Twin Peaks: Episode 14-Lonely Souls

Directed by David Lynch and written by Mark Frost, the fifteenth episode of Twin Peaks entitled Lonely Souls revolves around the break that Special Agent Cooper and Sheriff Truman have been looking for as it relates to who might’ve killed Laura Palmer. While Cooper and Truman take the possessed Philip Gerard to the hotel, it is clear that the suspect is definitely near as Benjamin Horne becomes the major suspect after being asked by Audrey about One-Eyed Jack’s and secrets he had about Laura. Deputy Hawk would go to Harold Smith’s apartment to retrieve Laura’s diary where a discovery is made about Smith and the diary where Cooper looks into its contents where he and Truman conclude that Benjamin Horne might have some involvement in Laura’s death.

It’s an episode where the long-awaited outcome of who might’ve killed Laura Palmer finally emerges but also leaves a lot of questions into what is going on. While Benjamin Horne is a definite suspect for the fact that he had Laura work in his store and got her involved at One-Eyed Jack’s. His confession to Audrey reveal that as bad as a man that he is, he didn’t kill Laura as credit should go to Richard Beymer for unveiling some of Horne’s vulnerability though the scene where’s arrested during a meeting with Tojamura reveal that he is a coward. It’s among some of the intriguing aspects of the episode as it would continue for its multi-layered climax where Cooper, Truman, and the Log Lady go to the Roadhouse where Cooper would have a vision.

Also at the Roadhouse are James Hurley and Donna Hayward as they both deal with some of the drawbacks over what happened at Smith’s home as they learn that Maddy Ferguson is going on home. Bobby Briggs meanwhile, makes a discovery in a boot that Leo Johnson owned in the hopes that it could get him and Shelly out of the financial dire straits they’re in. Especially as Shelly is forced to resign from her work as a waitress for the Double R Diner to take care of Leo full time. While it’s an episode that is quite dramatic and ends some storylines while opening new ones. There are elements of humor where Norma Jennings gets a first-hand look at the new Nadine Hurley who still think she’s in high school and has super-strength as Ed is still baffled. Another funny moments play into Leo Johnson’s outbursts in his comatose state that provide some scares for Bobby and Shelly but it is among these quirks that make it so irresistible to watch. Even as Tojamura makes an appearance to meet Pete Martell where he reveals his true identity.

Yet, it’s the climax where many of the characters converge at the Roadhouse where Julee Cruise performs two songs where a major event is revealed into not just the character BOB but also who is Laura’s killer as seen by Maddy Ferguson. The reveal is definitely an odd one as it only raises more questions than answers as well as some of the mysterious elements that relate to the contents in Laura’s diary with claims of molestation and abuse.

Lonely Souls is a phenomenal episode of Twin Peaks from David Lynch and writer Mark Frost. It’s an episode that closes some things but also opens to some newer questions about Laura Palmer’s death and the revelations to who killed her. Featuring some top-notch performances from Richard Beymer, Sheryl Lee, and Kyle MacLachlan, the episode isn’t just one of the show’s key episodes but also one that would mark some serious changes to the series. In the end, Lonely Souls is a remarkable episode of Twin Peaks from David Lynch.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

Dune (1984 film)

Based on the novel by Frank Herbert, Dune is the story of a conflict between rival noble families in a futuristic planet over the control of that planet because of a mysterious melange that is the most valuable commodity in the universe. Written for the screen and directed by David Lynch, the film is an ambitious sci-fi story that plays into a young man trying to do what is right for his family and the universe as he also deals with evil forces driven by greed. Starring Kyle MacLachlan, Francesca Annis, Leonardo Cimino, Brad Dourif, Jose Ferrer, Linda Hunt, Freddie Jones, Richard Jordan, Virginia Madsen, Silvana Mangano, Everett McGill, Kenneth McMillan, Jack Nance, Sian Phillips, Jurgen Prochnow, Paul Smith, Patrick Stewart, Sting, Dean Stockwell, Max von Sydow, Alicia Witt, and Sean Young. Dune is an extravagant yet messy and drab film from David Lynch.

