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Directed by | |||
| John Glen | |||
Writing credits(WGA) | ||
| Michael G. Wilson | (written by) and | |
| Richard Maibaum | (written by) | |
| Ian Fleming | (characters) | |
Produced by | |||
| Albert R. Broccoli | .... | producer | |
| Barbara Broccoli | .... | associate producer | |
| Tom Pevsner | .... | associate producer | |
| Michael G. Wilson | .... | producer | |
Original Music by | |||
| Michael Kamen | |||
Cinematography by | |||
| Alec Mills | (director of photography) | ||
Film Editing by | |||
| John Grover | |||
Casting by | |||
| Janet Hirshenson | |||
| Jane Jenkins | |||
Production Design by | |||
| Peter Lamont | |||
Art Direction by | |||
| Dennis Bosher | |||
| Michael Lamont | |||
Set Decoration by | |||
| Michael Ford | |||
Costume Design by | |||
| Jodie Lynn Tillen | (as Jodie Tillen) | ||
Makeup Department | |||
| Tricia Cameron | .... | hair styles supervisor | |
| Naomi Donne | .... | makeup supervisor | |
| George Frost | .... | makeup supervisor | |
| Dinah Holt | .... | hair stylist: second unit (as Di Holt) | |
| Dinah Holt | .... | makeup artist: second unit (as Di Holt) | |
| Norma Webb | .... | makeup artist | |
Production Management | |||
| Efren Flores | .... | production manager | |
| Philip Kohler | .... | production manager | |
| Ned Kopp | .... | production supervisor: Florida | |
| Héctor López | .... | production supervisor: Mexico (as Hector Lopez) | |
| Crispin Reece | .... | production manager: Mexico | |
| Iris Rose | .... | unit manager | |
| Anthony Waye | .... | production supervisor | |
Art Department | |||
| Andrew Ackland-Snow | .... | assistant art director | |
| Gilly Noyes Court | .... | scenic artist (as Gilly Noyes-Court) | |
| Ken Court | .... | art director: Florida | |
| Roger W. Deer | .... | sketch artist (as Roger Deer) | |
| Tony Graysmark | .... | construction manager | |
| Bernie Hearn | .... | stand-by propman (as Bernard Hearn) | |
| Bert Hearn | .... | property master | |
| Richard Helfritz | .... | set decorator: Florida | |
| Richard Holland | .... | assistant art director | |
| Neil Lamont | .... | assistant art director | |
| Daniel Miller | .... | sculptor | |
| Rodney Pincott | .... | stand-by propman: second unit | |
| Ron Quelch | .... | production buyer | |
| Héctor Romero | .... | assistant art director (as Hector Romero) | |
| Bob Walker | .... | graphics (as Robert Walker) | |
| Frederic C. Weiler | .... | set decorator: Florida (as Fredrick Weiler) | |
| Alejandro Ayala | .... | art assistant (uncredited) | |
| William A. Cimino | .... | set dresser (uncredited) | |
| Stephen P. Durante | .... | leadman (uncredited) | |
| Teri Anne Kopp | .... | art department assistant: US (uncredited) | |
Sound Department | |||
| Mark Auguste | .... | sound editor | |
| Graham V. Hartstone | .... | sound re-recording mixer (as Graham Hartstone) | |
| John Hayward | .... | sound re-recording mixer | |
| Jean-Pierre Lelong | .... | additional sound effects | |
| Vernon Messenger | .... | sound editor | |
| Peter Musgrave | .... | sound editor | |
| Edward Tise | .... | sound recordist | |
| Martin Trevis | .... | boom operator | |
| Ross Adams | .... | assistant sound editor (uncredited) | |
| Sandy Buchanan | .... | post-production sound assistant (uncredited) | |
| Nicolas Le Messurier | .... | sound re-recording mixer (uncredited) | |
| Mark Mostyn | .... | assistant sound editor (uncredited) | |
Visual Effects by | |||
| John Richardson | .... | special visual effects | |
| Craig Chandler | .... | optical camera (uncredited) | |
| Alan Church | .... | optical camera operator (uncredited) | |
| Julian Parry | .... | model unit (uncredited) | |
Stunts | |||
| Gerardo Albarrán | .... | stunt supervisor (as Gerardo Moreno) | |
| Alex Arnold | .... | stunt diver | |
| Mark Bahr | .... | stunts | |
| Gilbert Bataille | .... | stunt driving team | |
| Marc Boyle | .... | stunt supervisor | |
| Jake Brake | .... | stunt double | |
| Didier Brule | .... | stunt driving team | |
