Spectre ending: A serious attempt to explain it | pdl-inc.info
a darker path, there was Timothy Dalton's final outing, Licence To Kill. Girl: a transformation made much easier if the VW never had sexual relations with . It's also Timothy Dalton's second and final outing as Bond. In Licence To Kill, James Bond embarks upon an unsanctioned quest for revenge . She has an easy and warm relationship with Bond that doesn't feel weird even. Bond's final Rolex is about to hit the block at Fellows. from the James Bond film Licence to Kill, and you're going to want to see this. The
This scene is considerably over bashed by many Bond fans who consider that Bond wouldn't visit lowly night clubs.
These folks forget that the meeting and contact was set up by Felix prior to his meeting with the shark. Although not a typical "Bond scene", it would make perfect sense for Texan born Felix to visit such an establishment for meeting with a contact.
Bond then hires Bouvier who turns up to be a pilot to fly him to Isthmus City, Sanzhez' home base. The movie includes Q's most important participation to date in the series as he will assist Bond in the field and bring a bunch of gadgets to Isthmus City. Another interesting situation in "Licence To Kill" is that two "good" Bond girls battle for Bond's attention when the usual formula has a "good" and a "bad" girl, or to have Bond not having to make a choice as early Bond girls die early in the movie.
Sanchez' girlfriend Lupe is desperate to leave him but knows that she can't; Pam is also enamoured with A quick not here to mention that Pam Bouvier is easily the very best "agent" type Bond girl in the series.
As years passed, times changed and having good looking useless Bond girls wouldn't be a popular option throughout the 80's and 90's as it was in the Roger Moore era. Bond girls would become more independent and many would be given "agent" or "Bond equal" roles.
Carey Lowell's performance as Pam matched the scripted character as she was likable and realistically competent, delivering what is easily the best Bond girl since the 60's, and clearly in the top 5 Bond girls ever.
Indeed, "Licence To Kill" offers a sequence reminiscent to a scene in the Casino Royale novel where Bond is captured by villain Le Chiffre and about to be killed only to survive as Le Chiffre's organization SMERSH decides to send a termination squadron to assassinate their traitor agent Le Chiffre and thus enabling Bond to survive. The scenario delivered in "Licence To Kill" has James Bond set up to kill Sanchez using his signature sniper rifle, provided by Q, and about to squeeze the trigger when attacked by Chinese agents working for Kwang Cary-Hiroyuki Tagawaundercover as a Chinese businessman visiting Sanchez to do business with him bringing cocaine back to China.
However, Sanchez' chief of security Heller Don Stroud followed and attacked the Chinese agents and finds Bond unconscious and tied down to a table. Heller and Sanchez conclude that Bond was trying to eliminate the Chinese agents to protect Sanchez as moments earlier, Bond had introduced himself to Sanchez as a rogue "problem solver" looking for work. Acting as Sanchez' friend, Bond manages to have Sanchez kill his associate Milton Krest, leading Sanchez to believe that Krest was crossing him and stealing his money.
Again, a situation that is unusual to Bond movie followers, well executed, well acted, and refreshing as it greatly differs from the typical Bond formula. Bond eventually defeats Sanchez after a tremendous action packed tanker chase, a first for the series. The cast in "Licence To Kill" is terrific. Dalton is absolutely magnificent as James Bond once again. The impressive cast of villains lead by a very realistic performance by Robert Davi, Benicio Del Toro, and Anthony Zerbe, the Bond girls are interesting as mentioned above, and the supporting cast of Hedison, Brown, Llewellyn, and Caroline Bliss Miss Moneypenny was solid once again.