Set in a futuristic universe, the film revolves around a conflict over control of a planet that contains the most valuable commodity in the universe known as the spice. On the one side, you have the most powerful authority figure in the universe in Emperor Shaddam IV (Jose Ferrer) who has asked Baron Vladimir Harkonnen (Kenneth McMillan) of the planet Giedi Prime to handle the situation. On the other side is the House of Atreides led by Duke Leto Atreides (Jurgen Prochnow) who has become popular in his stance to do good with the world. Yet, the Emperor realizes through the guild that it is Atreides’ son Paul (Kyle MacLachlan) that is the threat due to his powers as it is believed that he is the prophet that can take control of the planet Arrakis and the spice itself leading to a conflict that involved assassinations and other devious things. These events would force Paul to lead a rebellion for the universe and give the people in Arrakis hope.

While it’s a story that is interesting, it is one that feels like there is more to say in this condensed version of a book that has to be complex but also very dense. Notably as David Lynch’s script tries to create some exposition into what is going on and what are the motivations of these characters. While Paul Atreides ponders his role as he wonders if he is everything this prophecy is, he is just a young man that is loyal to his family while is aware that he does have powers that very few possess. The script does acknowledge Paul as a threat to the Harkonnens and their desire to control the spice. They’re treated more as just sadistic buffoons as the Baron is a big fatass that has devices that makes him float in the air. There are some spiritual elements in the story that seems to be hinted but either it got condensed or simplified as it gets many of the motivations of the characters lost.

Lynch’s direction is definitely vast and filled with elements of surreal imagery as well as some extravagant set pieces that are interesting to watch. Yet, it’s not enough to keep things engaging as some of the visual effects come off as silly as well as moments that are overwhelming. While Lynch does create some unique compositions and some inspired usage of the camera angles, it is an attempt to try and keep much of the action and sci-fi elements engaging. Unfortunately, many of the complexities in the film do keep the film from moving along where it would plod along as there is so much happening as well as so many characters to keep track of. Though Lynch’s attempts to get the film’s climax to be exhilarating, it sort of falls flat where it is clear that there are these temporary alliances and such where a few characters would often switch sides and would pay for their movements. At the same time, there’s some moments that are unintentionally comical such as the character of the Baron’s nephew Feyd-Rautha who comes across as a nitwit with a thirst for blood. Overall, Lynch creates a very dull and often confusing film about a conflict over some commodity in the universe.

Cinematographer Freddie Francis does excellent work with the film‘s cinematography with some of the windy and dusty exteriors in the Mexican deserts as parts of the planet Arrakis to the lighting in some of the interior settings. Editor Antony Gibbs does nice work in the editing with its usage of dissolves for the dream-like sequences as well as some rhythmic cuts for the action. Production designer Anthony Masters, with set decorator Giorgio Desideri and supervising art director Pier Luigi Basile, does brilliant work with the set design from the look of the spaceships to the fortress in Arrakis in its interiors along with the look of the Emperor‘s palace. Costume designer Bob Ringwood does wonderful work with the costumes as it plays to some of the extravagance of the production as well as some of the darkness of the Harkonnens.

Special makeup effects artists Etsuko Egawa and Christopher Tucker do terrific work with the makeup in the look of the Baron as well as the look of the Bene Gesserit priestess that Paul‘s mother was a part of. Creature designer Carlo Rambaldi does fantastic work with the design of the sandworms as well as other creatures in the universe. Sound designer Alan Splet does superb work with the sound in creating some unique sound effects as well as textures to play into the world of the universe. The film’s music by Toto is amazing for some of the themes that are created that mixes rock with symphonic arrangements and ambient textures that includes contributions by Brian Eno who would create a thematic piece involving the prophecy as it‘s one of the film‘s highlights.

