The Living Daylights (1987)

Introduction

After the increasingly comedic tone of the Roger Moore era reached its peak in A View to a Kill (1985), the Bond franchise faced a major turning point. With Moore stepping down, producers Albert R. Broccoli and Michael G. Wilson were tasked with redefining 007 for a new generation. The result was The Living Daylights, a film that walked the tightrope between classic Bond spectacle and a return to the more serious, Fleming-esque roots of the character.

Originally intended for Pierce Brosnan (who was forced to drop out due to TV commitments), the role went to Timothy Dalton, a classically trained Shakespearean actor known for his intensity and gravitas. His debut marked a tonal reset: Bond became more introspective, more realistic, and more human.

Plot Summary

The film opens with a thrilling training exercise on Gibraltar that turns deadly when a traitorous assassin kills a British agent. James Bond pursues and eliminates the killer in a dramatic parachute sequence, setting the tone for the action to come.

Soon after, Bond is assigned to help General Georgi Koskov (Jeroen Krabbé), a high-ranking Soviet defector, escape from Czechoslovakia. During the operation, Bond deliberately spares a supposed KGB sniper—a cellist named Kara Milovy (Maryam d’Abo)—believing she’s an amateur coerced into the mission. Koskov is taken to a safe house in England, only to be mysteriously kidnapped again.

As Bond investigates, he uncovers a tangled web of deception involving:

A fake defection,

Arms deals involving American megalomaniac Brad Whitaker (Joe Don Baker),

Soviet military corruption under General Pushkin (John Rhys-Davies),

And Kara’s unwitting role in Koskov’s plan.

The journey takes Bond across Europe, from Vienna to Tangier, and finally to Afghanistan, where he allies with the Mujahideen to disrupt a massive heroin deal meant to fund Koskov’s arms purchases.

Themes and Tone

A Return to Seriousness

Unlike the flamboyant entries that preceded it, The Living Daylights strives for realism. The plot—though still filled with intrigue and spectacle—has clear Cold War roots and geopolitical plausibility. Espionage, deception, and shifting allegiances are at the heart of the story.

A Cooler, More Human Bond

Dalton’s Bond is not the smirking womanizer of Moore’s era. He is professional, morally conflicted, and loyal. His relationship with Kara is tender and romantic rather than purely sexual. This is a Bond who bleeds, who questions orders, and who cares deeply about collateral damage.

Intrigue Over Gadgets

There are still classic Bond elements—explosions, gadgets, exotic locales—but the film emphasizes intelligence, improvisation, and tension over gimmickry. The gadgetry is more restrained and functional: a rocket-firing Aston Martin, explosive keychain, and some spy tools, but they serve the story rather than define it.

Performances

Timothy Dalton as James Bond

Dalton’s interpretation is serious, brooding, and deeply faithful to Ian Fleming’s novels. He plays Bond as a dedicated secret agent whose duties weigh heavily on him. His Bond is capable of dry wit, but not comic relief. He avoids glib one-liners and instead conveys depth, precision, and emotional nuance.

This Bond is more introspective than any before him—his decisions are motivated by principle, not bravado. The performance was a bold shift at the time, and though some audiences weren’t ready for it in 1987, Dalton’s take paved the way for the more nuanced Bonds of the 2000s.

Maryam d’Abo as Kara Milovy

Kara is a departure from the classic “Bond girl” archetype. She’s not a femme fatale or a spy, but an innocent caught in the crossfire of espionage. D’Abo plays her with a believable mix of naiveté and resilience. Her chemistry with Dalton is sweet and understated, fitting the more romantic tone of their relationship.

Jeroen Krabbé as Koskov

Koskov is a delightfully oily villain—outwardly charming, inwardly devious. His fake defection and manipulations provide a strong central mystery. Krabbé balances affability and menace with aplomb, making Koskov a classic double-dealer.

Joe Don Baker as Brad Whitaker

A less successful antagonist. Baker plays Whitaker, a war-crazed American arms dealer obsessed with military history and self-glorification. He’s more comic than threatening, and while he adds to the story’s global web of corruption, he lacks the gravitas of top-tier Bond villains.

John Rhys-Davies as General Pushkin

Originally intended as the return of General Gogol, Pushkin is a strong character in his own right. Rhys-Davies gives him dignity, calm authority, and complexity. Bond’s relationship with Pushkin—especially the scene where Bond confronts him in Tangier—is one of the film’s most suspenseful and well-written sequences.

Direction and Visual Style

John Glen, directing his fourth Bond film, delivers some of the most solid work of his tenure. The film is briskly paced, with a strong balance between character and action. Glen’s strength lies in staging practical, high-stakes set pieces:

The Gibraltar parachute fight

A sniper standoff at the border of Czechoslovakia

The Aston Martin chase over icy roads

A daring escape via cello case

The grand finale aboard a cargo plane mid-air over Afghanistan

The Afghan sequences were shot in Morocco and are visually stunning, giving the third act a sweeping, epic feel. The use of real locations and practical stunts grounds the film and keeps the tension tangible.

Music and Theme

John Barry, in his final score for the Bond franchise, delivers a lush and evocative soundtrack. He uses romantic strings for Kara’s scenes, pulsating rhythms for the action, and sneaky woodwinds for the espionage sequences.

The theme song, “The Living Daylights” by a-ha, is polarizing but memorable. It has a strong melody and energy, though it lacks the timeless quality of earlier Bond themes. Barry reportedly clashed with the band over the arrangement, but his influence remains in the final version.

Strengths

Dalton’s intense, faithful Bond: Arguably the most literary interpretation to date.

Strong espionage plot: Intrigue and moral ambiguity over cartoon villainy.

Classic Cold War flavour: The geopolitical setting gives the film weight and realism.

Practical action sequences: Visually thrilling and realistically executed.

Emotional resonance: Bond and Kara’s relationship is developed with care.

Weaknesses

Brad Whitaker: A forgettable secondary villain who feels out of sync with the otherwise serious tone.

Some uneven pacing: The middle act drags slightly before the Afghanistan climax.

Audience expectations: Viewers used to Moore's lighter tone may have found Dalton too severe at the time.

Legacy

The Living Daylights was commercially successful and critically well-received, especially in Europe. While some American audiences found Dalton’s Bond too dour, his performance has aged well. Today, many consider it a high point of 1980s Bond and a necessary evolution that paved the way for the Daniel Craig era.

Though Dalton only made two films, his influence is immeasurable. He re-centred Bond as a serious character rooted in duty, morality, and personal restraint—traits that redefined the series for the 21st century.

Conclusion

The Living Daylights is a sophisticated and mature Bond film that blends classic espionage with 1980s sensibilities. Anchored by Timothy Dalton’s commanding performance and supported by a well-crafted plot, it stands as one of the most underrated entries in the franchise.

It marked the beginning of a new Bond—more human, more conflicted, and ultimately, more compelling.

An intelligent, stylish, and emotionally grounded Bond film that introduced a serious 007 for a serious era. Dalton’s debut is a sharp and thrilling course correction for the franchise.