The Films
Ultimately, Timothy Dalton starred in only two films, having stepped down from the role in 1994 after legal issues had prevented the production of any more films after 1989. Fortunately, the two (both directed by John Glen) are amongst the best entries in the Bond canon, with gripping plots that allow both Dalton and his supporting cast to shine. The Living Daylights, released in 1987, was one of the last true cold war thrillers (the conflict would end just a few years later) and begins with a terrific action sequence on Gibraltar before Bond handles the defection of a Russian general in Bratislava, who informs him of the existence of a KGB program with the objective of exterminating foreign spies. When the general is supposedly abducted, Bond is suspicious, believing that he and MI6 have been fed disinformation to play them and the Soviets against one another. This leads to a pursuit across three continents as Bond seeks to track the man down and discover his true intentions, becoming involved with a beautiful cellist, the head of the KGB and the Afghan mujahedeen along the way. Unlike other films in the series, which featured multiple (and often disposable) female partners for 007, The Living Daylights made use of only one (barring a brief exception in the pre-credits sequence), Czech cellist Kara Milovy (played by Maryam dAbo), whose presence throughout the film allows her to develop excellent chemistry with Bond, whose polygamy had been toned down by writers in response to concern about AIDS, which was becoming a prevalent and well-known disease in the mid-80s. Such a decision makes their relationship a believable one that is easy to follow, whilst the character isnt, unlike so many of her predecessors, portrayed as being helpless and submissive. Also unlike many other films in the series, the villains featured are not megalomaniacs intent on world domination or destruction. They are, however, arguably the films weakest point, as Joe Don Bakers Brad Whitaker is portrayed as an oaf and Jeroen Krabbes General Koskov is a little over-the-top. Nevertheless, their scheme is an interesting and refreshing one after Moores last two films, which involved the threats of a nuclear explosion and an artificial earthquake respectively. Stronger are Bonds allies, who include Thomas Wheatleys Saunders, a bureaucrat who is initially hostile towards Bond and vice versa, but who eventually develop a grudging respect for each other, culminating in the films most emotional death. Dalton handles his introduction to the role excellently, able to switch effortlessly between portraying Bond as a ruthless killing machine and as a charming gentleman. The film was a success with both audiences and critics, and was widely considered to be one of the best entries of the series in a long time, in no small part because of the new leading man.
Licence To Kill, released in 1989, was one of the lowest grossing films in the series, primarily due to a poor marketing strategy in the United States (which included a last minute title change and the decision to release the film at the same time as Batman, Lethal Weapon 2 and Indiana Jones and The Last Crusade), but is (in my opinion, at least) the best entry in the series to date. The film doesn't follow the established formula of previous films, featuring Bond operating as a rogue agent outside the control of MI6, hell-bent on revenge against an international drug baron whose actions have seen his best friend, Felix Leiter, maimed by a shark and Felixs wife gang raped and murdered. Eschewing the humour (bar a memorable extended appearance from Desmond Llewellyns Q, with whom Dalton has an excellent rapport) that had defined the Roger Moore era from beginning to end, the film is a rollercoaster ride from start to finish, with Bond portrayed as a ruthless, intelligent and unforgiving individual who infiltrates and seeks to destroy the drug lords operation. Said drug lord, Franz Sanchez, is played excellently by Robert Davi, who like Dalton as Bond, can switch between monster and charmer instantaneously. Therefore, he serves as something of a foil to Bond, which works well when the two men confront one another. Believable as a villain, Davi is assisted by a selection of interesting henchman, ranging from the creepy marine biologist Milton Krest (Robert Davi) to the sadistic Dario (Benicio Del Toro). Bond has two leading ladies in this film, as opposed to the one he shared the screen with in The Living Daylights, but each brings something different to the table. Talisa Sotos Lupe serves as Sanchezs abused moll, appealing to Bonds protective instincts, whilst Carey Lowells Pam is capable of holding her own with 007, participating in action sequences such as a bar fight and a tanker chase that incorporates a biplane. Showcasing Bond in a different light to usual, Dalton proves more than capable of the task, portraying 007 as a highly dangerous weapon, but also as human, with the films premise being one of the few times that the man lets his emotions dictate his actions. Nobody knew at the time, but this would be Daltons swansong as James Bond. Having restored the characters reputation as an action hero who could be taken seriously, hed reinvented the franchise, but legal troubles between producers and the series parent company meant that hed never don the tuxedo again, meaning that fans can only speculate about how much more he couldve done with a role that hed so quickly made his own.