The casting by Jane Jenkins is good despite the fact that the great collection of actors assembled for the film don’t really get much to do. Among the individuals who appear in small roles that seem to suffer by their lack of screen time include Paul Smith as one of the Baron’s nephews in the Beast Rabban, Jack Nance as the Baron’s assistant Captain Iakin Nefud, Leonard Cimino as the Baron’s doctor, Brad Dourif as the devilish doctor Piter De Vries, Linda Hunt as a Bene Gesserit hostess in Shadout Mapes, Alicia Witt as Paul’s young sister Alia, Silvana Mangano as an elder Bene Gesserit who would transfer her powers to Lady Jessica, Virginia Madsen as Princess Irulan, and Max von Sydow as Arrakis engineer Dr. Kynes as they have some moments that are good but not enough to make them standout. From the House of Atreides, there’s some notable performances from Freddie Jones as Paul’s mentor Thufir Hawat, Richard Jordan as Paul’s friend Duncan, Dean Stockwell as Duke Leto’s advisor Dr. Yueh Wellington, and Patrick Stewart as a defense teacher of Paul in Gurney Halleck who would later join Paul in the rebellion.

Everett McGill is terrific as an Arrakis rebel leader named Stilgar who takes Paul and Lady Jessica into his secret base where he would become Paul’s most trusted ally. Sean Young is OK as an Arrakis rebel named Chani whom Paul would fall for as she would help him in the rebellion as she isn’t given much to do. Francesca Annis is wonderful as Paul’s mother Lady Jessica as Duke Leto’s concubine who is part of the Bene Gesserit sisterhood as she would aid Paul in becoming a leader. Jurgen Prochnow is excellent as Duke Leto Atreides as a leader who represents the good of the universe though there’s aspects of his role this severely underwritten. Gordon “Sting” Sumner is horrible as the Baron’s sadistic nephew Feyd-Rautha as he just looks like a fucking idiot in the film where he would wear this metallic underwear that makes him look dumber while he spends half the time overacting throughout the film.

Sian Phillips is alright as the Reverend Mother Gaius Helen Mohiam as the Bene Gesserit leader who realizes that Paul is the prophet as she aligns herself with the Emperor in control of the universe. Kenneth McMillan is lame as Baron Harkonnen as this antagonist who just craves power as he floats around the air as it’s a very over-the-top and idiotic performance that never takes itself seriously. Jose Ferrer is OK as Emperor Shaddam IV as the leader of the universe though it looks like he’s sleepwalking through the film as he never does anything to make the character memorable. Kyle MacLachlan is good as Paul Atreides as a young man who learns he has the power to do something as MacLachlan tries to bring in that sense of gravitas but is hampered by the weakness of the script.

Despite some of its technical brilliance, Dune is a terrible film from David Lynch. It’s a film, in its shortened theatrical cut, that tries so hard to be something big but manages to falter with its lackluster script and attempts to be something more than a typical sci-fi film. Especially for a story that is considered very challenging as Lynch and producer Dino de Laurentiis were unable to rise to the occasion. In the end, Dune is just a dull and un-engaging film from David Lynch.

Related: Jodorowsky's Dune - Dune-Part One (2021 film) - Dune-Part Two - (Dune: Messiah)

David Lynch Films: Eraserhead - The Elephant Man - Blue Velvet - Wild at Heart - Twin Peaks: Fire Walk with Me - Lost Highway - The Straight Story - Mulholland Dr. - INLAND EMPIRE

The Short Films of David Lynch Pt. 1 - The Short Films of David Lynch Pt. 2 - The Music Videos of David Lynch

The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2015

The Straight Story

Directed by David Lynch and written by Mary Sweeney and John E. Roach, The Straight Story is a simple story about an elderly man who heard about his estranged brother’s stroke as he decides to visit him by driving 240 miles by using a John Deere lawnmower. The film is a change of pace from Lynch who strays from his world of surrealism in favor of something low-key but engrossing as it is based on a true story about an event that happened in 1994. Starring Richard Farnsworth, Sissy Spacek, and Harry Dean Stanton. The Straight Story is an exhilarating yet touching film from David Lynch.

