The James bond films have the rather unenviable task of trying to live up to their own legendary level of quality and originality, while presenting a product new fans to the series will buy. The previous entry, GoldenEye, leaned a tad far in the direction of the standard '90's action picture, (it must have seemed a safe bet) to the detriment of the "feel" of a James Bond film. Not a bad action picture. A fair James Bond film. But it's phenomenal commercial success apparently blurred that nit pick.

James Bond has a brand-spanking new film in theaters, a wonderful actor in the role, a new and huge audience, (though Thunderball sold more tickets than GoldenEye), renewed enthusiasm, expected commercial success, a budget that rivals anything but that for the sinking ship film, and media and cross-marketing exposure which must be the dream model for any other film. But does the film itself work? Thankfully, yes. On a couple levels.

As an action picture, the stunts and thrills are top-notch. Cast is too. Pierce Brosnan is this-close-to-perfect in the role. The women are plentiful and particularly beautiful. Pop music that gets airplay from MTV to the local AM megawatt station is included. The villain is appropriately megolomaniacal. There is humor and wit, and pretty much everything else one might expect from a 1990's action film starring Bruce or Sly or Arnold. So commercial success seems an afterthought.

What of the hard-core Bond fans, though? Does Tomorrow Never Dies deliver for them?

Yes, quite thankfully.

It's not perfect, (the editing is too often of the "quick-hook" variety, and the direction somewhat uninspired), but from the gun-barrel Bond "walk-on", to the famous "James Bond will Return" in the final credits, TND has the look and feel of what is expected from 007.

The pre-titles sequence is appropriately well done and exciting, and thankfully David Arnold makes good use of the "James Bond Theme" at its climax. For that matter, the theme is used, to the film's great benefit, throughout the film. And the rest of Arnold's score is Bondian and rivals (blasphemy!) some of John Barry's work. Eric Serra should be taking notes.

The film segues into the titles, much of it computer generated (something Maurice Binder never had the advantage of, though this sequence of TND was obviously and gratefully inspired by his terrific body of work), is a masterstroke and highlight of the film. Daniel Kleinman's original and brilliant use of color and action and silhouetted women and x-ray perspective of weapons as they fire is wonderful. See TND just for the titles sequence and you will not be disappointed. (Even though Sheryl Crow's rather forgettable title song plays in the background.) It's a feast for the eyes, blew me away, and was totally unexpected. EON should sign Kleinman long-term, though it's difficult to imagine him topping this magical four minutes.

Pierce Brosnan steps up to the plate again, and is terrific. Sean Connery made the role his own in the very first scene of Dr. No, lighting a cigarette in that smoke-filled casino. Who can forget the cool, hard confidence of Connery delivering the immortal "My name is Bond... James Bond"? No one does it better, and though a criticism of Brosnan has been he is imitating Connery portraying Bond, he (and we) could do a lot worse. Let it be said Brosnan is a fine actor, looks great in the role, is appropriately both dangerous and witty, moves well, and is still a "man's man". Not an easy feat, and he pulls it off.

In a particularly well-done couple scenes, Brosnan flexes his acting muscles and makes the role of James Bond his own. Bond is seen in his hotel room waiting for a potential assassin; sitting in semi-dark, Walther and silencer in hand, vodka at the elbow (shades of Dr. No!). Within that and the next related scene, Bond: 1. seduces a beautiful woman; 2. mourns her death; 3. ruthlessly and in cold-blood assassinates the assassin. This scene will be remembered as a highlight of the film certainly, but likely the entire series as well. Brosnan is terrific. It's 1997, and the role is now his own. May he be around for many more Bond films.

The plot? Oh, something to do with another world domination scheme, this time through media manipulation. Doesn't matter particularly much. Jonathan Pryce is a wonderful actor, but unfortunately is not given much to do as the villain, Elliot Carver. In a remarkably awkward scene (that has the feel of having been improvised, but for some reason made it past the film's editor), Pryce is depicted mocking Wai Lin's (Michelle Yeoh) kung-fu moves with a few of his own. He ends the demonstration by remarking, "Pathetic". He was right.

There are a dangerous couple of henchman, Stamper and Dr. Kaufman, who are, thankfully, at least as memorable as the wonderful Famke Janssen's Xenia Onatopp, if not some of the other classics. Michelle Yeoh is fine, though her character s expanded role as Bond's "partner" is right out of the current action picture genre's rules. Her gratuitous solo kung-fu fight with some baddies was obvious in its nature, but what the hell, she's big in the Asia. Teri Hatcher as Carver's wife and one of Bond's old flames, and this film s "sacrificial lamb" is very beautiful, but her California "girl-next-door" voice and demeanor is kind of a put-off. Does James Bond really date surfing babes?

Desmond Llewelyn as "Q" and Dame Judy Dench as "M" return. As does Samantha Bond as "Moneypenny". They seem comfortable in their roles, and are an asset to the film. This is particularly heartwarming in the case of Mr. Llewelyn, who in GoldenEye was embarrassingly close to embarrassing himself. The character is wonderful, and he has been terrific for more than thirty years, but come on, he's in his eighties. Let's remember him for Goldfinger and not for having to obviously refer to cue cards.

In a particularly well-photographed scene, Bond parachutes from a five-mile free-fall that is dangerous, believable, and exciting. The motorcycle chase is too long and loses its originality; too many machine gun bullets miss Bond (he doesn t even get "winged"); he disposes of the villain quite easily, but these are small complaints. The Q-equipped BMW is a marvel, and the look of delight on Brosnan s face as he remote-controls the car through tight quarters and foils the bad guys again seems genuine. He appears to be having a great time in Tomorrow Never Dies.

So will you.

Footnote: Over k.d. lang's wonderful closing song, "Surrender," the film is dedicated "In Loving Memory of Albert Broccoli". Nice touch.

© 1997 by Tom Zielinski