There are very few low points in "Licence To Kill". Digging deep to find them, the character Joe Butcher Wayne Newton was rather silly and the score by Michael Kamen is easily one of the very worst of the series. Gladys Knight's theme song was however quite acceptable. Finally, the real James Bond is on screen! Sadly, the immature MTV generation Bond movie fans seem to dislike Dalton and "Licence To Kill", not realizing that this literary Bond which greatly differs from the new CGI packed action-hero Brosnan Bond is what the literary audience fell in love with, which prompted producers Harry Saltzman and Cubby Broccoli to bring Bond on the big screen in the first place!
Without the real Bond, there wouldn't have been any Bond movies! Well these hypocrites can keep burying their heads in the sand like ostriches all they want, because it won't change the fact that the literary Bond fans will be able to enjoy a pure adaptation of Fleming's literary Bond forever.
It meant that Eon could now confidently press on with their new Bond, satisfied that the Dalton interpretation of the role, was nicely in line with the demands of a late s audiences. And we now had a situation where the original title, - capturing the mood of the plot perfectly, was substituted with a title that meant the exact opposite! The main talking point of the plot is Bond's new role as an 'avenging angel'. Or is it new?
After all, Bond was apparently a bit of a loose cannon at the start of DAF, and has for ever been scolded by M for not following orders! It's just that this time, Bond takes it all a step further. The suave, confident, globe-hopping, wise-cracking man of action, becomes a snarling, biting cold-blooded vigilante. After all he never got this upset when Tracy bought it.
He never lost site of his mission when Kerim Bay was bumped off. But when dear old Felix gets a chunk bitten out of him, Bond turns into Charles Bronson with nobs on. Posing as a freelance 'problem eliminator', he infiltrates bad guy Sanchez's operation, and systematically tears it down.
With CIA pilot Pam Bouvier, gadget master Q and huge amounts of good fortune on his side, he destroys the drugs Empire in a couple of days. It raises a little smile when we consider that another on going operation had spent months trying to get to grips with Sanchez's operation, and hadn't got within a million miles of where Bond was. And a wonderful cast this is to despite vacant-headed lovely, Talisa Soto doing her best to revive the heady days of 70s bimbo Bond girls.
I had a problem with some of the editing. Bond appears to kick M in the stomach when he loses his "Licence To Kill" after 3 viewing I realised he didn't! Later when Bond is in Krest's warehouse, we see Leiter's button hole on the floor, but its difficult to be sure if Bond also sees it he does, but it isn't absolutely clear. I also struggled to stomach the idea of Bond being quite this nasty.
In his single minded quest for revenge, he manages to get some Chinese agents killed, takes grim satisfaction over the gory deaths of Sanchez's associates, and now sprinkles his verbal output with more than a few expletives! This isn't the Bond we have come to know. This is an unsettling Bond, lost in some kind of personal madness, unable to think straight, unable to be rational. It certainly isn't wrong to give us this Bond.
After all, Bond in the novels is 'real' with real hang-ups and real problems. It's just that the cinematic Bond has developed down a different route, and maybe,just maybe, "Licence To Kill" was one step too far.
Dalton himself does the tortured Bond pretty well, spitting his words out, occasionally relaxing when he frolics with Pam in the boatthen becoming the angry, vengeful Bond the next minute. Once again Dalton looks good in casual dress, and totally uncomfortable in a tuxedo he is the least convincing Bond actor in formal wear.
My main problem is Dalton's theatrical acting style.
Licence to Kill () - IMDb
He acts with his eyes and his mouth, pouting, snarling, swiveling his eyes, gritting his teeth. In contract Robert Davi with his cinematic style of minimal facial movement, leaves him for dead in their first scene together, in Sanchez's office.
As ever with Dalton, when he's good, he's very good And "Licence To Kill" doesn't have enough decent dialogue to be quotable, so what are we left with? The opener is disappointing after the heady heights of "The Living Daylights". There is a bar room brawl which is pretty good, and Dalton never falls short of being exceptional in these scenes.
However, the tanker pursuit that ends the film is arguably one of the best action scenes in the entire series. The huge oil tankers, dance and crash down a steep, winding Mexican road, with Bond throwing all caution to the wind. He turns into Indiana Jones, as he recklessly makes it up as he goes along, destroying one after another of the tankers.