The film is a simple story in which an old man drives a lawnmower, with a homemade trailer towed behind the mower, just to see his ailing brother whom he hadn’t seen or spoken to in a decade. Yet, it is a story of not just about forgiveness but also perseverance in which a man wants to do what he feels is right by not just seeing his brother but also to make amends for whatever bad things they said to another that split them apart. Though Alvin Straight (Richard Farnsworth) could’ve asked someone to drive him from Laurens, Iowa to Mount Zion, Wisconsin. It’s a journey that Alvin needed to make on his own while his stammering yet sort of mentally-disabled daughter Rose (Sissy Spacek) stays home as she couldn’t drive her father as well. With bad eyesight, walking on two canes, and is very stubborn, Alvin will do whatever it takes to see his brother Lyle (Harry Dean Stanton).

The film’s screenplay by Mary Sweeney and John E. Roach does play to a traditional structure though it’s told in a very loose form. The first act is about Alvin preparing for his journey where he would use his old lawnmower which doesn’t last as he would get a new one to use for the journey from Iowa to Wisconsin. It’s in the second act where the story really takes shape as Alvin would drive his mower and trailer in the day at a very slow speed and stop at night. Along the way, he would encounter many people including a young hitchhiker, cyclists, and other sorts of people in small towns. Many of which display the sense of decency and generosity that is often encountered in small towns. Especially where Alvin would talk to people about the things he experienced as well as his daughter Rose and brother Lyle where he doesn’t talk much about the latter until later in the film. It is Lyle where it adds weight to the journey that Alvin is taking and the reason into why he needs to see him.

David Lynch’s direction maintains that air of simplicity in terms of compositions as well as shooting the film on location from Laurens, Iowa to Mount Zion, Wisconsin as it was shot largely on chronological order which rarely happens in film. Yet, it does play into Alvin’s determination to reach his destination no matter how long he takes as well as having to endure big trucks and such. Lynch’s usage of close-ups and medium shots help play into not just Alvin’s struggle to get to where he needed to go but also his age as he’s walking with two canes and knows he’s getting older. Lynch would also go for close-ups and shots that play into the feel of the road as if the audience is a passenger in Alvin’s journey.

There are also wide shots of the many locations that is used in the film as it plays into a sense of Americana that is rarely seen in films as it plays into a world where there is still a sense of good and generosity that people need in a world that is often troubled. Though it’s climax is inevitable, it does have something that is still powerful not just about a man’s journey but also a man just wanting to see his brother. Overall, Lynch creates a very evocative yet touching film about a man driving more than 200 miles on a lawnmower to see his ailing brother.

Cinematographer Freddie Francis does amazing work with the film‘s cinematography to capture the beauty of the American Midwest in its daytime settings while going for something more natural and low-key for scenes set at night including the campfires that Alvin would make. Editor Mary Sweeney does excellent work in the editing as it is straightforward with its rhythmic cuts with a few stylish usage of dissolves and fade-to-black cuts. Production designer Jack Fisk and set decorator Barbara Haberecht do fantastic work with not just the look of the home that Alvin and Rose live in but also the small trailer that Alvin would live in during his journey.

Costume designer Patricia Norris does nice work with the costumes as it‘s mostly casual for what Alvin and Rose wear. Sound editor Ronald Eng and sound designer David Lynch do superb work with the sound in not just creating naturalistic sound for everything that happens on location but also in some of the layering of sound to play into some of the surroundings including a scene where Alvin talks to another elderly man about World War II. The film’s music by Angelo Badalamenti is brilliant as it is this mix of ambient-based music with elements of traditional and folk-based music to play into the world of the American Midwest as it is one of Badalamenti’s finest scores.

The casting by Jane Alderman and Lynn Blumenthal is great for its usage of professional and non-professional actors as there’s appearances from John P. Farley and Kevin Farley as a couple of bickering twin mechanics and Everett McGill as a friend of Alvin who would sell him a new lawnmower to use. Other notable small roles include James Cada as a man who would let Alvin sleep in his backyard and arrange things to continue Alvin’s trip, Barbara E. Robinson as a woman with bad luck, Anastasia Webb as young hitchhiker, and John Lordan as a priest Alvin would meet late in the film. Harry Dean Stanton is fantastic as Alvin’s brother Lyle who appears in the film’s ending as it’s just this brief yet mesmerizing appearance.

