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Original Title: Licence To Kill

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James Bond goes rogue and sets off to unleash vengeance on a drug lord who tortured his best friend, a C.I.A. Agent, and left him for dead and murdered his bride after he helped capture him.
After attending the wedding of friend CIA agent Felix Leiter and his bride Della Churchill, seductive British secret agent James Bond 007 disobeys orders and turns in his license to kill, when ruthless drug lord Franz Sanchez (After helping Felix and the DEA capture Sanchez) tortures Felix and leaves him for dead and kills Della. James sets off on a personal vendetta against the drug lord, and arrives in Mexico City. Helped by cocky and beautiful CIA agent and pilot Pam Bouvier, Sanchez's sexy mistress Lupe Lamora and Bond's friend and fellow quartermaster 'Q'. Bond plays on both sides of the law, as he infiltrates his organization by bringing Sanchez down. Where 007 embarks in the ultimate confrontation and he will not rest until he kills Sanchez and those responsible for torturing Felix and murdering Della.
It is perhaps appropriate that this film was recently shown on British television during the same weekend that saw the return of "Dr Who" to our screens, as it seems to me that that series and the Bond films have a lot in common. Both first saw the light of day in the early sixties, and both enjoyed considerable success throughout the sixties and seventies and into the early eighties. In both cases, the series was kept going by the device of having a succession of actors play the main character. Both depended upon a subtle balance between genuinely exciting plots and tongue-in-cheek humour. And both series seemed to go into a decline in the late eighties and appeared to have come to an end in the same year, 1989. (An attempt was made to revive both formulae in the mid-nineties, with greater success in the case of Bond than of the Doctor).

In both cases the cause of the decline lay in an upsetting of the balance. "Dr Who" became too camp and self-mocking during the Sylvester McCoy era, with the result that the programme contained too much comedy and too little excitement. In the case of the Bond films, Roger Moore also came close to falling into this trap on occasions and in his last, sub-standard film "A View to a Kill" fell headlong into it. The producers of the series seem to have recognised this danger, because Timothy Dalton, with his very different approach to the role, was clearly hired to redress the balance. In his first outing, "The Living Daylights" (a better film than its immediate predecessor) this approach was reasonably successful. In "Licence to Kill" however, he went too far in the opposite direction and made the character too dark and brooding.

The plot is rather different from that of the standard Bond film. In the normal pre-credits action sequence, Bond and his American colleague Felix Leiter arrest a notorious drug dealer named Franz Sanchez and still manage to get to the church in time for Leiter's wedding (at which Bond is best man). Sanchez, however, manages to escape from custody and takes his revenge by a sadistic attack on Leiter and his wife, leaving her dead and him crippled. Bond resolves to seek revenge on Sanchez, but the American authorities seem uninterested, and Bond is ordered not to pursue the matter by his superior, M. Bond resigns from the British Secret Service in order to go after Sanchez, leading M to revoke his licence to kill.

It might have been interesting if Bond, deprived of his licence to kill, had decided that homicide is not the answer to every problem and used methods other than lethal force to overcome his enemies. Such a film would have been less violent than the normal Bond movie but could have been just as thrilling. Unfortunately, the filmmakers chose not to pursue this option. "Licence to Kill" is actually more, rather than less, violent than the average Bond. Moreover, the film subverts the ethos of the series in a way which the filmmakers may not have noticed. Although the Bond films are escapist entertainment, they are nevertheless underpinned by a code of morality which is essentially that of the war film. Bond is not a hired assassin but a soldier fighting for his country in a just war against evil men, a war which is undeclared but no less real. "Licence to Kill" dispenses with the just war theory, however, and makes Bond a free agent, fighting not for his country but to satisfy his own desire for personal revenge. This was, to say the least, a development that made me uneasy.