Spectre ending: A serious attempt to explain it
Director John Glen can be justifiably proud of this scene- a truly towering achievement. I am not particularly a fan of "Licence To Kill", but I certainly don't hate it. It isn't dull like certain Bonds, and it isn't poorly made, or lazily put together. The problem with "Licence To Kill" is that it dares to be different, and by stepping outside the usual routine, we lose site, however briefly, of Bond's cinematic values, history and legacy.
However, we do need films like this, because it shows that Cubby was never taking his eye off the ball. So I may not be a fan, but it doesn't matter, because I appreciate what it tried to do. Whether it will become a forgotten Bond film we shall see. If it does, it may have more to do with the fact that Dalton will be seen, rightly or wrongly but certainly unfairlyas a failed Bond, with only the spirit of George Lazenby to keep him company.
With the apparent acceptance of a more serious Fleming-like and with Bond actor Timothy Dalton pressing for a more gritty film, the EON team made a controversial move: In doing so, they create one of the best James Bond movies.
First off, we get the best performance to date by a Bond actor. Timothy Dalton had proved in The Living Daylights that he had the acting chops to play Here, he surpasses not only himself, but also every other actor who has played Bond. He is exactly as Fleming described Bond.
He is cold-blooded, almost humor-less, and a human being. He isn't the tuxedoed super hero of the Roger Moore films. Just look at the scene where Bond finds Della dead. Only Timothy Dalton could have given the proper emotion in the frantic cry of "Della! Bond's reactions to finding Killifer in the warehouse, his resigning from MI6, and other scenes in the film prove that he has studied the Bond character enough to get inside the characters' head and become him.
It's true that bond appears out of his usual attire in the film and that Dalton looks uncomfortable in them, but Bond doesn't dress in that attire and Dalton is simply acting in the role. Dalton looks incredibly well in the action scenes and, like The Living Daylights, it is hard to tell when its him and when its a stuntman, which is a good thing coming out of the Roger Moore films. Dalton looks well in the scenes with the Bond girls and his scenes with Sanchez are among the best Bond-Villain scenes since "From Russia With Love" and the early Bond films.
The weak point in the films main characters is the girl Pam Bouvier. Though she is a very strong character and Carey Lowell acts well in the part, the character seems out of place in a Bond film. Perhaps it is for the better that the character is tough and resourceful, which isn't what I am complaining about. My problem with the character is that she seems to be more of the usual 80's tough woman action hero, ala Aliens and the like.
Not that the character is a bad thing, but does that type of character belong in a James Bond adventure? The character, in my mind at least, is a bit too strong for a Bond film.
Otherwise, Pam Bouvier is a good Bond girl. Even though she breaks one of the oldest rules of Bond girls with her short hair, looks aren't everything to a Bond girl. She can take care of herself and she saves Bond on more then a few occasions. She is a modern and tough woman; though as I said maybe a little too tough for a Bond film. Overall, Pam is a good character and Carey Lowell does a good job playing her.Licence To Kill Truck Chase Part 1
The villain, Franz Sanchez, is among the best villains of the series. He is also the more realistic of the series' villain, a drug lord from South America and in many ways a mirror, albeit evil, image of Much like Scaramanga in "The Man With The Golden Gun", the relationship between the villain and Bond is complicated and there are some fireworks in their scenes.
First there is the silent menace and quiet tension in the scene in Sanchez's office, and later a friendship between the two men that the audience knows is fake.
Licence to Kill - Wikipedia
Sanchez has a lot of menace to him that had been missing from many Bond villains before him. Look at the scene where Lieter is fed to the shark, Sanchez looks menacing enough to kill Lieter, but he is evil enough just to maim him and leave him for dead. Sanchez's loyalty issue lead to the self-destructive paranoia that leads him to do Bond's bidding by killing off most of his own inner-circle.