Sissy Spacek is brilliant as Alvin’s stammering but capable daughter Rose who helps her father prepare for the trip while being the one to tell him the news about Lyle. Finally, there’s Richard Farnsworth in an incredible performance as he brings this sense of weariness but determination to a man that just wants to see his brother as there is also a sense of wisdom and charm to a man that is really full of life as his simple journey is one that is just extraordinary.

The Straight Story is a phenomenal film from David Lynch that features a magnificent performance from the late Richard Farnsworth. While it is considered an anomaly of sorts in comparison to the darker and more surreal films that Lynch is known for. It is still a Lynch film in terms of its restrained quirky humor and the simplicity of small town American life that isn’t seen much in American cinema. In the end, The Straight Story is a majestically rich and sensational film from David Lynch.

David Lynch Films: Eraserhead - The Elephant Man - Dune - Blue Velvet - Wild at Heart - Twin Peaks: Fire Walk with Me - Lost Highway - Mulholland Dr. - Inland Empire

The Short Films of David Lynch Pt. 1 - The Short Films of David Lynch Pt. 2 - The Music Videos of David Lynch

The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2015

Summer of Twin Peaks: Episode 8-May the Giant Be With You

Directed by David Lynch and teleplay by Mark Frost from a story by Lynch and Frost, the first episode of the second season of Twin Peaks entitled May the Giant Be With You picks up where the first season finale ended as Special Agent Dale Cooper is found in his hotel room wounded by a gunshot from a mysterious man. There, he would meet a mysterious giant (Carel Struycken) who would give him some clues that Cooper would listen to as he would later recover from his wounds. After learning about what happened Jacques Renault and Leo Johnson as the latter is in a coma, Special Agent Rosenfield returns to Twin Peaks to aid in the investigation despite his disdain for Sheriff Truman and his staff. The episode also plays into the aftermath of the Martell sawmill fire where Shelley Johnson and Pete Martell would survive while Catherine Martell’s fate remains unknown.

The events in aftermath would also mark some changes in the behaviors of a few while James Hurley would spend time in jail for drug possession as he confesses to Sheriff Truman what he was doing in Dr. Jacoby’s office. Dr. Jacoby would talk to Truman, Cooper, and Rosenfield about how he had gotten possession of the other half of Laura Palmer’s necklace as well as insight into things about Leo Johnson as Cooper learns that, despite still being a suspect, didn’t kill the other girl who had been killed a year earlier. Mark Frost’s script is very complex as it has a lot that is happening as Ed Hurley watches over Nadine who had attempted suicide and is now in a comatose state. Other subplots involve Audrey secretly working at One Eyed Jack’s where she gets herself in danger as she nearly has a sexual encounter with her father who doesn’t know what she is doing there.

Things do get stranger as David Lynch would create elements of surrealism as it relates to Cooper’s meeting with this mysterious giant as well as the ending which involves Ronette Pulaski finally awaken from her coma. Another moment of surrealism is when Maddy saw blood stains appearing in a carpet as if they were saying something to her. A later meeting with Donna Hayward where the two would wear Laura’s sunglasses would bring a change into their behaviors as it is among some of the new and strange things that is happening. Most notably Leland Palmer whose hair had suddenly turned white and is acting oddly happy for some reason that baffles everyone. Especially in a dinner where the Haywards invited the Palmers where Leland would sing for some odd reason.

There are characters whose fates remain unknown aside from Catherine Martell as Josie Packard had suddenly disappeared while Bobby Briggs would have a heart-to-heart with his father about Bobby’s future. It is among these moments that occur in the series as it plays into Lynch’s idea of small town life and its sense of peace and tranquility but there is darkness underneath. Especially as it only leaves more questions than answers over who killed Laura Palmer as the search is one for a mysterious third figure who might be the one that killed Palmer.

