of poor marketing and bad luck.

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I remember the summer of 1989 very well ! I was 16 years old. You're right--everything that season was BATMAN. There was so much hype

No one cared about Star Trek V or Karate Kid III. Even Ghostbusters II wasn't as big as Batman that summer. I forget exactly how Lethal Weapon 2 did

There have always been theories that if MGM held off on License to Kill, releasing it in November of that year (as all of the Bonds since have been released, except for Tomorrow Never Dies, which came out in December due to filming delays) that it would have done MUCH better financially, and maybe Dalton would have remained on as Bond

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mycroft -

Lethal Weapon 2 was a huge hit that year (I think, behind Batman, it was the 2nd biggest film of the year), but, yeah, it's definitely hard to remember!

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that's really intriguing. if someone asked me to rank the value of these charaters in 89 i would have said 1. indy 2. bond 3. batman the first of burton's batman movies sucked, too, imo.



"We learned more from a three minute record than we ever learned in school"

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Nah, Indy was a definite second. Ghostbusters II and Karate Kid III were also potential contenders that didn't fare so well. Burton's Batman hasn't aged well; it certainly isn't a very good film but everyone was totally swept up in that fervor.

No one, and I mean NO ONE cared a whim about James Bond in 1989. It's amazing the contrast in 2012 with how well his films are marketed and distributed; at the time in '89 I thought it the end of the Bond franchise. It *was* another six years until it was brought back...

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Sean Connery and roger moore played the character with that Han solo charm. They smiled while they were kicking ass...made quips that were funny here and there. That was the trademark...that bond was cool under pressure. Dalton took that away and it hurt. It was just another action hero, not bond.

The post above is interesting in that he talks about Brosnan and then Craig. Craig is an interesting mix. Not quite as charming but has some. More of an action star but still lays down a few quips.

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I agree with all that is being said. That summer of 89 was a huge summer in movies: Batman, Indiana Jones and the Last Crusade, Lethal Weapon 2, Honey I Shrunk the Kids,Dead Poets Society, Ghostbusters 2, etc. I was 13 and remember it well. So of course a Bond which received mixed reviews would not garner as much success in the US as it did in the rest of the world. It still made 400% overall profit in worldwide sales.

I like the serious Bond in Dalton. He wasn't as serious in Living Daylights as in here, but he was a welcomed breath of fresh air from some of Moore's comedies. I mean Moore did a Tarzan yell in Octopussy. How more childish and lighthearted can you get with that?

I also loved Davi's Sanchez. I believe it was the first time a Latin drugpin was a villian. It reflected the problems of the day...drugs. Plus Sanchez had one quality missing in most Bond Baddies, he rewarded and cherished loyalty. He was good to his men as long as they were loyal. Most Bond baddies would doublecross their subordinates when given a chance.

Ok Lowell wasn't the best Bond girl, but she was hot and she was better than some of the others: like Denise Richards, Halle Berry, Tanya Roberts, etc.

One big mistake was Wayne Newton's character. I know he was for comedic relief and he was a commentary on the crooked Televangelism of the 1980s. But he wasn't funny and took some of the seriousness out of the film that I enjoyed so much.

Overall a great film.

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[deleted]

Yup....No Bond movie has ever lost any money. If you inflated it for today's sales it would be around $270 million. Not bad for a movie without any special effects or CGI Or like the previous poster stated "sub-par advertising".I also agree it was shown during a strong summer of movies (1989).

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the movie was hardly made without special effects.

"We learned more from a three minute record than we ever learned in school"

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When 'The Living Daylights' was written, no one was sure who'd be playing 007, so it was written somewhat generically.

When, during the filming, Dalton suggested making the next film much closer to Bond, as Fleming wrote him---Wilson was extremely excited.

This was because he'd tried to do that earlier, on one of Moore's films. Moore had read the script and asked 'Where are the jokes?'

Llewellyn (Q) said that Dalton's was the closest to the literary Bond.

Carpe Noctem!

