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He Disagreed with Something that Ate Him: Reading The Living Daylights & Licence to Kill
He Disagreed with Something that Ate Him analyses the two James Bond films
starring Timothy Dalton made in 1987 and 1989. Critically overlooked and often seen as a misstep for the series the author argues that both films are a unique contribution to the
series and form an important dialogue with the rest of the franchise.
By placing the films within the context of the Bond series and the works of Ian Fleming, Cary Edwards argues that The Living Daylights and, in particular, Licence to Kill, are a radical attempt to return Bond to his literary origins, while aiming the film franchise towards a more adult
audience.
starring Timothy Dalton made in 1987 and 1989. Critically overlooked and often seen as a misstep for the series the author argues that both films are a unique contribution to the
series and form an important dialogue with the rest of the franchise.
By placing the films within the context of the Bond series and the works of Ian Fleming, Cary Edwards argues that The Living Daylights and, in particular, Licence to Kill, are a radical attempt to return Bond to his literary origins, while aiming the film franchise towards a more adult
audience.
109 pages, Kindle Edition
First published June 22, 2018
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Displaying 1 - 12 of 12 reviews
March 21, 2019
This deeper re-evaluation of Dalton's Bond films is something that has been long overdue. Cary Edwards takes a scholarly approach to examining both The Living Daylights and Licence to Kill contextualizing each film within the framework of their time of release as well as how they fair when compared and contrasted with the other Bond films. For those of us who already love these films, Edwards points to new things to appreciate about them and certainly more to look for upon re-watching. The Dalton Bond films remain underrated entries within some Bond fan communities, but Edwards rightly points to why these two films should be appreciated as arguably the entries that are the most richly literary and connected to Fleming in the cinematic franchise.
June 25, 2019
A quick read at 100-ish pages. I am not any sort of film critic, so there's always a lot of "cool, I never thought of that" from me when I read this kind of thing. Mostly, though, I enjoyed seeing my favourite Bond and his two contributions to the franchise treated with a respect, thoughtfulness and love they don't always receive.
May 1, 2022
An easy-read essay on the two Timothy Dalton James Bond movies, The Living Daylights and Licence to Kill.
These movies are curious. Amongst readers of the Ian Fleming books Dalton ranks highly, but to cinema goers, they are dismissed.
The essay provides details alongside the socio-political-cultural background of the day.
A must read for any Dalton Bond fan. 10/10.
Scoring: 0 bad; 1-3 poor; 4-6 average; 7-9 good; 10 excellent.
These movies are curious. Amongst readers of the Ian Fleming books Dalton ranks highly, but to cinema goers, they are dismissed.
The essay provides details alongside the socio-political-cultural background of the day.
A must read for any Dalton Bond fan. 10/10.
Scoring: 0 bad; 1-3 poor; 4-6 average; 7-9 good; 10 excellent.
September 1, 2024
Timothy Dalton is my favorite James Bond actor, and I’ve long argued that his two Bond films, THE LIVING DAYLIGHTS (1987) and LICENCE TO KILL (1989), are criminally underrated. When I saw this book, which supports that view, I naturally bought it . Perhaps we’re all guilty of succumbing to a little confirmation bias now and then.
Regardless, author Cary Edwards (a film lecturer and avowed Bond fan) presents his argument in a nice, organized fashion. First, he takes us to the late 1980s, explaining the contemporary state of the Bond franchise and how Dalton’s entries departed from it. Then, he covers the influences of the films’ then-new approach, followed by a chapter on how LICENCE TO KILL, specifically, represents a shift away from traditional adventure elements and more towards an “edgier” 1980s action movie approach. Finally, he examines the legacy of the two films. Edwards lays out this path in his introduction and then follows through.
He certainly doesn’t pad his arguments. HE DISAGREED WITH SOMETHING THAT ATE HIM (the title references a line in LICENCE TO KILL…which was in turn taken from Ian Fleming’s LIVE AND LET DIE novel) is pamphlet-sized and runs a mere 107 pages. The margins are also quite wide. I started the book as my wife headed out for her weekly bowling night and finished it about the time she returned, only a few hours later…and that’s with a few breaks to perform short tasks.
That brief reading time is worth noting when considering a purchase. I bought the book myself, although I no longer recall what I paid. Regardless, I have no regrets. Yes, the book mostly “confirmed” my biases - in a sense (Taste is subjective, after all.), and I’ll return to that point in a bit. More importantly, I got to delve deeply into two films that I dearly love. Edwards’ plot summaries alone made me nostalgic, and he provides some new-to-me facts (I didn’t know, for example, that the villains’ plot in THE LIVING DAYLIGHTS was inspired by the Iran-Contra scandal or that the main villain in LICENCE TO KILL was partly based on Panamanian dictator Manuel Noriega.).