May the Giant Be With You is an incredible episode of Twin Peaks from David Lynch that doesn’t just open the second season with a bang but also maintains the sense of mystery and humor in the series. Especially as the cast is once again at the top of their game while bringing much more to their characters. In the end, May the Giant Be With You is a spectacular episode of Twin Peaks from David Lynch.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

Summer of Twin Peaks: Episode 3-Rest in Pain

Directed by Tina Rathbone and written by Harley Peyton, the fourth episode of Twin Peaks entitled Rest in Pain revolves around the day of Laura Palmer’s funeral services as emotions run high while Special Agent Cooper believes that he has a hunch on who killed her. While Cooper believes that there’s a lot more to the case, he also deals with the tension between Sheriff Truman and Agent Rosenfield as the latter found some clues during Laura’s autopsy that opens the door to an underworld in the town. All of which plays into things that is happening where Cooper and Truman confront Leo Johnson who denies anything despite Cooper’s reciting all of Johnson’s past criminal activities.

It’s an episode that does close a moment where everyone says goodbye including Laura’s look-a-like cousin Maddy (Sheryl Lee) who visits to attend the funeral to Leland Palmer’s comfort. Yet, it’s a moment where the town would unravel as Bobby Briggs would claim that Laura’s real killer is the whole town in saying that they didn’t do enough to help her. It’s an episode where it features some very intense and intentionally cheesy dramatic elements along with comical moments that prove to be very funny in the most unintentional ways. Thanks in part to Harley Peyton’s script which not only manages to balance the disparate tones of the story but also find ways to keep the focus about the mystery surrounding Palmer’s death.

Under Tina Rathbone’s direction, the element of humor, drama, and suspense is engaging as well as being offbeat as it also features little moments that do play into the story. Notably a scene involving Ed Hurley and his wife Nadine (Wendy Robie) as the latter thanks him for giving her the accidental solution for her silent drapes as it is among some of the weird moments of the episode. Yet, it’s the funeral where Rathbone’s direction has nearly all of the principle characters in the frame while building up something where things will explode. It’s a very comical moment while it is followed by Shelley Johnson working at the diner telling the customers exactly what happened.

Its final moments would play more into the underworld where Truman and Deputy Hawk (Michael Horse) would invite Cooper into a secret society that involves Ed Hurley as it relates to a secret drug smuggling ring that Truman and Hawk are trying to end. It’s the episode that would give a proper introduction to Jacques Renault (Walter Olkewicz) and his family who are in connection with Leo Johnson into transporting drugs. What would happen would unveil more about the dark elements of the town as well as more about Laura Palmer and her connection with the Renault family. With Miguel Ferrer being great as the asshole FBI Agent Rosenfield and Sheryl Lee providing a brief yet wonderful performance as Maddy Ferguson. It’s an episode that plays more into the tension between Josie Packard and Catherine Martell where the former tells Truman about what she wants to do as it is clear that Martell is trying to ruin Packard.

Rest in Pain is a fantastic episode from Tina Rathbone and Harley Peyton as they manage to find a balance between elements of humor and drama. It’s also an episode that isn’t afraid to find the line of unintentional humor as it plays into David Lynch’s idea of playing against the rules of conventional television mysteries. In the end, Rest in Pain is a thrilling and witty episode of Twin Peaks from Tina Rathbone.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 4 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

007 James Bond Marathon: Licence to Kill

Based on the short stories by Ian Fleming, Licence to Kill is the story of James Bond going rogue following an attack on his friend Felix Leiter by a drug lord. Directed by John Glen and screenplay by Michael G. Wilson and Richard Maibaum, the film marks a departure of sorts for the Bond franchise by delving into darker territory as Bond aims for vengeance. With Timothy Dalton playing Bond for the second and final time, the film also stars Robert Davi, Talisa Soto, Carey Lowell, David Hedison, Desmond Llewelyn, Caroline Bliss, Wayne Newton, Benicio del Toro, Priscilla Barnes, and Robert Brown as M. Licence to Kill is thrilling and intense film from John Glen.

