In the late 1990’s, there were many people gunning for Bond, but none of them were megalomaniacs or jilted lovers. They didn’t show up with killer assassins that had metal teeth or bowler hats. Instead they were people in tailored suits with briefcases. They wanted to take control of 007 or just destroy him outright. These were maybe his most dangerous opponents ever, and Bond’s fate wouldn’t even be in his own hands.
The biggest threat to Bond’s future would be a man who had been trying to take over the franchise for decades. When Ian Fleming was trying to first put 007 on screen, it was not Dr. No, but Thunderball which was going to be Bond’s cinematic debut. A man named Kevin McClory had acquired the rights to the book, and was trying to adapt it, but when Fleming got tired of the screenwriting experience he left the project. A few years later, Dr. No started production and James Bond became a household name. McClory though, still wanted in.
Now after the success of Goldfinger, Bond Producers “Cubby” Broccoli and Harry Saltzman reached a deal with McClory to finally produce Thunderball, which eventually became one of the most successful 007 adventures ever. McClory was still not done though. He eventually won a court case that allowed him to produce a Bond film in the 1980’s, which eventually became the Thunderball remake, Never Say Never Again.
This was a big step for the producer, as Never Say Never Again became only the second film associated with Bond that was produced outside the scope of EON Productions. Fast forward to the late 1990’s and McClory was still fighting to produce more 007 adventures. With Sony in his corner, desperate to be able to produce their own Bond series with McClory, 007 had a battle worthy of his fight with Oddjob in the basement of Ft. Knox in Goldfinger. Then again, has Bond ever not won out? McClory and Sony were eventually defeated, and EON Productions retained the rights to the world’s greatest secret agent.
Perhaps even more dangerous to the franchise than McClory though, were the studio heads that knew they couldn’t have Bond, so instead developed their own major Spy films that would beat 007 at his own game. Suddenly, theaters were swamped with Spy films, and seemingly the insanity of Spymania from the 1960’s had been reincarnated into a sleeker 90’s version. Familiar names from the 60’s were big contenders in this battle. Big screen adaptations of Mission: Impossible and The Saint took their shots at being the next Bond franchise. Even Sean Connery joined the fight, with his role in The Rock being an obvious homage to his days as 007.
These contenders though, couldn’t keep 007 down. Even with Mission: Impossible out grossing Goldeneye, 007 remained the most recognizable espionage franchise in the world. With a new Bond making a huge debut smash, Producers would need to find a suitable follow-up for Pierce Brosnan. Well, if Producers and Media Moguls wanted to stick it to Bond, then film makers would develop a story in which Bond could stick it right back to them.
Tomorrow Never Dies Starring Pierce Brosnan, Michelle Yeoh, Teri Hatcher, and Jonathan Pryce. Directed by Roger Spottiswoode.
007 has taken on a myriad of different villains in the past. From megalomaniacs such as Blofeld or Dr. No, turncoat spies, evil drug dealers, to even a televangelist, Bond had beaten them all, but he’d never taken on a media baron before. With the world already vilifying corporations and their CEO’s such as Rupert Murdoch and Ted Turner, would it really be a stretch that one would be truly evil? One has only to look as far back as William Randolph Hearst for underhanded dealings perpetrated in order to make more money, as the newspaper baron used sensationalist press to nudge America into a war with Spain. The result was a circulation that reached over a million newspapers a day.
For the villain of Tomorrow Never Dies, Elliot Carver (Jonathan Pryce), Hearst’s methods would see too tame. Carve’s aims are to not only reach every person in America, but everyone all over the world. With his cable network, software, satellites and his newspaper Tomorrow, Carver plans on being the most powerful man in the world by controlling its communication. One line even has Carver asserting a “declaration of principles” which is a direct homage to Citizen Kane, which was of course, a satirical look at William Randolph Hearst. To further his media empire, Carver will take a page out of Hearst’s book, and start a war by using the means available to him. Carve’s maneuverings cause the death of an entire crew of a British ship, framing the Chinese government for the attack. If things work out the way he plans, he’ll start World War III, and the Carver Media Group will be there every step of the way to see it and tell the world.
If ever an actor looked like he was having fun playing a Bond Villain, it was Jonathan Pryce. The man is completely over the top, as Pryce becomes the embodiment of a villainous CEO. The role is basically a modern version of Hearst through the eyes of a Bond film, oozing evil with every motion of his body and words from his mouth. He employs terrorists as well as publicists to get his way, and he is virtually untouchable, except maybe by one man.
