John Barry’s James Bond Scores (Part 5 of 6): The Living Daylights — 3 Comments

  1. Oh man I can’t believe mine is the only comment. Thanks so much for this article. I knew, watching the movie in 1989, that this was a way more evolved Bond score. I don’t know jack about composition but I could tell it was something totally fresh. It definitely elevated the movie and made it feel so much MORE than a Moore movie. This score has so much meat on the bones.

    • Yes, I agree! Too bad that a-ha left such a bad impression on Barry that he didn’t want to return after this one (though as I say in the article, he was in talks for future Bond films anyway). I think that might be why he unusually doesn’t make much use of the title song in the score. And it might also be why there’s another worded song that’s used much more – the theme for Necros. Maybe he thought of that theme as the secondary theme that really defines this film, just as the title song usually does in his other Bond scores.

  2. This analysis is fantastic, very meticulous and deep at the same time. It gives a perfect overview of this fantastic symphony for a unique film. The chemistry between Timothy Dalton and Maryam D’Abo is simply volcanic.

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