By doing that, Sanchez sets himself up for the trap that leads to the destruction of not only his empire, but also the end of his life. It's a great twist of irony in the end that Sanchez is killed by the very man who caught him in the teaser and whom he trusted. Robert Davi does incredibly well in the part and is very believable and at times one has to wonder whether or not he really is the character he plays. As for the supporting cast, top notch to say the least.
Talisa Soto does well in the part of Lupe, though it is hard to feel for her character due to her limited time on screen. But despite the limited time on screen, Soto shines in every one of her scenes and she just isn't another Bond girl. The viewer actually feels for her. David Hedison makes a fantastic return as Felix Lieter. Despite being much older than the last time we saw him, Felix is still in good shape and doesn't come across as old when firing a M rifle at the bad guys in the teaser.
When the shark maims him, we're shocked at it and even more shocked when bond finds his bloody and barely alive body at his house. Mostly the goons of Sanchez make up the rest of the supporting cast, led by a young and very impressive Benicio Del Toro, whose talents have improved ten fold since this film came out over fifteen years ago. The characters of Truman-Lodge, Heller, and Krest are great characters, though they are a bit underused in the film. At least Krest gets a good death sequence, in one of the most original deaths of the series.
The character of Joe Butcher is a fun character and well played by Wayne Newton, though a little out of place in this Bond film.
The role of Q is increased big time for Desmond Llewelyn as he gets the largest Q part in the series and shines in the process. Robert Brown returns as M for the film time and finally manages to step out of Bernard Lee's shadow for the scene at the Hemingway house in Key West. Caroline Bliss returns also for the second and final time as Moneypenny and, as in "The Living Daylights", doesn't spend enough time on screen to make an impression. The film's action sequences are among the best in the series.
The film's opening teaser sequence while not as good as the one in "The Living Daylights", is inspired and finds Bond, for the first time, not on a mission for MI6. The final action sequence in the film, the truck chase, is great.
The stunts are unbelievably original and seeing an eighteen-wheeler truck doing a side wheelie is among the most amazing stunts seen on film.
The various fights in the film are also good, especially the bar fight and the fight on the back of the runaway truck between Bond and Sanchez. The film has less action then "The Living Daylights", but manages to surpass those action sequences and the plot never suffers. The film's plot is among the most original in the series. The sub-plots of the Japanese drug lords and the Stinger missiles help to complicate the film. In many respects, the film's plot may well be what Fleming himself might have been writing about had he been writing adventures in the late 's.
If there is a bad thing about this film, it's the score and songs. Unfortunately, Kamen produced one of the worst Bond film scores. Like Monty Norman in "Dr.
No", he makes way too much use of The James Bond Theme in the score. In many ways, the score doesn't have a central theme to it and instead uses orchestral hit and fast notes, much in the way that David Arnold does the current scores. The film's songs are, for the most part, a letdown. The main title song, performed by Gladys Knight is instantly forgettable, as are the "Wedding Party" and "Dirty Love" songs.
The only good song to come out of the film is "If You Asked Me To" and is a pretty good song, though it does kind of feel out of place in a Bond film. Despite a terrible score, "Licence To Kill" is a great Bond film. With the best Bond performance of the series to date, a great villain, a good supporting cast though some of them are out of placegood action sequences, and a good plot, "Licence To Kill" is a classic film that ranks in the top five best Bond films.
Rating "Licence To Kill" by Overkill If ever a Bond film showed up the differences between a hardcore fan's impression of what makes a Bond movie, and the casual fan, "Licence To Kill" is it. A gritty, hard-bitten thriller, with Bond operating against the wishes of his superiors, avenging the attempted murder of his friend Felix Leiter, and the actual murder of Felix's new bride.
