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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 |
A terrific thriller and a great Bond film, Licence to Kill was Timothy Dalton's second and final performance in the role of 007, and it's his finest hour as the world's most famous secret agent. With a brutality and edge unlike any other Bond film before or since, the darkness of this film turned off many fans; indeed, this is about as far from the likes of Octopussy and Moonraker than is imaginable. A heavy American influence is present; the likes of Lethal Weapon and Die Hard were upstaging the old-fashioned thrills of 007, so director John Glen and writers Michael G. Wilson and Richard Maibaum decided to match their rivals and deliver a grittier, bloodier and more intense storyline. The results are a success, and the film stands out as one of the most exciting, interesting and gripping Bond films of all time.
A memorable pre-credits sequence involves the capture of vicious drug lord Franz Sanchez (Robert Davi); he has left the security of his corrupt home to act out revenge on the lover of his mistress, so the DEA exploit this risk to carry out an audacious arrest. James Bond is along for the ride, as is his old friend Felix Leiter (David Hedison), who was just about to get married before word of Sanchez's whereabouts reached him. Unfortunately, it's not long before one of Sanchez's 'famous million dollar bribes' is doubled and he is helped to escape. Sanchez's first action is to exact horrific revenge on those who captured him; when Bond discovers Leiter's wife murdered and Leiter himself the victim of a shark attack, he swears revenge himself against Sanchez, even if it means acting alone, with his licence to kill revoked and the British government after him. As Sanchez never saw him at the time of his capture, Bond has the freedom to work undercover and into his enemy's world and business, encountering many friends and foes along the way; there's the egregious Milton Krest (Anthony Zerbe) whose underwater transport firm is a cover for Sanchez's drug deals, the sadistic Dario (Benicio del Toro) who used to be part of the Contras before he was kicked out, Sanchez's lover Lupe (Talisa Soto), and CIA agent Pam Bouvier (Carey Lowell), who is the only one of Leiter's contacts in the Sanchez investigation who is still alive, and who works with Bond to successfully provide cover for him when he arrives in the fictional Isthmus City in the hope of climbing Sanchez's criminal ladder.
Usually, when reviewing Bond films, I can't be bothered with delving into the plot as there's barely one to speak of most of the time; it's the usual tale of globe-trotting and world domination. Licence to Kill actually has a tense and involving storyline that keeps the excitement and momentum moving at a cracking pace. Another major factor to the film's success are the performances, especially by Dalton and Davi as two men on opposing sides of the law. Dalton remodels Bond as a determined, often ruthless free agent who, I'm told, is a lot closer to Ian Fleming's original 007 in the novels; here, Bond is tougher, more vicious and clearly quite a dangerous person. Dalton delivers a great performance which combines a dark edge, humour (despite what most people say, Dalton is not humourless: 'Switch the bloody machine off!!!' is one of the most shamefully amusing lines in any Bond film!) and plenty of physicality that's a lot more convincing than any attempts from previous Bond actors. Davi on the other hand, makes for a chilling villain, one of the best in the series. This is no crazy megalomaniac with hollowed out volcanoes or grand airships for lairs; he's a powerful, scary criminal who nevertheless favours loyalty over money, something that gives him an interesting edge over many previous Bond villains. As the film progresses, Bond and Sanchez even become allies, though in Bond's case it's merely to get closer to his nemesis in order exact his revenge. Of course, Sanchez is still a Bond villain at heart; he has two chances to kill Bond on the spot, yet his sadism and desire to indulge in a protracted killing prove to be his downfall. When will these bad guys learn? Supporting performances are almost all excellent, with Lowell (as well as looking stunningly beautiful) proving to be one of Bond's best sidekicks, more than adept at taking on foes by herself, especially in the bar-room brawl sequence. Soto is unfortunately pretty wooden in the other main female role; she certainly looks the part, but her delivery of the dialogue is often stilted. A young Del Toro makes for a deeply unpleasant lackey, while Zerbe is agreeably slimy as Krest. Las Vegas performer Wayne Newton is pretty funny as the televangelist-type whose phoney 'phone donation shows are actually a sneaky cover for Sanchez and his business partners to communicate with each other effectively, while Desmond Llewellyn enjoys his biggest and best screen time as Q, who once again provides Bond with a couple of gadgets that prove to be conveniently very useful indeed.
The action surpasses even that of The Living Daylights, with spectacular aerial sequences, underwater fights and excellent chase sequences providing thrills in abundance. The one-man attack on Krest's boat in particular is a highlight, while the fiery finale is one of the best endings to any Bond film, as oil tankers, missiles, planes and the most lethal cigarette lighter on Earth all combine to deliver a truly exciting final confrontation. This is also by far the most violent and bloody of all the Bond films, though the violence suits the edgier, more brutal tone of the story; in fact, this is one of the only films in the series where there's a real sense of menace and danger to the proceedings, making Licence to Kill the most suspenseful and gripping of the series, and certainly one of the best.