Mind you, that bias confirmation did matter. Bond fans are divided on Dalton, with some deeming his films “too grim” and “humorless.” Here, Edwards effectively argues that Dalton’s Bond is more believable, human and faithful to Fleming, and exists in a more grounded and complex world full of ambiguity. Further, Edwards demonstrates how Dalton’s Bond develops through the two films (His rebellion against M in LICENSE TO KILL, for example, could be viewed as a son finding his way apart from a father figure.), how the films provide more emotional heft than previous entries and how the female leads are treated with respect (Edwards notes that Kara Milovy, portrayed by Maryam d’Abo in THE LIVING DAYLIGHTS, has a real story arc and that Pam Bouvier, portrayed by Cary Lowell in LICENCE TO KILL, is shown to be Bond’s equal.). Edwards makes persuasive arguments for the Dalton films being true departures in the Bond canon and worthy of reassessment.
Even so, I admittedly don’t agree with Edwards on every point. He seems to clearly feel, for example, that LICENCE TO KILL is the superior of the two Dalton Bond films and devotes more of the book to it than to THE LIVING DAYLIGHTS. I love both but prefer TLD. Frankly, I agree with the common criticism that LICENCE TO KILL too closely resembles a typical 1980s action movie and could perhaps have actually benefited from a little more of the traditional Bond formula. No two Bond fans ever view the Bond films the same, however, and to me, that’s one of the fascinating things about being a Bond fan. Despite my desire for confirmation bias, I likely would have been disappointed if Edwards had agreed with ALL of my views.
I definitely recommend HE DISAGREED WITH SOMETHING THAT ATE HIM to any fan of Timothy Dalton’s James Bond. If, on the other hand, you’re a James Bond fan who dislikes Dalton’s portrayal, then you might still find value here. Either way, Cary Edwards will have you appreciating some elements more and give you some food for thought.
Regardless, author Cary Edwards (a film lecturer and avowed Bond fan) presents his argument in a nice, organized fashion. First, he takes us to the late 1980s, explaining the contemporary state of the Bond franchise and how Dalton’s entries departed from it. Then, he covers the influences of the films’ then-new approach, followed by a chapter on how LICENCE TO KILL, specifically, represents a shift away from traditional adventure elements and more towards an “edgier” 1980s action movie approach. Finally, he examines the legacy of the two films. Edwards lays out this path in his introduction and then follows through.
He certainly doesn’t pad his arguments. HE DISAGREED WITH SOMETHING THAT ATE HIM (the title references a line in LICENCE TO KILL…which was in turn taken from Ian Fleming’s LIVE AND LET DIE novel) is pamphlet-sized and runs a mere 107 pages. The margins are also quite wide. I started the book as my wife headed out for her weekly bowling night and finished it about the time she returned, only a few hours later…and that’s with a few breaks to perform short tasks.
That brief reading time is worth noting when considering a purchase. I bought the book myself, although I no longer recall what I paid. Regardless, I have no regrets. Yes, the book mostly “confirmed” my biases - in a sense (Taste is subjective, after all.), and I’ll return to that point in a bit. More importantly, I got to delve deeply into two films that I dearly love. Edwards’ plot summaries alone made me nostalgic, and he provides some new-to-me facts (I didn’t know, for example, that the villains’ plot in THE LIVING DAYLIGHTS was inspired by the Iran-Contra scandal or that the main villain in LICENCE TO KILL was partly based on Panamanian dictator Manuel Noriega.).
Mind you, that bias confirmation did matter. Bond fans are divided on Dalton, with some deeming his films “too grim” and “humorless.” Here, Edwards effectively argues that Dalton’s Bond is more believable, human and faithful to Fleming, and exists in a more grounded and complex world full of ambiguity. Further, Edwards demonstrates how Dalton’s Bond develops through the two films (His rebellion against M in LICENSE TO KILL, for example, could be viewed as a son finding his way apart from a father figure.), how the films provide more emotional heft than previous entries and how the female leads are treated with respect (Edwards notes that Kara Milovy, portrayed by Maryam d’Abo in THE LIVING DAYLIGHTS, has a real story arc and that Pam Bouvier, portrayed by Cary Lowell in LICENCE TO KILL, is shown to be Bond’s equal.). Edwards makes persuasive arguments for the Dalton films being true departures in the Bond canon and worthy of reassessment.