Much has been made of the public's indifference to Dalton as Bond, with "Licence To Kill" often cited as evidence for the case against him. In fairness it's easily Dalton's best performance of his two and "Licence To Kill" stands as one of the best of the series. The decision to take the harder-edged root was a brave one. But the public weren't prepared for how far down that road they were ready to go.
Bond kills in cold blood! Bond throws a man into a cocaine grinder! Another is set alight covered in petrol! There's very little humour in "Licence To Kill", and if it hadn't been for Q's greatest ever appearance, there may have been none at all. Dalton is given a few one liners that he chucks away in disgust, but gets to deliver a fantastic one: More of a problem eliminator". What this line demonstrates, and what many critics picked up on, was this decision to send Bond into "Rambo" territory.
This isn't strictly fair. Bond has always played hard and fast with the prevailing mood of Hollywood. Bond had to at least try and claim back his crown. In that respect "Licence To Kill" ultimately fails. It doesn't have Die Hard's tension, Lethal Weapon's humour or chemistry, or the big daft stupid fun of Rambo or Commando. What it does have, however, is a good plot, fine acting and John Glen's best direction since he took on the mantle of helmer four films previously.
The cast is good, without being spectacular. David Hedison's return as Felix is welcome, providing some rare continuity in the series, but he is clearly too old to be marrying Della, and old enough to be Bond's dad rather than his best only? She's built up as yet another Bond equal, but interestingly she actually proves her worth, saving Bond's life on several occasions.
Less impressive in the Bond Girl stakes is Taliso Soto. She is a typical gangster's mole character and it's a badly written role, so she could be forgiven for not giving her all, but Ms Soto seems to be lacking somewhat in the acting department. Shame, as she's very pretty. Her gangster lover, and Bond's nemesis this time, is Sanchez, a vicious drug dealer wonderfully played by character actor Robert Davi.
Davi often plays villains, but here re creates one of the more memorable Bond villains of recent times. A truly odious character, his chemistry with Dalton is fantastic. Good thing too, since the whole film rests on their relationship, and Bond's ability to convince him he is loyal, while simultaneously destroying his empire from within.
Smaller roles are filled by Anthony Zerbe another perennial bad guyWayne Newton! While he doesn't convince of the great things that were to follow, Del Toro does well with the minimal screen time he has. In the action stakes "Licence To Kill" certainly doesn't skimp, but it's not up to the usual big budget standard. In its defence it does have a fabulous tanker truck chase climax. A wonderful sequence that ranks right up there with the best Bond moments, it shows you Bond as hero and victim.
Battered and bloodied come the end, it's very exciting and refreshing. It was probably wise. He would have been 50 by the time of Goldeneye. But he left a legacy of two great thrillers that showed that EON could make Fleming-esque thrillers if they wanted to, whilst still delivering high action for the popcorn punters.
In the follow-up movie, "Licence To Kill"also starring Dalton, James Bond is no longer the happy-go-lucky ageing fop of the Moore era - he is now young, driven and angry - and the result is a surprisingly serious action thriller. A simple story of revenge, the basic plot offers nothing new, but this sort of thing is relatively new for Bond. EON dabbled with the idea of Bond out to avenge the death of his wife in "Diamonds Are Forever", but quickly slipped back into the old formula.
However, in the late eighties with movies like Lethal Weapon around, the producers obviously felt that it was time to "dirty" Bond up a little. The result is a brave attempt to marry ingredients of the old Bond formula with harder, grittier, more violent components and the result is a little rough in places but comes over as a movie that takes itself more seriously than previous outings and presents us with Bond's darker side.
This darkness varies from the savagely furious Bond that discovers his maimed best friend and dead wife - to the cold and definitely sinister man that breaks into Lupe's stateroom and holds a knife to her throat. From this it becomes obvious that the Bond in "Licence To Kill" is one we've never seen before. Far from the softly humoured Roger Moore Bond, we now have a man you just would not want to pick a fight with. Despite its simple premise, there is a lot of story in this movie and even the pre-credit action sequence advances the main story.
