In Defense of Timothy Dalton

When Spectre opens this weekend, it will mark the 24th official James Bond adventure and Daniel Craig’s fourth go round as the famed super agent. There is no doubt that Mr. Craig’s time as 007 has been a wildly successful venture and it’s brought the franchise to previously unseen billion dollar heights.

Regarding the general consensus of the six actors who’ve played Bond, the least regarded are typically George Lazenby and Timothy Dalton. Not so coincidentally, they’re the two thespians who played him the least. Lazenby played him just once in 1969’s On Her Majesty’s Secret Service and his mediocre work was crushed under the weight of Sean Connery comparisons, who was the only man at the time to have played him. The generally negative rap on Lazenby is one in which I agree.

With Dalton, it’s a different story in my view. When 1987 came around, it was clear that it was time for Roger Moore to call it a day. 1985’s A View to a Kill found Moore playing 007 at the advanced age of 57. It was a mostly rewarding 12 year run in the role, though the pics themselves varied considerably in quality. Enter Dalton, stepping into Bond’s designer shoes in his mid 40s. Ironically, it has since been revealed that Dalton was originally considered to replace Connery for Secret Service and that even the actor himself felt he was far too young at the time to do it.

The Living Daylights would be his first outing. Two years later, Licence to Kill would be his second and his final. Six years later, after MGM’s financial woes delayed production of new entries, Pierce Brosnan would take over with Goldeneye. And while Brosnan’s four picture time in the part is justifiably regarded as pretty strong, Dalton’s double effort is often not.

Yet when I made the daunting task of watching all 007 flicks in a row in late 2012 to early 2013, I ended that adventure by ranking my preferred Bonds from 1-23. And it turned out that both Daylights and Licence landed in the top ten. Not one Brosnan pic did. Daylights, which stands as a more traditional Bond experience, was 10th. Licence to Kill was 6th, just above the beloved Skyfall. That film  stands alone as less of a normal 007 movie and more of a hard edged late 80s action thriller popularized at the time by the likes of Lethal Weapon and Die Hard. So while 007 purists weren’t enthralled, I found Licence to work exceedingly well in the genre it was borrowing. I believe that it’s the most underrated motion picture of the entire franchise.

As for Dalton himself, he was perfectly serviceable as Bond and I would’ve been curious to see his evolution in a third or fourth entry. It was never to be, but if you re-watch his two performances, there are hints of the darker take on the character that audiences would celebrate with Daniel Craig.

So while many talk of the Timothy Dalton era as a forgettable one, my verdict is that it produced two of the top ten flicks among the 23. That’s not forgettable to me.

The Wolfman Movie Review

Joe Johnston’s The Wolfman is so gloriously rich in its late 19th century English atmosphere that you’ll wish a better film had been placed in it. This is a loose remake of the 1941 Lon Chaney monster affair and finds Universal back in the creature feature business. I simply love the idea of horror flicks set in this Bram Stoker’s Dracula/Sleepy Hollow/From Hell type world. Unfortunately they are all superior to this, but this iteration of The Wolfman is not without its occasional merits.

The pic casts Benicio del Toro as Lawrence Talbot, a famous Shakespearean actor who is summoned to return to his childhood English village after his brother is brutally murdered by some sort of creature that’s terrorizing the area. He gets reacquainted with his strange father (Anthony Hopkins) and meets his brother’s widow (a perpetually sullen looking Emily Blunt). The family dynamic is a focus here, especially with daddy and there’s as much father/son wolfery issues since maybe 1985’s Teen Wolf. Of course, it turns out that a werewolf is doing the damage around town and soon Lawrence finds himself the victim of a bite. Full moons become a problem for him and that means he’s the subject of attention from Hugo Weaving’s Inspector character. This sets up one of The Wolfman’s very well constructed sequences when Lawrence escapes an insane asylum in grand and bloody fashion. By the way, you know when the doctor at a loony bin speaks of the advancements of their medical treatments during a movie set in this era, you’re about to watch something old school and barbaric.

When the freaks come out at night as Whodini would say (the 1980s hip hop group, not the magician), The Wolfman follows the tenets of the genre closely and doesn’t offer up much new. There’s CG special effects that veer between acceptable and shoddy. Del Toro is surprisingly dull in his role, though props go to the filmmakers for keeping his hairy makeup design close to that of Chaney’s from the 40s. It’s really Hopkins who gets to have the fun part and there are glimpses of just how menacing he can be.

The Wolfman also takes awhile to get its motor running and I never shook the feeling that there’s a number of other examples in this genre that worked better. For a lazy night on the couch, this is fairly acceptable entertainment but not much more save for the lovely ambience.

**1/2 (out of four)

Top 25 Best Movies (1990-2015): Nos. 15-11

Onto part three of my personal top 25 motion pictures of the past 25 years and we’re at numbers 15-11. Here they are:

15. Fargo (1996)

The Coen Brothers have been responsible for so many fabulous movies over the last 30 plus years. This violent charcoal black comedy that earned highly deserved Oscars for Frances McDormand and its screenplay is the best one of the bunch.

14. The Fugitive (1993)

There’s been a whole lot of action thrillers based on old TV series, but nothing like this one. Andrew Davis’s thrilling adaptation of the 1960s show with Harrison Ford and Tommy Lee Jones is a perfect example of this genre at its absolute peak.

13. Silver Linings Playbook (2012)

David O. Russell has arguably been putting out the finest films of this ongoing decade and Playbook is the highlight with grade A performances from Jennifer Lawrence, Bradley Cooper, and Robert De Niro in a career resurgent part. The last scene of the movie is perfect.

12. Nixon (1995)

Whether or not it’s historically accurate is a legit argument. What’s not is that Oliver Stone’s take on the Nixon life and presidency is a brilliantly made story of the corruption of power. It tackles the subject on a level close to that of Citizen Kane and Anthony Hopkins is marvelous as the 37th POTUS.

11. Heat (1995)

Michael Mann teaming with Robert De Niro and Al Pacino for a sprawling L.A. based crime thriller. It’s even better than it sounds and the coffee shop scene that pits its generation’s two signature actors together for the first time is movie lover heaven.

And there you have it… we’ll enter the Top Ten tomorrow folks!