VHS Revival reveals the story behind the Bond movie that never was.
When Dalton was finally announced as the fifth James Bond (if you count David Niven’s camp entry in the original Casino Royale), fans were more than a little dubious about the Welshman’s credentials for the role, but this was 007, and historically that has always been the case.
Back in the early 1970s, people were dubious about Moore taking over from Connery, and many continued to be critical throughout his tenure, pining for the portrayal of Bond they had grown so hopelessly accustomed to. When those people finally got their wish after seeing an ageing Moore put out to pasture, there was more grumbling from those who had been weaned on a diet of suave innuendo. I suppose it speaks to the preciousness of the character, and the loyalty those portrayals seem to inspire in the minds of generations.
Pierce Brosnan was probably the only Bond who fans fully welcomed as a replacement. Following the comic overtones of Moore and the series’ descent into ironic self-mockery, fans were left pining for something a little more cold-blooded, but Dalton was too much too soon, and fans and critics were only too quick to judge. Not only was this new Bond ruthless and lacking any kind of sexual spark, he was almost humourless compared to the slick caricature that preceded him. As legendary critic Roger Ebert wrote upon the release of Dalton’s 1987 debut The Living Daylights, ‘He’s a strong actor, he holds the screen well, he’s good in the serious scenes, but he never quite seems to understand that it’s all a joke.’
That’s all well and good, but times were changing, and it was Dalton who was given the daunting task of convincing others of that fact. For one thing, the 80s saw the rise of the AIDS epidemic, and after the free love of the swinging 60s and 70s, people were once again looking at sex as not only a taboo subject, but a dangerous, potentially life-threatening one. Those calling the shots would have been more than aware of this fact. Fans may have been used to a a misogynistic ladies man, but how would that have translated to such a shocked sexual climate? My guess is not very well.
But asides from those more serious issues, the movie industry as a whole was evolving, particularity the action genre. For years, Bond had been every full-bloodied male’s escapist paradise, but it was no longer the only action vehicle with a big budget and glamorous locations. The genre as a whole had turned high-tech, and Dalton’s second outing, Licence to Kill, is a monument to that evolution. Due to natural transition, The Living Daylights still carried echoes of the Moore formula, but its ultra-violent successor was very much a modern action picture, and was bold enough to convince Ebert that Dalton was a very worthy Bond indeed.
In his review for what would prove to be Dalton’s final outing, the critic wrote, ‘He makes an effective Bond – lacking Sean Connery’s grace and humor, and Roger Moore’s suave self-mockery, but with a lean tension and a toughness that is possibly more contemporary.’
Still, longtime fans of the franchise were struggling to swallow a formula that actually laid the foundations for 21st century Bond. It had been a long road for an actor who was initially offered the role all the way back in 1968. At that time in his career, Dalton had refused based on the grounds that he was too young and daunted by the prospect of taking over from Connery, an actor who he described as ‘far too good and wonderful’, and by the time he finally slipped into the Bond facade, eventual successor Brosnan had been offered the role, but an impeachable contract tying him to the recently revived Remington Steele forced him to back out at the last minute.
Ironically, Dalton would later turn down the lead in Brosnan’s well-received debut Goldeneye. In an interview with The Week, Dalton said of the opportunity, ‘[Broccoli] asked if I would come back, and I said, ‘Well, I’ve actually changed my mind a little bit. I think that I’d love to do one…And he said, quite rightly, ‘Look, Tim. You can’t do one. There’s no way, after a five-year gap between movies that you can come back and just do one. You’d have to plan on four or five.’ And I thought, ‘Oh, no, that would be the rest of my life. Too much. Too long.’ So I respectfully declined.”
Probably a wise choice considering how the Brosnan tenure fared post-Goldeneye.
Still, a third outing featuring Dalton seems like a wonderful prospect in hindsight, and it very nearly happened, and perhaps would have if it were not for various MGM/UA legal wrangles that halted pre-production, a protracted battle that led Dalton to finally quit one of Hollywood’s most prestigious roles in the spring of 1994. In fact, ‘Bond 17’ was already in pretty advanced stages back in 1989/90, and, while continuing the character’s evolution into hard-boiled, realistic territory, promised to be a much more ambitious, sci-fi laden affair.