It is rare that it ever does, and this time it really is an integral part of the plot. As the movie unfolds, however, quite a few glaring plot-holes emerge, such as the fact that Sanchez saw Bond helping Leiter in the pre-titles sequence, so why did he not recognise him later? It's niggles like this that mar what is otherwise a well plotted and entertaining movie.
We soon meet the movie's baddie, drug-baron Franz Sanchez played by Robert Davi, whose pockmarked face adds a nice touch of realism who is easily the most three-dimensional villain in the series.
A ruthless, but softly spoken man, Sanchez combines an urbane manner with a definite heart of calculating steel. Carey Lowell delivers one of the series better leading ladies in Pam Bouvier - a no-nonsense CIA operative who actually convinces Bond that he's out of his depth. She's feisty, but still loses none of her femininity, and this is a good foil for Lupe, who, as Sanchez's girlfriend, is a lot more vulnerable.
David Hedison's Felix Leiter is a very good ally, and the character of Leiter and his friendship with Bond comes over a lot better than in any previous movies. The travelogue element has been toned down in this movie and the action takes place on the Florida Keys and Panama thinly disguised as the fictitious Isthmus. I found this to be to my taste because very often the vast array of exotic locations has intruded in on the past Bond movies almost to the point of spoiling them, and this tighter crucible certainly contributes to a better-paced drama.
There is a slight seasoning of humour here and there, but only enough to relieve a little tension now and again. The inclusion of Q and his famous gadgets served to appease die-hards from the Moore era, although I would have preferred to see Bond use his own resources to make an assassination attempt on Sanchez, rather than have all the tools he needed in one bag, conveniently supplied by Q.
Like with previous Bonds, this movie features the "Fallacy of the Talking Killer" several times in which the villain has Bond clearly in his power, and then, instead of killing him instantly, makes the mistake of talking just long enough for Bond plan an escape.
The fallacy saves Bond's life two or three times in "Licence To Kill" - especially once when all that Sanchez has to do is decapitate him with a machete. This scene, however, is the climax of a superb extended chase sequence that is easily the most gripping in the canon. This one involves some truly amazing stunt work, as three giant gasoline trucks speed down a twisting mountain road, while a helicopter and a light aircraft also join in the chase.
The stunts all look convincing, and the effect of the closing sequence is exhilarating. We have a beaten and bloody Bond facing a gasoline-saturated Sanchez who makes the fatal mistake of needing to know why Bond has been persecuting him.
Seeing Sanchez going up in flames due to a "genuine Felix Leiter" is easily one of the best villain deaths in the series in that it dishes out poetic justice in spades. The credit sequence is once again stunning in spite of the instantly forgettable song by Gladys Knight. Michael Kamen's score is not up to the usual John Barry contribution, but it gets the job done. John Glen's direction shows nothing new, but like Kamen's music, it is not intrusive and ambles home quite nicely.
At the end of a tightly paced thriller, we get a very contrived happy ending tacked on complete with winking fish, just to say it's all make-believe really as we toddle up the wooden hill to bed. This wasn't as glaringly opposed as the ending of For Your Eyes Only, but it just didn't work at all in the context of this movie.
We have a cheerful Leiter bouncing back after having been mutilated by sharks and being told that his new bride has been raped and killed by Sanchez's thugs. Then we learn that M has forgiven Bond for no apparent reason, despite Bond's renegade activities screwing up a long-planned narcotics bust.
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Added to this, Bond finally gets the girl and they both presumably live happily ever after. As such, this is just not the sort of ending this film was crying out for. A shame, really because, on balance, "Licence To Kill" is a pretty good movie. We're not a country club, ! Effective immediately, your licence to kill is revoked Having established himself as a no-nonsense type of Bond that recalled the glory days of the first 5 Connery movies and leaned on Ian Fleming's notion of Bond, Dalton's followup to his debut The Living Daylights features a far less complex but still compelling plot of revenge that was ignorantly and foolishly ignored in the aftermath of "On Her Majesty's Secret Service".