This time out Pierce Brosnan also looks like he’s having fun. To some degree, the pressure of being 007 had been eased off. The public had already accepted him as the successor to Connery and Moore in Goldeneye, so this time out, there were no worries. Brosnan could relax, sit back and thrill his audience, and for the most part he accomplishes this. The pre-credits sequence is loads of fun, as a black market meeting of arms dealers has 007 crashing the party and flying off with a couple of nuclear missiles. Brosnan is all smiles in another sequence as his tricked out BMW shoots missiles and drops barbs to escape an array of well armed thugs.
Brosnan apparently also insisted on showing a bit more vulnerability this time out. A former relationship with Carve’s wife Paris (Teri Hatcher) has Brosnan trying hard to wrench true emotion out of their scenes. Unfortunately, Hatcher is kind of bland here, not showing some of the spark she’s had on screen before. Rumor is that personal favorite of mine, Monica Bellucci, also read for the role of Paris, but would it really have been possible for Bond producers to turn her down in favor of the very tired looking Teri Hatcher? Doubtful.
Smartly the lead Bond Girl in this film is possibly one of the best ever. Michelle Yeoh, who had not obtained the stardom that followed her success in Crouching Tiger, Hidden Dragon just yet, is absolutely amazing as Chinese Agent Wai Lin. A valid argument could be made that Yeoh actually steals the movie away from Brosnan, as she’s able to match Bond pound for pound in most action scenes. She’s given several fights all to herself in the picture, where Yeoh is able to call on her vast experience in Hong Kong Martial Arts films.
Director Roger Spottiswoode handles the action in the film with a wry sense of humor. Even the most visceral fight in the film is laced with humor, with Brosnan and Yeoh using a subtle touch to their scenes together. The film’s best action sequence aimed mostly at being the direct opposite of Goldeneye’s tank chase through Moscow. Chased by a helicopter, Bond and Wai Lin must make their way through the streets of Ho Chi Min city on a motorcycle. Handcuffed together, Director Spottiswoode apparently secretly told each actor to try and take control of the bike, which comes out on screen for some joyful moments of rivalry.
The film’s finale, which comes out like a smaller version of the film The Spy Who Loved Me assault, has Bond and Wai Lin infiltrating Carve’s Stealth Boat as the madman tries to start his staged war. The feel is actually quite simple, as the British Navy gets in on the act, shelling the boat while the heroes cause destruction from within. Bond even has to save Wai Lin from drowning, as Moore had to battle a virtual tidal wave to save XXX in SWLM.
This all made for a pretty satisfying Bond adventure, but the movie also had its problems. Again, Hatcher really pales in comparison to everyone else in the movie. She just looks kind of haggard, a failing no where to be seen these days in her appearance on TV. Also unsatisfying is Götz Otto’s Stamper, the film’s requisite henchman. The guy is more or less a rip-off of Robert Shaw’s Red Grant in From Russia with Love, but shows none of the menacing charisma that Shaw gave his villain. I believe Stamper also successfully kills no major characters in the movie, which makes for a very poor Bond Villain indeed.
Even Pryce may take Carver too over the top, as he’s so evil he loses any sense of reality at all. What’s terrific about many Bond villains such as Stromberg or Drax is that they don’t really see themselves as villains. Instead, their insane schemes are trying to cleanse the world in order for them to remake it according to their own design, so in their eyes they are completely in the right. Carver crosses that line a bit as he knows he’s evil, but compensates by taking the character to the edge of credibility.
Also Tomorrow Never Dies never has that one REALLY spectacular moment in it. The movie is fairly entertaining all the way through and is great fun at times, but never presents us with that “skiing over the mountainside” or “girl painted gold” moment that simply sticks in your mind. It has an assortment of good moments, but never has a great one.
Some of the brighter spots include every moment where Joe Don Baker is on screen, as his Agent Wade makes a funny return from Goldeneye. I love how he takes a familiar tone with 007, as he constantly refers to him as “Jimbo” and complains that “He didn’t even say goodbye” when Bond skydives toward his target. Sadly, this was the last appearance of this character, who the Bond producers should have brought back for cameos in the next two Brosnan films.
Also making returns are Judi Dench as M, who also seems more comfortable her second time around, and Samantha Bond, who may make the most appealing Miss Moneypenny ever put on screen. Her “cunning linguist” line is probably the most memorable line of dialogue in the picture, and she has terrific sexual tension with Brosnan. Both are wonderful and would make welcome returns for the next two pictures.
Again, Tomorrow Never Dies is a good, but not great, entry into the Bond mythos. The film is never boring, but it’s never exceptional either. The film’s box office would reflect this, as the movie would do respectable business, but not make as much as Goldeneye. With a terrific Bond Girl and a great Bond, the movie had many elements that could have been perfect, but it never truly comes together.
Sidenote: For those that were wondering, I loved Casino Royale. Craig is awesome, but I’ll have to get to him in a few weeks.
Picture Credits:impawards.com, bondmovies.com