By May, 1990, Michael G. Wilson and Alfonse Ruggiero had completed an outline treatment that contained a detailed story, descriptions of locations, key characters and major concepts―all of those ingredients that are essential to making a Bond movie special. Set to be released in the same year that James Cameron brought Judgement Day to our screens, a ‘Bond 17’ treatment preface promised ‘robotic devices’ that were ‘complex and exotic machines designed for specific tasks’, devices that would be created ‘especially for the film for maximum dramatic and visual impact’. There was even a detailed opening sequence involving a malfunctioning robotics device at a chemical weapons factory in Scotland, one that resulted in a deadly explosion and a full investigation by the British Prime Minister. There may even have been a John Major lookalike to rival the ludicrously camp appearance of Margaret Thatcher during the closing sequence of For Your Eyes Only. One can only imagine!
From there, the movie would venture from Hong Kong, to Japan, to mainland China after a typical briefing from MI6’s HQ. According to the treatment, Bond’s nemesis would be ‘a brilliant and handsome thirty-year-old British-Chinese entrepreneur’, a new-age tech geek with a loose screw and a penchant for nuclear ‘accidents’, in this case a robotics device going doolally at a Chinese atomic plant in Nanking. Below is an excerpt from the potential movie’s screen treatment:
Bond removes his parachute harness and turns to find the decidedly unpleasant barrel of a pistol thrust against his temple. Mi Wai tells him to keep his hands in sight as she speaks rapidly into a small handheld radio. In a few moments Bond hears the distinctive beat of a helicopter… Mi Wai prods Bond forward… he sees the insignia of the Chinese Red Army on the side of the helicopter.
With the destruction of the Berlin Wall and the Cold War finally at an end, the series would turn to the sovereignty of Hong Kong, which would finally be passed from Britain to China in 1997, an event many consider to be the end of the British Empire. Hardly the moral crusade it would have been promoted as on Bond’s part, but cinema has always been inherently fascist; that’s the nature of the beast.
The movie’s plot would see Sir Henry demanding that Britain withdraw their claim under threat of cyber retaliation, with a dastardly plot to unleash a computer virus that would disable every military and commercial unit in the world. Sticking with Licence to Kill‘s explicit formula, the planned final confrontation would see Bond turn a welding torch on Sir Henry’s face, an idea that would have pushed the boundaries of violence even further.
So, how would such a concept have fared back in 1991? It’s very difficult to say. On the one hand, Dalton had established himself as a Bond of a very different breed following his rogue turn in the ruthless Licence to Kill, and a third movie may have seen him fully own the role, with a maturing audience that was finally willing to accept him as the rightful successor. Of course, things are never so black-and-white. In hindsight, it is easy to view Dalton as the man who deserved a fairer crack at the proverbial whip, but less is so often more, and a badly executed movie is enough to turn the lights out on any 007 (just ask Pierce Brosnan).
On the downside, the 90s saw a rapid increase in computer technology, and a turn-of-the-decade outing with a heavy emphasis on that technology may have dated just as quickly, leading ‘Bond 17’ to turn very kitsch very fast, and what would fans be saying about Dalton’s hard-hitting Bond tenure then? Similarly, the movie’s political stance may have proven unpopular and antiquated in subsequent years. After all, protecting an Empire can hardly be considered humanitarian, however reasonable the justifications.
One thing I think we can all agree on is the fascination surrounding the prospect of more Dalton. This was a man who took on the responsibility of evolving the Bond formula in the face of an ardent fan base whose stance was largely unyielding, and he did a mighty fine job of it too, dragging us kicking and screaming towards the 21st century. Without the possible stumbling block of a third entry, Dalton will go down in folklore as the perennial underdog, an unflinching overachiever who was never given a fair rub of the green, and who still managed to do more for the development of the Bond character than perhaps any other actor.
And at the end of the day, who can ask for more than that?
Cedric Smarts: Editor-in-Chief and Art Director
Science fiction author, horror enthusiast, scourge of plutocracy, shortlisted for the H. G. Wells Award, creator of vhsrevival.com
Likes: 80s poster art, Vangelis, classical liberalism, dystopian allegories, dissident political activism, Noam Chomsky, George Orwell, George Saunders, John Updike, Kurt Vonnegut