The tone of this film seemed to be very similar to Octopussy and A View To A Kill in the sense that it was light and campy. Sleding down a hill in a Cello case I don't think fit Dalton's darker take on the character. I feel Licence To Kill was a film that was more well suited for Dalton.
shareThere were elements in "Licence to Kill" as well that felt more fit for Moore-era Bond -- Wayne Newton, the camera that shoots lasers, the exploding alarm clock. "Licence" and "Living" remind me a lot of "Skyfall" in that they seem conflicted, trying to go "dark" but also eager to please those raised on Moore and Brosnon's antics. Look at the Komodo dragons sequence in "Skyfall": what's it doing there? It's as out-of-place as the Cello scene in "Living." I like these three Bond films but I wish they had a more consistent dark tone -- like "Casino Royale" did.
shareYeah but in LTK all of the exploding alarm clocks and Wayne Newton aren’t enough to distract me from people getting fed to sharks, exploding heads, and being burned alive. LTKs tone I felt fit very well with Dalton’s portrayal, despite some comic relief. TLD felt more like Moore’s later films than LTK.
shareThe script had Moore in mind. He looked a lot better in 1987 than he did in 1985. Before filming AVTAK he had plastic surgery which gave him that weird look. In 87' he looked more like he did in 1983, which was already borderline too old. Some of the stunts would have been changed and you would have needed an older Bond girl, but it could have worked, Moore could have scraped by for another one. They brought in Dalton because Brosnan couldn't do it, if Timothy couldn't do it I think Cubby would have brought Moore back actually.
shareNo way! Timothy Dalton was like a breath of fresh air after Moore's antics. Dalton may have been more serious, but a little camp is just part of the Bond series.
share