Timothy Dalton was perhaps not the most successful Bond, but he was in some ways unlucky. In neither of his films did he have a memorable heroine to support him or a memorable villain to fight against. In "The Living Daylights" he had the simpering Maryam d'Abo and Jeroen Krabbe's weak General Koskov; here, he has Carey Lowell, one of the more colourless Bond girls, who plays American drug enforcement officer Pam Bouvier, and Robert Davi's Sanchez, little more than a crude thug, although he has a nice line in cynical remarks ("he disagreed with something that ate him"). Like "The Living Daylights", which criticised the Russian occupation of Afghanistan, but unlike most of the earlier Bond films, "Licence to Kill" dabbles in current affairs. Sanchez, who takes refuge in a corrupt Latin American dictatorship named "Isthmus", is based upon the Panamanian strongman General Noriega, much in the news in 1989 because of his alleged involvement with the international drugs trade.

The main problem with the film, however, is its heavy, humourless style. An attempt to lighten the mood is made by having the eccentric scientist Q track Bond down in Isthmus in order to pass on to him his latest inventions. This development seemed highly improbable, but Desmond Llewellyn's character was evidently too popular to omit entirely. This incident aside, however, there is little in the way of humorous relief. Together with Timothy Dalton's brooding manner and the transformation of Bond from a fighter in a just cause to a ruthless avenger, this makes for a less enjoyable film than most in this series. No doubt a good, if violent, thriller could have been made about a rogue secret agent out to avenge a friend, but it was a mistake to try to shoehorn such a plot into the Bond formula. 5/10 The Last James Bond Movie: Licence to Kill (1989)

James Bond doesn't need to show us the 'way we live now.' This isn't Le Carre or Buchan or the great Geoffrey Household. Bond's role is as a simulacrum permitting us to rationalize anxieties bred by the commodity fetish in others and ourselves. The books, and much more the movies, show us how to worship at the altar of the good life and repress all our doubts and fears, as good citizens of any empire should. Bond allows us to hunger after the life of plenty, of good taste, and use it to build a psychological carapace over our dread and alienation at the ravages of the wages system in the most socially useful way possible: we consume.

007 consumes women, sunshine, very dry martinis, fine furnishings, splendid cars. He visits the very heavens of this world: Alps, Dolomites, Aegean, Orient, Bahamas. His job, the thing that hands him upper class consumer culture on a silver platter, is simple enough. Each day he cocks a snook at his hopelessly serious boss; from time to time he deflects a steel-brimmed bowler hat or blows up a blimp.

Licence to Kill (1989) was the last Cold War-era Bond movie. But it doesn't even pay lip service to Russia, Europe, or any of Bond's old hunting grounds. This movie looks forward to the villains ordained by the first Bush regime: making war against drugs and Manuel Noriega. (The drug emperor Sanchez lives in a country called Isthmus,and runs it behind the scenes. When President Lopez confronts him about a reduced paycheck, Sanchez raises a Grinch-like eyebrow and tells him: "Remember, you're only president for life.") It also proposes a Cuban connection in the drug trade; a month after the film's release, the Cuban government executed General Arnoldo Ochoa for drug trafficking. The whole south Florida and Central American milieu of Licence to Kill is steeped in the double-dealing criminality opened by Washington's proxy counterrevolutionary war to topple the FSLN government in Nicaragua. The contra war was only the most recent imperialist pro-drug war; a previous one was called The Opium War; so may be the next one.

Sanchez, played by the find actor Robert Davi, is not a maniacal Blofeld-style super villain. He does not want to irradiate Fort Knox or provoke World War Three or sink California into the Pacific. All he wants is market expansion into the Orient; he revenges himself against the DEA, Felix Leiter, and Leiter's new bride Della so as not to lose face with prospective partners.

Licence to Kill has the usual yachts and scuba battles. But there are also characters like Professor Joe Butcher, played by the singer Wayne Newton. While he has only a few minutes of screen time, Newton turns Butcher into the acme of all seedy, hilariously crooked late-1980s televangelists. When Butcher is ripping off, or being ripped off, he says "Bless your heart" as though marveling at the glory of his own cruelness.

We might call Licence to Kill James Bond vs. Scarface. At one point in the film Sanchez tells a business partner "It's not personal, it's business." This echoes the mantra of both Scarface and The Untouchables.