As a result, Bond fans are treated to Bond's dark side full blast The pre-title sequence starts off quite innocently, with a nervous Felix Leiter on his way to his wedding with a relaxed and vacationing best man Bond and Leiter's pal Sharkey along for the ride. What follows is a thrill ride with a tux clad Bond catching a bullet in his top hat and deciding that he's not the observer type Felix envisions, directing the capture of the lead villain, and parachuting with Felix thousands of feet down to Leiter's waiting bride-to-be in what was a unique and satisfying beginning.
After the maiming of Felix and the death of his bride Della Churchill at the hands of the now free Franz Sanchez, meant more as a warning to the DEA rather than MI6, Bond becomes a rogue agent when neither organization is willing to take immediate or any action. They are right to do this, of course, but Bond doesn't see it that way. What follows is one of the finest portrayals of the character in the entire series, as Dalton becomes a killing machine bent on destroying Sanchez and anyone in his organization who might hinder him in his efforts.
Along the way he still finds time to let us know he is the Bond we know, surrounded by exotic Caribbean and Mexican locales, a fine hotel with a casino, a bevy of beauties, and later some gadgets courtesy of a "rogue" Q.
The collection of villains here are the strongest to date in the series, all unique from the other and intertwined in a logical manner. Robert Davi plays Sanchez to the hilt, hiding beneath the assumed veneer of a classy type of "businessman" to mask his real identity, a ruthless and evil man who killed his way to the top of his profession.
Security chief Heller is smug and sure of his abilities due to his intelligence background, the arrogant financial genius Truman Lodge is believable, veteran Anthony Zerbe scores well as Sanchez' greedy, drug smuggling American connection Milton Krest, and future Oscar winner Benicio DelToro is completely and believably over the top as Sanchez' homicidally sick and irredeemably evil enforcer, Dario.
Not only are the performances strong, but the ways each are dispatched in turn are thoroughly entertaining. First of all, out of the many characters of color that appear in this film, only a few of them have speaking roles and only maybe two or three of them are recurring characters.
Sharkey, a friend of Bond who had a similar role and personality to Quarrel from Dr. Kwang commits suicide by cyanide pill moments later after Sanchez and his men reach him and attempt to interrogate him. Why are they being killed off? James Bond is a franchise where characters of all ethnicities and genders die.
Bond is the only character guaranteed to make it to the end of the film and in some of the darker Bond offerings you question even that. I have only the smallest of issues with character death. I go hard for minor marginalized characters.
Lupe winds up badly beaten by Sanchez in the pre-credits scene and the camera zooms in to capture the fear and shame on her face in a way that is very jarring to witness.
Sadly, Della Leiter gets an even worse angle in the film. After her husband and Bond go after Sanchez and arrest him in the pre-credits scene, she thinks that everything is going to be fine.
This scene in particular was very hard to watch. One of my biggest triggers, one of the things that I try very hard not to come into contact with in the media I consume, is sexual assault. I was dealing with it. Della is only in the film and alive for a half-hour and yet her death hit me hard. It might actually be my biggest issue in the Bond series, how women are frequently killed or hurt so that Bond can get his butt in gear and leap into action.
His wife had to be assaulted and killed on top of that. Like why was that even a thing? It was unnecessary, overkill to a fault. I wonder if it has anything to do with how the only thing that consistently works to motivate male action heroes is the death of a woman… What sucks about Licence To Kill is that when it comes right down to it, the female characters are actually interesting.
They were the best part of the film, but I just hated ninety percent of their treatment by Bond and other men in the film.
From the second that Della Leiter shows up on screen, you like her. Even with dialogue that seems vaguely wonky, I still really liked her as a character. The bride always gets to kiss her best man.
I thought it was the other way around.