Was there an added element to the opening night viewing of Tomorrow Never Dies that I could mention? An element that had not been factored and repeated to the audience that frequents this site? An unexpected element that won me over?

It couldn't be the incredible title sequence by Daniel Kleinman, because everyone would recall that. I already know that to prevent my words from betraying me I should only say ones I mean, regardless of any dissenting opinions. So I must now say my TWO favorite Bond titles did not feature Maurice Binder. Robert Brownjohn's From Russia With Love has been joined by an illustrious guest. The spectacular use of color, animation and flow by Kleinman once again make Bond the only film where watching the credits is a highlight.

There is of course nothing new about arguing over the theme song. Being a fan of Sheryl Crow anyway, I enjoyed her title theme, though it does compare a shade lower to my ears than k.d. lang's end title, "Surrender." I noted that the version played at the end was not the same vocal track lang sang on the soundtrack, but no matter. She sounds wonderful in any version.

Of course David Arnold's work has already produced opinions. What those rare detractors that heard it on a compact disc and picked at it for being too much a duplication of John Barry failed to realize is first and foremost a score must compliment and assist a film. Arnold's score does that wonderfully. We get the "James Bond Theme" is the right places, "Surrender" jucilously inserted throughout, other cues such as an acoustic guitar coda for Paris pepper the film. I thought a heard a brief moment of Crow's theme used in the score though I did not think it would be included. That may be incorrect.

And I doubt spotlighting the action or the stuntwork is an element that any other viewer would have missed. While a bit over the top for me, I was quite impressed with the remote controlled BMW 750 sequence all in all. What could have been a smirking overload turned into a fun experience.

Even better was the frightening face-off between a motorcycle and a helicopter. Needing to destroy the craft before they are pinned, Bond and Wai Lin (Pierce Brosnan, Michelle Yeoh) provide caustic chemistry. And I was most pleased to hear the person sitting beside me gasp during the HALO parachute jump. This was filmed very well and provided surprising tension.

I was only taken aback twice. The teaser opening was too rushed for me. Hurried and without building up enough suspense. And the final battle was too long and too violent.

The missing element? Can't be the villains. They are certainly noticeable. Gotz Otto's Stamper is allowed the battle royale with Bond in Tomorrow Never Dies, and that makes us lucky men and women. His character was somewhat different from the novel's description and it is in this case for the better, as a serious tale did not need a weird, overt villain. Ricky Jay is usefully disgusting as Henry Gupta, though I didn't picture the character being so American.

The leader of the CMGN network, Elliot Carver, played dastardly by Jonathon Pryce, is a concoction. Unable to be explained in backstory as he was in Raymond's Benson's novelization, Carver still carries a larger presence that I assumed. The look Pryce gives when watching his plot begin to crumble is the perfect blend of fear, anger and psychosis. His explanation of his goal is actually answered here, where I questioned in my review of the novelization, done before the film's release, what his satisfaction ultimately would be from this scheme.

From stories told only a few pages of the original script by Bruce Feirstein ended up being used, with rewrites major and minor being filled in as production went along. Many of the tweaks that were taken from the manuscript Raymond Benson novelized were changed. I admit, few for the better. An over abundance on one liners pervades this film, so much that a couple of exchanges sound like printed dialogue instead of spoken discourse. Most can be forgiven but it is too much when a complete four line exchange between Bond and Carver seem like one-upmanship retorts.

Feirstein tried to give us semblance of a serious James Bond. The cold hearted agent with feelings to be fought. Pierce Brosnan seems nothing but content to be that character as well. That cannot be overstated.

I assumed when being named to the role that Brosnan had Bond-lite comedy in store. I will say I could tell in GoldenEye this would be wrong. Now no one can mistake it. Brosnan can turn the lightest moment to frozen anger in a heartbeat. This was one of Sean Connery's best traits and I could not be more pleased that Brosnan can pull it off so well.

It is difficult for any actor to look stone-dangerous, elegantly dressed, viciously mad and still maintain a comfort level with the audience, never going too far to turning them away. Brosnan does this flawlessly. He gives Bond a false bravado well. He can appear unshaken when held at bay by a villain, yet give a look that allows the viewer to see a glint of fear.

That extra element viewers might miss that I wanted to add in, was it the MI6 cast? No, they were not just in anyone's periphery. It was easy to see that for all the overblown, misunderstanding, petulant catcalls made from the previous entry, we have a real M. Dame Judi Dench is simply perfect. Do not mistake her character as a nod to political correctness. This is an M that Bond can respect and follow. Who would not?

Likewise Samantha Bond's Moneypenny is a terrific inclusion now. Due to the nature of the script the briefing scene is in the cramped quarters of a limousine. This provides a couple of moments that provide character development beyond the printed words of the script.