| Julian Bucio | .... | stunts | |
| Jorge Cardenas | .... | stunt diver | |
| Juan Dario Corona | .... | stunt diver | |
| Jo Cote | .... | stunt driving team | |
| Simon Crane | .... | stunt double: Timothy Dalton | |
| Manuel Cárdenas | .... | stunt diver (as Manuel Cardenas) | |
| Steve Dent | .... | stunts | |
| Alex Edlin | .... | stunts | |
| J.W. 'Corkey' Fornof | .... | aerial stunt supervisor (as 'Corkey' Fornof) | |
| Jean-Claude Houbart | .... | stunt driving team | |
| Dominique Julienne | .... | stunt driving team | |
| Rémy Julienne | .... | driving stunts arranger (as Remy Julienne) | |
| Javier Lambert | .... | stunts | |
| Jake Lombard | .... | aerial stunt double: Timothy Dalton | |
| Emilio Magaña | .... | stunt diver | |
| Artie Malesci | .... | stunt supervisor (as Art Malesci) | |
| Mauricio Martínez | .... | stunts | |
| David Reinhardt | .... | barefoot ski double: Timothy Dalton | |
| Paul Weston | .... | stunt coordinator | |
| B.J. Worth | .... | parachute stunt coordinator | |
| Tom Bahr | .... | utility stunts (uncredited) | |
| Chick Bernhardt | .... | stunt driver (uncredited) | |
| Marc Boyle | .... | stunts (uncredited) | |
| Mickey Giacomazzi | .... | stunts (uncredited) | |
| Terry Jackson | .... | stunts (uncredited) | |
| Carey Loftin | .... | stunt driver (uncredited) | |
| Jake Lombard | .... | stunt rigger (uncredited) | |
| Jake Lombard | .... | stunts (uncredited) | |
| Lars Lundgren | .... | stunts (uncredited) | |
| Valentino Musetti | .... | stunts (uncredited) | |
| Rafael Valdez | .... | stunts (uncredited) | |
| Nick Wilkinson | .... | utility stunts (uncredited) | |
| Curtis Williams | .... | stunt diver (uncredited) | |
| B.J. Worth | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Kenneth Atherfold | .... | camera grip: second unit (as Ken Atherfold) | |
| Ramón Bravo | .... | underwater photographer (as Ramon Bravo) | |
| Donald Bryant | .... | second camera operator: Mexico | |
| Frank Elliott | .... | camera focus | |
| John Elton | .... | second camera operator: Florida | |
| Mike Evans | .... | camera focus: second unit (as Michael Evans) | |
| Pepe Flores | .... | underwater assistant camera | |
| Mike Frift | .... | camera operator (as Michael Frift) | |
| Keith Hamshere | .... | still photographer | |
| W.C. 'Chunky' Huse | .... | camera grip (as Chunky Huse) | |
| Edward Knott III | .... | key grip: Florida (as Eddie Knott III) | |
| Malcolm MacIntosh | .... | camera operator: second unit | |
| Phil Pastuhov | .... | camera operator: aerial team | |
| Tim Ross | .... | second camera operator: Mexico | |
| John Tythe | .... | electrical supervisor | |
| George Whitear | .... | still photographer: second unit | |
| Arthur Wooster | .... | photographer: second unit | |
| Norman Zuckerman | .... | electrical supervisor: Florida | |
| Lou Angeli | .... | camera operator: video (uncredited) | |
| Andrew Cooper | .... | photographer: underwater unit (uncredited) | |
| Jack Gittings | .... | underwater lighting: second unit (uncredited) | |
| Erik Hollander | .... | additional still photographer (uncredited) | |
| Simon Mills | .... | clapper loader (uncredited) | |
| Gary Ryan | .... | best boy rigging gaffer (uncredited) | |
Casting Department | |||
| Claudia Becker | .... | casting: Mexico | |
| Emilia Arau | .... | assistant to casting director (uncredited) | |
Costume and Wardrobe Department | |||
| Robert Chase | .... | costume supervisor: Florida | |
| Hugo Peña | .... | costume supervisor (as Hugo Pena) | |
| Barbara Scott | .... | costume supervisor | |
| Enrique Villavicencio | .... | wardrobe master: Mexicali | |
Editorial Department | |||
| Ross Adams | .... | assistant editor | |
| Richard Fettes | .... | assistant editor | |
| Matthew Glen | .... | assembly editor | |
| Rob Green | .... | assistant editor | |
| Mark Mostyn | .... | assistant editor | |
| John Nuth | .... | assistant editor | |
| Carlos Puente | .... | editor: Mexico | |
| Wayne Smith | .... | assistant editor | |
Music Department | |||
| Andrew Glen | .... | music editor | |