Production designer Peter Lamont gives Sanchez's drug factory (hidden beneath a Mexican pyramid) a high-industrial aluminum cleanliness; it looks more like a pharmaceutical or computer plant than a common or garden drug lab.

This is the law of value at its most exotic. Sanchez hides his drugs for transport by dissolving them into the holiest of holies, gasoline. They are safely reconstituted at the other end of the pipeline provided his partners in other countries buy rights to the formula. Above all else, intellectual copyright must be upheld.

Licence to Kill wraps contemporary headlines around the bourgeois fantasy of the revenge-filled killing spree. The glee with which Bond destroys a fortune in drugs being shipped in a mini-sub, and later throws two men out of an airplane he needs for escape, capture many viewers in their emotional back flow. Revenge is a normal category of activity in our ruling class, and between individual capitalists. We become intoxicated by its much-advertised charms, too. Righteous revenge features in the plots of most thriller novels and movies, which are the dominant genre today. Many dream of "sticking it" to their "enemies" and competitors. Movies permit us to train our imaginations that way. The problems we face require not collective action in our unions and mass organizations, but a decompression chamber or a stinger missile.

This was not the last James Bond movie, but it certainly feels that way. Six years would pass before the release of Golden Eye in 1995. The measured tempo and four-square mies-en-scene of Licence to Kill are a pleasure, as are the performances. Dalton in particular achieves an almost constant agonized stillness, simply poised and waiting within his body. It is an impeccable turn by a versatile actor.