It’s the wedding day of Felix Leiter (David Hedison) as James Bond is the best man where the two decide to help out the DEA capture a drug lord named Franz Sanchez (Robert Davi). The mission turns out to be a success just in time for Leiter to be married to Della (Priscilla Barnes) as things seem to go well. Instead, Sanchez manages to escape with the help of DEA agent Ed Killifer (Everett McGill) who was bribed $2 million as Sanchez sends his henchman Dario (Benicio del Toro) to kidnap Leiter. When Bond learns of Sanchez’s escape, he goes to Leiter’s home to find Della dead and Leiter barely alive from a shark attack. He and Leiter’s friend Sharkey (Frank McRae) investigate a secret marine lab run by Milton Krest (Anthony Zerbe) where Bond confronts Killifer and kills him.

Bond’s activities gets the attention of the DEA and M who wants Bond to stop going after Sanchez only for Bond to resign and go rogue. With Sharkey’s help, Bond boards Krest’s boat to learn of a drug deal that is happening where Bond causes problems by foiling the deal and stealing five million dollars. After reading Leiter’s secret report, Bond meets a former CIA agent-pilot Pam Bouvier (Carey Lowell) as they team up to take Sanchez down by traveling to Isthmus with Bouvier pretending to be Bond’s secretary. The two investigate Sanchez’s banks and casino where they learn that Sanchez is making a deal after Bond hears about his from Sanchez’s girlfriend Lupe (Talisa Soto). Bond later gets help from Q (Desmond Llewelyn), who is on holiday, as they plan to do more investigating where Bond attempts to assassinate Sanchez.

Instead, the assassination is foiled by a couple of Hong Kong narcotics agents (Cary-Hiroyuki Tagawa and Diana Lee Hsu) and British agent Fallon (Christopher Neame) who wants to send Bond back to Britain. Yet, it is foiled by Sanchez’s men as Bond is taken to Sanchez’s home where he gains Sanchez’s trust by telling him what happened to the Krest deal. After getting help from Q and Bouvier to help frame Krest, Bond is able to infiltrate Sanchez’s secret base to find out how Sanchez is exporting the drugs to his rich customers. Realizing what Sanchez is going to do and profit from the drug sale, Bond has to stop him from causing trouble as he hopes to get his revenge.

The film is just simply about James Bond seeking vengeance for what happened to his longtime friend Felix Leiter by going after a drug lord as he’s forced to go rogue with very few resources. It’s a different take on the Bond formula where it’s all driven by vengeance as Bond forgoes all of his duties to his government in favor of seeking justice for his friend. Even as he has to break some rules in order to go after this ambitious drug lord that simply just wants to have a lot of money and create a powerful drug trade among international dealers. Bond would realize that things are more complicated than his vendetta when various other authorities are trying to go after Sanchez.

The screenplay’s approach to creating something different with the usual schematics of a Bond film allows the story to be more engaging but also reach into dark territory. Notably with its theme on vengeance and loyalty where the latter is often spouted upon by Sanchez. Sanchez is a very interesting villain who is willing to buy his way out of anything while wanting to profit from the drug trade. Yet, he is also ruthless if he feels betrayed and has no qualms about killing anyone. Other characters such as Pam Bouvier and Lupe Lamora are just as interesting for the way they each help Bond take down Sanchez. Notably Bouvier who is first seen talking with Leiter about Sanchez’s capture as she later meets Bond where they help each other out. While Lamora is just this abused girlfriend of Sanchez, she does manage to help Bond out by giving him information and lying for him against Krest and other Sanchez associates.

John Glen’s direction is definitely big in terms of presentation as it begins with this very expansive sequence where Bond and Leiter help the DEA capture Sanchez in the Florida Keys. Even as it would involve helicopters and Bond hooking a small plane onto that helicopter before he and Leiter jump off the helicopter to arrive to the wedding in style. With a lot of the film set in Florida and Mexico, Glen’s direction is also more aggressive in terms of the action as there’s more fights and gun battles that happen where it’s driven by Bond’s vendetta. Glen also balances it with suspense as he allows the audience to take its time to uncover Sanchez’s ideas as well as realize how complicated Bond’s plans for vengeance are. Overall, Glen crafts a very mesmerizing yet exhilarating suspense-action film.