Even so, I admittedly don’t agree with Edwards on every point. He seems to clearly feel, for example, that LICENCE TO KILL is the superior of the two Dalton Bond films and devotes more of the book to it than to THE LIVING DAYLIGHTS. I love both but prefer TLD. Frankly, I agree with the common criticism that LICENCE TO KILL too closely resembles a typical 1980s action movie and could perhaps have actually benefited from a little more of the traditional Bond formula. No two Bond fans ever view the Bond films the same, however, and to me, that’s one of the fascinating things about being a Bond fan. Despite my desire for confirmation bias, I likely would have been disappointed if Edwards had agreed with ALL of my views.
I definitely recommend HE DISAGREED WITH SOMETHING THAT ATE HIM to any fan of Timothy Dalton’s James Bond. If, on the other hand, you’re a James Bond fan who dislikes Dalton’s portrayal, then you might still find value here. Either way, Cary Edwards will have you appreciating some elements more and give you some food for thought.
March 12, 2019
I have always said that Timothy Dalton’s portrayal as James Bond was the closest to the literary Bond and that both ‘The Living Daylights’ and ‘Licence to Kill’ are underrated inclusions in the 007 franchise. Therefore, I was very pleased to find, and read in one sitting, this short but fascinating book written by film lecturer Cary Edwards PhD who dissects, analyses and gives his very erudite, educated and entertaining views and positive thoughts on both films and Dalton’s performance within.
It is less a ‘behind the scene/making of’ publication and more of a paper/thesis on all aspects of the two films, Dalton and the Bond legacy. The chapter on ‘Context’ covering both cinematic and political, I found very interesting.
The Dalton era was unfortunately short lived but it was a watershed moment in the development and eventual re-packaging of the Bond we know and love today.
I would highly recommend this book to both film scholars and Bond fans and also congratulate Cary Edwards for championing Dalton’s all to brief, but in my personal view impactful and unforgettable, tenure as James Bond 007.
It is less a ‘behind the scene/making of’ publication and more of a paper/thesis on all aspects of the two films, Dalton and the Bond legacy. The chapter on ‘Context’ covering both cinematic and political, I found very interesting.
The Dalton era was unfortunately short lived but it was a watershed moment in the development and eventual re-packaging of the Bond we know and love today.
I would highly recommend this book to both film scholars and Bond fans and also congratulate Cary Edwards for championing Dalton’s all to brief, but in my personal view impactful and unforgettable, tenure as James Bond 007.
June 6, 2019
A short yet fantastic book with a great insight on Timothy Dalton's two James Bond films which, as the author points out, have been banished to oblivion and now reivindicated by many fans. This is the kind of approach I adore when it comes to talk about films, particularly since I'm a Bond fan who knows a lot about the making of each film, however Cary Edwards shares his great knowledge and point of view, his analysis of the little details one regularly omits among all the huge action scenes. Just as the book proposes, this is an invitation to "read" both The Living Daylights and Licence To Kill and it's written in a very understandable jargon, so it's quite easy to get his points and to finish the book quickly. Maybe I'd say I don't really agree with the author's views on some Pierce Brosnan and Daniel Craig films, but anyway, that's opinion and won't affect me to give him a well-deserved 5 star rating for his solid and interesting work.
Looking forward for more, Cary!
Looking forward for more, Cary!
May 7, 2021
I am one of those Bond fans who really liked the Timothy Dalton Bond films so this book was a real gift for me. The author researched this very well and I enjoyed reading it very much. I had to go back and rewatch the films while reading the book. Timothy is right up there with Connery and Moore as my favorite Bonds. The book was written for fans and I doubt it will convert any nay sayers. But if you are a fan it's a must read.
July 7, 2019
Edwards’ exploration of Dalton’s tenure in the role of James Bond doesn’t offer too many new facts for dedicated fans, but his analysis and cultural commentary is as entertaining as it is insightful. This is a must read for any fans of the Bond films.
February 25, 2024
A short essay fantastically comparing the two Dalton Bond films, and re-evaluating the Bond franchise against their sociopolitical influences. As a cinematic layman the language is accessible and the insights are thought-provoking.
My only criticism is I wish there was more of it to read.
My only criticism is I wish there was more of it to read.
January 2, 2021
Fun read on the Dalton Bonds. Good summaries and keen literary analysis.
May 23, 2021
Provides some much needed insight into Dalton’s tenure behind the Walther PPK. I just wanted some more!
April 4, 2019
This was a fantastic, academic read of my favorite Bond and his two films.
There were some typos and other small errors in the book but it's fully worth the read.
There were some typos and other small errors in the book but it's fully worth the read.
Displaying 1 - 12 of 12 reviews