| Michael Kamen | .... | conductor | |
| Dick Lewzey | .... | music mixer | |
| Stephen McLaughlin | .... | music programmer | |
| Monty Norman | .... | composer: James Bond theme | |
| Joel Sill | .... | music consultant | |
| Vic Flick | .... | musician: guitar (uncredited) | |
Transportation Department | |||
| Arthur Dunne | .... | transportation manager | |
| Joyce M. Lark | .... | transportation coordinator: Florida (as Joyce Lark) | |
| Mauro Venegas | .... | transportation captain: Mexico | |
| Manuel Paredes Murillo | .... | driver (uncredited) | |
| Alfonso Paredes | .... | driver (uncredited) | |
Other crew | |||
| Laura Aguilar | .... | location manager: Mexico | |
| R. Allen | .... | helicopter pilot: US Coast Guard (as L.cdr. R. Allen) | |
| Gerardo Barrera | .... | production assistant | |
| Harris Bierman | .... | armorer | |
| Maurice Binder | .... | title designer | |
| Ramón Bravo | .... | director: underwater scenes (as Ramon Bravo) | |
| Albert R. Broccoli | .... | presenter | |
| Tony Broccoli | .... | location manager: underwater team | |
| Linda Brown | .... | contact: Los Angeles | |
| Kenny Calman | .... | helicopter pilot (as Ken Calman) | |
| Saul Cooper | .... | director of publicity | |
| Loolee DeLeon | .... | production coordinator (as Loolee Deleon) | |
| Jacques Descent | .... | location accountant: Florida (as Jack Descent) | |
| Tony Didio Jr. | .... | armorer (as Tony Didio) | |
| Sue Field | .... | continuity: second unit | |
| Ileana Franco U. | .... | production secretary | |
| Sheila Goldfinger | .... | jeweler | |
| Monica Greene | .... | production assistant | |
| Sparky Greene | .... | special consultant to producers | |
| Rosa María Gómez | .... | accountant (as Rosa Maria Gomez) | |
| R. Colette Hailey | .... | location manager: Florida (as Colette Hailey) | |
| Georgina Heath | .... | production coordinator: Mexicali | |
| Lorentz Hills | .... | marine coordinator: Florida | |
| Neil Hughes | .... | helicopter pilot: US Coast Guard (as Lt. Neil Hughes) | |
| Charles Juroe | .... | marketing director | |
| Nicole Kolin | .... | location manager: underwater team | |
| Patricia Serafina Madiedo | .... | production coordinator: Florida (as Patricia Madiedo) | |
| John McElwain | .... | technical advisor: US Coast Guard (as Comdr. John McElwain) | |
| Randy Meade | .... | helicopter pilot: US Coast Guard (as L.cdr. Randy Meade) | |
| Jane Meagher | .... | accountant | |
| Andrew Noakes | .... | assistant accountant | |
| Douglas Noakes | .... | production accountant | |
| Jillian Palenthorpe | .... | special consultant to producers | |
| Marcia Perskie | .... | production assistant | |
| June Randall | .... | continuity | |
| Carlos Renero | .... | animal supplier | |
| Amanda Schofield | .... | contact: London | |
| Rita Sheese | .... | underwater coordinator | |
| Tom Bahr | .... | marine coordinator (uncredited) | |
| Hector De Rubi | .... | stand-in: Timothy Dalton (uncredited) | |
| Ann Dunsford | .... | publicity coordinator (uncredited) | |
| J.W. 'Corkey' Fornof | .... | pilot: Piper PA-18 Super Cub (uncredited) | |
| Pauline Hume | .... | graphic artist: titles (uncredited) | |
| Mark Juckett | .... | pilot: Cessna 185 (uncredited) | |
| Harry Kopoian | .... | airport liaison: Mexico (uncredited) | |
| Andreas Leon | .... | utility stand-in (uncredited) | |
| Maria Alaina Mason | .... | production assistant: Key West (uncredited) | |
| John Patteson | .... | armorer: second unit (uncredited) | |
| Laura Ruiz | .... | stand-in: Talisa Soto (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb UK section |