Cinematographer Alec Mills does excellent work with the photography from the colorful shots of the Florida and Mexican exteriors to the dark interiors in Krest marine lab where Bond confronts Killifer. Editor John Grover does terrific work with the editing by creating a straightforward approach to the editing in terms of building up its suspense and flesh out the action sequences. Production designer Peter Lamont, with set decorator Michael Ford and art directors Dennis Bosher and Michael Lamont, does spectacular work with the set pieces ranging from Sanchez’s lavish home to the home base where he runs his drug lab.

Costume designer Jodie Lynn Tillen does superb work with the costumes such as the lavish dresses that Lamora and Bouvier wears to the suits the men wear. Special effects supervisor John Richardson does nice work with the special effects for the film‘s action sequences including the climatic one at Sanchez‘s home base. Sound recorder Edward Tise does wonderful work with the sound to capture the atmosphere of some of the film‘s intimate yet tense moments such as Leiter‘s torture scene. The film’s score by Michael Kamen is very good for its orchestral flourishes to play up the suspense and action as it incorporates many variations of the Bond theme. The soundtrack includes a powerful title track sung by Gladys Knight while Patti LaBelle sings the lush, closing ballad If You Ask Me To.

The casting by Janet Hirshenson and Jane Jenkins is brilliant for the ensemble that is created as it features some notable small roles from Pedro Armendariz Jr. as the President of Isthmus, Wayne Newton as Sanchez’s middle man Professor Joe Butcher, Don Stroud as Sanchez’s henchman Colonel Heller, Anthony Starke as Sanchez’s financial advisor Truman-Lodge, Grand L. Bush as the DEA agent Hawkins, Frank McRae as Leiter’s friend Sharkey, Christopher Neame as British agent Fallon, Cary-Hiroyuki Tagawa and Diana Lee Hsu as undercover Hong Kong narcotic agents, and Priscilla Barnes as Leiter’s bride Della. In their last appearances as Bond regulars, Robert Brown is excellent as M while Caroline Bliss is good as Miss Moneypenny.

Anthony Zerbe is terrific as the slimy Milton Krest while Everett McGill is quite good as the DEA agent Killifer who sold Leiter out for money. In one of his early film roles, Benicio del Toro is great as the very devious Dario who is ruthless in his duties for Sanchez. David Hedison is wonderful as Bond’s longtime friend Felix Leiter while Desmond Llewelyn is superb in his role as the gadgets inventor Q who helps Bond out. Talisa Soto gives a very fine performance as Lupe Lamora who helps Bond out in giving him information while hoping that Sanchez will be stopped. Carey Lowell is brilliant as the ex-CIA agent Pam Bouvier who helps Bond out as she deals with her feelings for Bond as well as trying to ensure that things get done.

Robert Davi is fantastic as the villainous Franz Sanchez by bringing a dark sense of charm to his character as well as a brutality to the way he gets rid of his enemies and those who betrayed him. Finally, there’s Timothy Dalton in a marvelous performance as James Bond. Dalton brings a real sense of brooding intensity to a man seeking vengeance for his friend as he’s willing to be more visceral in his pursuits while trying to maintain his professionalism as a secret agent. It’s a very complex performance from Dalton as he gives Bond a dark edge that is very captivating to watch as it’s really one of the best portrayals of James Bond.

Licence to Kill is a phenomenal film from John Glen that features an outstanding performance from Timothy Dalton as James Bond. While it’s different film of sorts in terms of what is expected from Bond as it doesn’t feature a lot of humor. It is still very compelling for the way Bond is portrayed in a revenge angle to show a side of him that isn’t seen very much. Even as he has to go on his own with very little help. In the end, Licence to Kill is a mesmerizing yet fun film from John Glen.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service -Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012