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Bravo! Bravo! I totally agree w/your assessment regarding the James Bond character reflecting more of a Han Solo character because IT WORKS in terms of financial success $$$$$ and MOST IMPERATIVE, its what EVERYBODY REMEMBERS w/nostalgia because it's ENTERTAINMENT after all! Our daily reality is full of seriousness and we escape this daily reality when we watch movies because its ENTERTAINMENT...... an escape from too serious of reality and all my friends, coworkers and family relatives ONLY recall ROGER MOORE, J.D. PEPPER, THE WHISTLE, MONEYPENNY FLIRTING ROGER MOORE, THE BIMBOS, ETC...... there's so much BLAH BLAH BLAH of hate for Roger Moore, just like there was for Han Solo! The Star Wars prequels SUCKED because it was MISSING A HAN SOLO CHARACTER! Yes, "the force awakens" brought back Han Solo and was a MASSIVE SUCCESS due to the Han Solo character, however, DISNEY made a HUGE MISTAKE to kill off the Han Solo character and in a strange twist of fate, Carrie Fisher dies and many fans had wished the princess leia character had been killed off due to her BORING, LACK-LASTER acting performance!

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Why is anyone talking about Bond reflecting Han *censored*
Solo when Bond PREDATED Han Solo? If anything, Solo reflected Bond. I know it’s the internet, where prejudice outweighs sense, but this comparison is beyond toleration.

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Too me there are the darker Bonds, lighter Bonds, and then JAMES BOND himself.

Darker Bonds: Timothy Dalton, Daniel Craig

Lighter Bonds: Roger Moore, Pierce Brosnan, George Lazenby

James Bond himself: Sean Connery (I say this because he was the original, Flemming actually went back and added Scotish to Bond's heritage in the later books after Dr. No, and also because Connery is the one Bond that was suave, dangerous, and efficient all in one - as Craig said in 2006, 'Connery pretty much nailed it from the get-go')

But I personally, like the darker Bonds better - and I think the Dalton films were just ahead of their time. The 80's were full of light-hearted action movies that featured cheap explosions, one-liners, and muscle-bound leading men - Dalton's films did not fit this description. And also on point, I think the one thing that seperates Craig's dark Bond from Daltons is the fact that Criag seemes to have a rugged, physical presence that Dalton lacks. I actually believe that Craig could kick my ass. However, all that being said, I think when it is all said and done - I think Dalton's Bond is closer to the literary Bond than any of the others.

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Personally, relying on the grey matter correctly recalling 1989, I seem to remember that it was the 15 certificate that killed the box office for this film. I always remember back then that I thought it was so unfair that for the first time ever, Bond had been given a 15 but months prior to that, the new 12 certificate had been introduced for Batman. Granted, LTK had some grim scenes compared to previous movies but why didn't it have had a 12 as well?

Let's face it, if Brosnan's Bonds had been released back in 89 then they would have all guaranteed a 15 cert without a doubt. Of course that goes for Craig's as well but we're in a different era now so it would be Craig's violence and raw grittiness to earn the 15 and Brosnan's entendres (is that how it's spelt) and sex scenes to get him the 15.

So at the end of the day, in my opinion, it was nothing to do with Dalton's performance or the release schedule, just that damned certificate.

For the record, LTK is one of my favourite Bonds as I know he only made two films, but my word did he leave his mark. Same for Lazenby I'd say, only one film but he played it bloody well! Pity he didn't keep his mouth shut but that's for another forum I guess :)

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Fully agree on the 15 certificate, i remember that too. it defo cuts the audience i think by about 40%

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Roger Moore was still fresh in people's minds. It was the same with "The Living Daylights" due to the fact that the plot was realistic and Bond's humor was toned down.

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I recall reading Daniel Craig liked Dalton's portrayal.

The Bond character in the original novels was very dark and angry as well.

Connery did the angry stuff too.

Given Batman and Indiana Jones, Bond would suffer - unlike another movie that came out in 1989, "Licence to Kill" is - despite the lack of comedy - a taut thriller and a solid entry to the franchise.

Given some of the themes in LTC, Bond being angry makes perfect sense...

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They did try to make Roger Moore's James Bond darker too.
They tried it in The Man with the Golden Gun, with the scene where Bond pins down Andrea (Maud Adams) to the bed and tortures her for information.
But the audience of the time did not like to see this rough James Bond, so they turned back to how the audidence had become accustomed to Moore as Bond.

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I like OHMSS and Licence To Kill so much more than other bond films because it really expresses Bond so much better as Bond in a personal way, being a mortal realistic human.



Lazenby is tough to judge, since he only did one film, but he did fine in that movie.


Both Lazenby and Dalton should have done more films.