Politically, Licence to Kill is another in a long series of anti-political non-political political films. A particular capitalist enterprise makes a movie depicting some specific crimes and misdemeanors of specific capitalists, companies, countries, or industries which demonstrably must be "cleaned-up." Nothing systemic, you see. Criminal activity in the business world is abnormal, you see. Decisive individual action, not collective class action, rectifies all, you see. Thus are we safe and satisfied to remain at home, purchasing and consuming until the next sequel. He may look the part, but Timothy Dalton fails the boots, the scuba gear, or the automobiles left him by Moore and Connery.
When, on his wedding night, ex-CIA agent Felix Leiter (David Hedison) (now with the Drug Enforcement Administration) is fed to a great white shark and his wife Della (Priscilla Barnes) is raped and murdered by thugs working for Latin American drug lord Franz Sanchez (Robert Davi), 007 agent James Bond (Timothy Dalton) defies direct orders from MI6 chief M (Robert Brown), surrenders his gun and license to kill, and goes rogue in order to infiltrate the drug organization and seek revenge against Sanchez. Aided by Leiter's CIA friend Pam Bouvier (Carey Lowell) along with Sanchez' mistress Lupe Lamora (Talisa Soto), Bond soon learns that there is much more to it than his personal vendetta. All of the James Bond movies from 1962 until 1990, and again from 2006 onward, are based, in some part, upon novels or stories by British author Ian Fleming [1908-1964]. Although Licence to Kill is the first Bond film not to take its title or overall storyline from an original James Bond story, there are some elements of Fleming's works in the movie. The scenes with Felix Leiter being fed to a shark, Bond's revenge against the man most directly responsible for maiming Felix, and Franz Sanchez and his minions hiding smuggled drugs inside fish tanks were taken from the original novel of Live and Let Die (1954). In the book, however, Leiter loses his arm as well as parts of his leg, and in subsequent books, he has a prosthesis. Also, in the original novel, the villain (an Afro-Caribbean spymaster working for the Russians) is smuggling recovered pirate treasure instead of drugs. The character of Milton Krest (Anthony Zerbe) and his yacht the Wavekrest was featured in "The Hildebrand Rarity", a short story in For Your Eyes Only (1960), a collection of five James Bond short stories. Krest's weapon of choice—a stingray tail used as a whip—was given to the film's villain, Sanchez. The remainder of the film is from an original screenplay crafted by American screenwriters Michael G. Wilson and Richard Maibaum. The screenplay was subsequently novelized by John Gardner. The title song, Licence to Kill, is performed by American soul singer Gladys Knight. The song that plays during the closing credits is If You Asked Me To, performed by American R&B singer Patti LaBelle. The movie starts with Bond, Felix Leiter, and Sharkey (Frank McRae) driving across Hwy 1 from the Florida mainland to the West Keys where Bond is going to be best man at Felix's wedding. After Felix is severely wounded by Sanchez, Bond vows to avenge him. His vendetta takes him to the Bahamas, first to Cay Sal Bank where he boards the Wavekrest looking for Sanchez, then to the Barrelhead Bar on the island of Bimini where he links up with Felix's informant Pam Bouvier (Carey Lowell). From there, Bond and Pam travel to the fictitious Isthmus City (said to be patterned after Panama) where they wreck havoc on Sanchez's drug trade. Earlier in the movie, during the wedding scenes, Felix asks Bond to hand him Della's framed photo. As Bond watches, Felix slips the disk behind it. Bond and Sharkey visit every shipping firm in the Keys. At the firm run by Milton Krest, he notices the flowers from Felix' wedding boutonniere on the floor. It's certainly not enough evidence to implicate anyone but Bond knows it belonged to his friend. Additionally, one of the employees at the Ocean Exotica fails to recognize the Latin term for a great white shark. At the end of On Her Majesty's Secret Service (1969) (1969), Bond married Tracy Di Vincenzo (Diana Rigg), but she was shot by Blofeld as they were stopped along the highway on their way to their honeymoon. (Many fans have noted that if Bond's Aston-Martin, supplied to him by Q, had included a bulletproof windscreen (windshield), Tracy would have been protected and lived.) As it stands, Bond feels tremendous guilt for Tracy's death. See the pre-title teaser of For Your Eyes Only (1981) for another reference to Tracy. Sanchez increases the pressure inside the chamber to perhaps nine times normal air pressure. The human body can take that pressure—and has to when deep diving, which is why the Wavekrest has such a device onboard. However, under such circumstances, the body breathes in air which is strongly compressed (containing substantially more oxygen and nitrogen molecules than air under normal pressure). When Sanchez cuts the pipe with an axe, the sudden release of air pressure—the sudden drop from nine atmospheres to one—causes all the gasses that have been taken in the lungs and the blood to start expanding violently. This results in the body exploding from its own internal pressure. The Olympatec Meditation Institute (OMI), a cover for Sanchez's cocaine manufacturing plant. As Bond and Sanchez battle it out on the back of the oil tanker, now rolling out of control, it runs off the road and down a hillside. Bond crawls away from the truck, but Sanchez suddenly appears soaked in gasoline and wielding a machete. As Sanchez prepares to swing the machete, Bond slips from his pocket the engraved cigarette lighter presented to him by Felix and Della on their wedding day and asks, "Don't you want to know why?" Sanchez pauses mid-swing, noticing the engraving. Bond suddenly flicks the lighter toward Sanchez, and the flame ignites his gasoline-soaked clothes. On fire, Sanchez stumbles into the wrecked truck, blowing up both it and himself. Just then, Pam drives by in Bond's abandoned cab and gives Bond a ride back to the city. Several days later, while at a party being hosted by Lupe Lamora, Bond is seen in a brief phone conversation with Felix, who tells him that he's soon to be discharged from the hospital and informs Bond that M called, saying he may have a job for Bond (hinting that M wants him to return to 00 status). After kissing Bond for all his help, Lupe suggests that he stay there with her, but Bond excuses himself when he sees Pam run off in tears after witnessing their kiss. He follows Pam to the swimming pool and jumps in the water, pulling her in with him. In the final scene, after they've kissed, Pam asks "Why don't you wait until you're asked?" (echoing what he said in their first encounter after the fight at the Barrelhead Bar.) Bond replies with what she said at the time, "Well, why don't you ask me?" and they continue kissing. To obtain a PG-13 rating, some scenes of Licence to Kill had been altered. This version was later on published on VHS as well and an uncensored version of this movie was unavailable. Even the first DVD editions were cut and for years, and only some LaserDisc releases were completely uncensored. With the Ultimate Edition reissues on DVD the uncut version finally made its way to DVD as well.




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