Licence To Kill is one of the most underrated Bond movies since On Her Majesty's Secret Service. Slipping easily back into 007's shoes with style after his previous role as Bond, Timothy Dalton embodies the character. With a break away from the comic-book villains and fantastical locations, the filmmakers decide to focus instead on a very adult and contemporary story about drug smuggling and revenge. Michael G. Wilson and Richard Maibaum's story is engaging and exciting, with a steadfast confidence in their leading man. This is a Bond movie that took risks -- it was the first 15-rated Bond film in the UK -- and surely deserves kudos for doing so. Make no mistake; this is not a family Bond picture. Its themes require a more mature perspective than its predecessors, and the violence is certainly stronger than anything that had come before. Unfortunately, these factors seem to be what critics of Licence To Kill call 'faults'. But why is change so bad, I ask? Casino Royale is getting major appreciation from critics for its grittiness and its darker edge. So why not Licence To Kill? After all, this is the movie that started the current trend, with Dalton's mature portrayal of Bond paving the way for Pierce Brosnan and, without doubt, Daniel Craig. It always amazes me that people do not give Dalton more respect for what he did with the character. This guy started the ball rolling. And boy did he give it a hard push.
The characters in Licence To Kill are one of it's major plus points. James Bond is the most human we have seen him in 20 years, as Dalton brings a real sense emotional depth to the character; a tortured man full of hurt and pain and vengeance, his determined and stony face almost cracking with the burning hatred that is barely contained inside of him. We also get a strong female lead with Carey Lowell, whose portrayal of Pam Bouvier is at once intelligent, sexy, and funny. On the flip side of the coin, we have a genuinely terrifying villain in the shape of Robert Davi, playing his role deadly straight with not a hint of camp. It's a rare scenario where you feel Bond has met someone of equal competence. The Sanchez character is a frightening presence, and an early role from Benicio Del Toro is just as effective; his chilling grin a fear-inducing sight.
Technically speaking, John Glen's direction is taught and assured, with the pace never really letting up for the 130+ minutes running time, save at the very end of the movie where the spectacular truck chase sequence perhaps drags just a little. The brilliant Michael Kamen also supplies us with an elegant, sensual and brooding score that is a vital player unto itself, complimenting the visuals excellently.
In spite of these pluses, there are some minor quibbles. As I said before, the truck finale is perhaps a bit long, even though the stunt work is amazing, but it does slow the pace a bit. Talisa Soto is indeed beautiful as Sanchez' girlfriend but, bless her, she isn't exactly the most talented actress on the planet. She plays her part well enough, but the role isn't exactly Oscar-worthy, and it's not helped by the fact that the script tends to relegate her to the sidelines. Everett McGill's cigar-chomping Killifer is rather too pantomime for me - he just doesn't stand up to the characters of Sanchez or Anthony Zerbe's Krest but he doesn't stick around long so doesn't get in the way too much.
With a striking leading man in Bond's shoes, Licence To Kill deserves a lot more credit than it gets. This is the film that broke the mould, opening the doors to a more adult, violent Bond world that continued briefly with some of the Brosnan films and certainly with Daniel Craig's portrayal of the character. In Timothy Dalton we have a brilliant actor in the starring role who brought us a more human and believable Bond, yet it is Daniel Craig who is currently getting the credit for these exact traits. Don't get me wrong, his characterisation is superb. But Dalton is the one who started it off, and it is a shame that he only made the two films.
John Glen says that from all of the Bond movies that he directed, Licence To Kill is the one he is most proud of. And rightly so. Not only do we get a more fleshed-out character in Bond than previous outings, we get a more believable and mature storyline, with great characters and competent direction. Definitely one of the most underrated Bond movies, this engaging film is a great piece of entertainment, and one that I hope will gather praise with time. See it.
4 stars.