Recalling the moment in From Russia With Love, where Bernard Lee's M, not someone who approved of womanizing, told Bond to get through to Tatiana in any fashion, Dench is needed for that same coaxing here. But she has to do it with Moneypenny and Robinson (why was Tanner not used?) present. It is the first time M has ever allowed an audience when giving authority to commit an indiscretion. Likewise, when she tells Bond to glean information from Carver's wife, Paris, by "reminding" her of their previous affair and then "pumping" her for information, Moneypenny jokes about the line. Then Bond flirts openly with Penny in front of his superior. Happily. This provides a great new dynamic.

Paris Carver has been a controversial character to Bond film fans since Teri Hatcher was named to the role. So she is not a surprising element to even casual fans at this point. But I will call 'em like I see 'em, and that means that in what is becoming a contrary position, I liked her. Period. She was, from reading about her in the novel to listening to her words on screen, supposed to be a forlorn, tired woman trapped unhappily with a man she cannot understand. Someone wearied by her years with Carver, hoping to find a moment of happiness with an old fling before returning to that world which drags her down. In short, the character was supposed to be attractive, something below snobbish upper-class, sexy but worn, and desperate. Hatcher succeeded at this. She wasn't supposed to be so glamorous as to drop all hearts. Only those that understood her heart, as Bond did. Hatcher did her job well.

Not as well as Michelle Yeoh's Wai Lin, but what could top that? She's not an added unexpected element at all. She was known for action, physical presence and strength, but she brings a lot of beauty and grace with her. The constant refrain of the latest film having a "new age" of Bond girls has finally happened with Yeoh. Not because she's tough, or able to fight. Not because she resists him until the end. Not because she is a fellow agent. Yeoh gives Lin a hidden strength. Even as the film concludes, Wai Lin isn't infatuated with Bond. She doesn't fall foppishly into his arms. She doesn't pine. She takes him at the end the SAME way he takes her. She conveys as long a trail of hearts as Bond has. They are equals in that respect.

Roger Spottiswoode certainly gave a stamp on this film. He was constrained by the need to have the climactic scene occur at night, making many of the shots too dark. And while the characterization and action are perfectly balanced throughout for my taste, the final battle has too much killing by Bond and Lin. Too extreme with machine guns flying. Spottiswoode does overdo cuts from long shots to close-ups too furiously, but otherwise provided a terrific visual style.

So what was that added element? I often watch the Bond films on videotape and read the novels. What brought out something in viewing Tomorrow Never Dies like this, on opening night. Oh yes. The audience.

From my home in Gahanna, Ohio (near Columbus) I immediately noticed that the 16 theater Cinemark cineplex indeed ran two screen of Titanic. They were also running Bond on three screens!

The audience that filled every seat on December 19 was something I was curious about when entering. So many young fans were there. This is great for the series but I was concerned what their reactions would be to the film. There was quite the showing by fans at the age to have enjoyed Connery on the big screen as well. Myself being between those groups, I was excited by how many people wanted to see James Bond.

The biggest surprise of all, however, was how all of the audience got it. They behaved just as I imagine EON had hoped. They paid attention (or had to) to Kleinman's credits. They snickered together when M and Admiral Roebuck bantered about beazants. Unquestionably, the loudest laughs came a scene earlier, when Moneypenny can hear Bond's exchange with a little Danish and comments on his, er, sly tongue.

There were smiles abroad during the BMW chase. None of the kids guffawed at the love scene of Paris and Bond. There was repulsion in the death of Carver, played menacingly by Brosnan. There was some light applause when the screen blackened to say "In Loving Memory of Albert R. "Cubby" Broccoli."

In short, the crowd got it. Young and old did everything right. I was stunned. The best sequence, the Doctor Kaufman scene, produced reactions I can honestly say were perfect. No one spoke as Bond found Paris' body and audibly gasped. As soon as Vincent Schiavelli spoke as Kaufman the crowd played along, finding humor with him. The interspersed scenes of the attempts to enter the locked BMW forced belly laughs. The mood was tense but attentive. Then the moment, the second that Bond gains the upper hand on Kaufman, the crowd got quiet. They were silenced into shock and anger. There were no laughs at all, nor any sound. They were overtaken.

As a last word, I took a date to see Tomorrow Never Dies who is not a, well, blood and guts fan of Bond. I had told her we were staying until the very last credit ended. She kept saying nobody else would and the ushers would look at us. I told her we were doing so anyway. As I put it, "We have to."

The tribute to Broccoli faded into lang's song. Most everyone stood up, but slowly. Then they made their way out. They looked quite pleased. By the bridge of the song I was standing happily and lip synching with the song. The girl also saw what I did, a teenage couple and a forty-ish couple still in their seats a few rows in front of us.

As the song faded and "James Bond Will Return" left the screen, both couples stood. The ushers, who had been waiting very patiently, having probably seen this with every showing, stood still. As the couples walked toward the rear exit, I grabbed my coat.

My date, who did enjoy the film herself, couldn't resist. She waited until the younger couple were passing our row, the older couple a bit behind before asking, "Now, why did you wait like that before leaving?" She said it in such a way as to draw attention to me.

The actual words were the same, the young couple beating out the older couple by a mere second. The young man and the older women both actually said, "You have to."

I smiled back. James Bond is alive and well.

©1997 by Michael Reed