Goldeneye, although it was good for Borsnan, would have been ok for Dalton too.

It is a shame the Dalton films got cheated out of the sexuality, atleast they brought it back well with the Brosnan ones.


Brosnan, ok different from Dalton, but he was also great as James Bond, but he should have turned down Die Another Day, that was more of a spoof movie that tarnished him.


I liked Casino Royale, but I don't like how they "rebooted" the series, I always liked the clever joke of all the actors were portraying the same Bond in the same timeline, such as the OHMSS titles showing Connery movies, Moore putting flowers on Tracy's grave, and Felix in LTK mentioning Bond was married.


What I don't like about the Craig Bond also is, hardly any gadgets, Dalton had gadgets, but still made for a serious Bond.


The Bond in Casino Royale made the same mistake as Bond from OHMSS, not having his Aston Martin armoured.


Quantum of Solace is the most forgettable Bond film, sloppy story and crappy Cloverfield camera "work", not to mention the awful title song.
Ok, Die Antoher Day was bad, but atleast the story could be followed and made for a funny spoof.


I like Craig, but he may have been miscast, he looks, well, Russian, would be better cast as a KGB/FSB/SVR agent.

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I wonder if by 1989, audiences were getting burned out by the Bond franchise? To put things into proper perspective, from 1962-1989, there (w/ the exception of the three year interval between The Man w/ the Golden Gun and The Spy Who Loved Me) had been a Bond movie out at a maximum of every two years. Therefore, maybe audiences were sort of starting to take things for granted by the time Licence to Kill came out.

When GoldenEye came out six years later (w/ that great teaser trailer involving Pierce Brosnan saying to the audience "You were expecting someone else?") it was easy to get excited to see a Bond movie again. It perhaps helped that the filmmakers were well aware that even though the Cold War is over, James Bond is still needed.

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[deleted]

People were accustomed to the silly clown that Roger Moore made Bond.

It was too dramatic of a switch. He went from campy and tongue-in-cheek to deadly serious, violent and humorless.

It took a period of transition to get us to the like-minded seriousness of the Craig Era.

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Hmmm.. I can't quite get my head around the "angry Bond" thing.

I mean, I really like LTK for trying to stray *a bit* from the established formula. But if we're honest, the whole movie doesn't *really* feature a new or changed Bond ... and what little elements of that are in there feel a bit fakey to me as well on repeated viewing.

The explanation is pretty simple: The Leiter-scene is the whole reason for Bond "snapping" and going rogue - and it is quite graphic and brutal for a Bond-film. Yes, they kill his wife (someone we've never met or heard about before) but Felix doesn't die. This is established early on when he is found alive (with his leg bitten off) and re-established in the end when they show "happy Felix" on the phone.

Furthermore: Bond going rogue doesn't really have many consequences for him. He's not on his own.. he still gets the usual help from Q (actually a lot more of it than in any other movie) and from two smoking-hot chicks. He still lives the good life, having $5 million at his disposal, drinking martinis in exotic locations, etc. All in all, the whole "Licence revoked"-thing feels more like a gimmick to me the more I think about it. The entire plot would've played out pretty much the same if M had simply briefed him at the Hemingway house and told him that Sanchez is his new mission.

So to get back to the original question: I don't think people had a problem with "brutal" or "angry" heroes back then (I know I didn't). As a matter of fact, the darker tone was simply a reflection of the then current trend in films. In the 80s, how many times have we seen loose cannon type of heroes, ignoring the law/rules of engagment to take on evil organizations with brute force all by themselves and for very personal reasons? You know, in movies such as "Commando" or "Lethal Weapon 2".

So audiences were used to and liked to see that kind of story.. you might argue that they just didn't like seeing Bond portrayed in that way and maybe that's the real point here: People were still expecting a light-hearted, over the top adventure from a Bond-movie, not a standard "lone hero vs evil drug lord" kind of action film. Like I said above, I don't think that this is what LTK is (most of the classic Bond-elements are still in place), but I guess that's how it came across back then.



S.

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very good post, if i may say so.

"We learned more from a three minute record than we ever learned in school"

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"We learned more from a three minute record than we ever learned in school"

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you've said a lot of interesting things here, but I don't know if any of that had a real effect on audiences - the failure of this movie had nothing to do with the movie, really - it was an absolute failure of marketing and distribution in that crazy summer of '89.

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