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I wonder if the headless statue is still there?
And if Gert Frobe still owns the club?
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yeah GOLDFINGER is the definitive 007 flic, the mythic 007 flic
but
not my favorite either.
The big problem with the film is it slows to a wtf crawl when Bond is taken to the horsefarm.
Just what was the point of the the whole Odd Job goes to the car wrecking yard scene?
Or, "gassing the gangsters".... etc.
Still, they have never even came close to the thrilling climax where 007 battles Odd Job-
pure genius!
brm
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Posted: |
Apr 22, 2016 - 11:43 PM
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By: |
Bob DiMucci
(Member)
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Gert Fröbe, who played the title character in 1964's GOLDFINGER spoke very little English (Michael Collins dubbed his voice). So director Guy Hamilton instructed Fröbe to speak his lines (in German) quickly which would assist the looping.
Hamilton had an influence on the capabilities of Bond's Aston Martin. The ejector seat was suggested by Hamilton's stepson. And the idea of the car's revolving number licence plates came from Hamilton, who had recently been frustrated at receiving a parking ticket.
Concerned about censors, the producers thought about changing Pussy Galore's name to "Kitty Galore", but as Hamilton said "if you were a ten-year old boy and knew what the name meant, you weren't a ten-year old boy, you were a dirty little bitch. The American censor was concerned, but we got round that by inviting him and his wife out to dinner and [told him] we were big supporters of the Republican Party." To shoot Pussy Galore's Flying Circus gassing the soldiers, the pilots were only authorized to fly above 3000 feet. Hamilton recalled this was "hopeless", so they flew at about 500 feet, "and the military went absolutely ape".
It was in GOLDFINGER that Q's character first came to the fore. Hamilton advised Desmond Llewelyn to inject humor into the character, thus beginning the friendly antagonism between Q and Bond that became a hallmark of the series. In an attempt at product placement, the scene with Bond in the plane's bathroom was originally meant to showcase Gillette shaving products. But Hamilton thought this was silly, and it was abandoned.
John Barry's score was last released by Capitol/EMI Records in 2003.
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Posted: |
Apr 23, 2016 - 2:08 AM
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By: |
Mike_J
(Member)
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With all the attention given to Goldfinger, let's not forget that Hamitlton returned to the Bond franchise for Diamonds Ar Forever, Live & Let Die and The Man With The Golden Gun.
Whilst the latter is widely regarded as one of the lesser Bond movies, it has a special place in my heart as it was the first 007 film I ever saw. I absolutely loved it and even though I now recognise its many shortcomings, I still think it is cracking good entertainment. Location-wise, I think it looks terrific, the production design is pretty cool even by today's standards (love Scaramanga's island home) and, in Christopher Lee, one of the best Bond villains ever. The scene where Bond and Scaramanga eat lunch before the duel is just superbly played by both Lee and Moore.
The one niggle I've always had about TMWTGG is that, in the finished film, Scaramanga does seem to actually be better than Bond because the latter fires off several shots from his PPK whilst Scaramanga never shoots his one bullet and, you can assume, had the dummy Bond not conveniently been holding a functional and loaded PPK, 007 would have got a golden bullet eventually (especially since he had clumsily dropped his gun). However, a few years ago I found out that Hamilton actually did shoot a scene where Scaramanga does actually shoot his Golden Gun (at an impromptu Molotov cocktail that Bond has fashioned) and then you see he is carrying a cache of other golden bullets, one of which he loads, the others he pockets - Scaramanga is in effect a cheat! The scene was cut to bring he film's run time doen but I really wish it had been left in - it makes Scaramanga more of Bond's equal than his putative better.
[
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Posted: |
Apr 23, 2016 - 3:23 AM
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By: |
Bob DiMucci
(Member)
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Hamilton directed his third Bond film in a row, and fourth and last overall with 1974's THE MAN WITH THE GOLDEN GUN. Tom Mankiewicz wrote a first draft of the script in 1973, delivering a screenplay that was a battle of wills between Bond and Scaramanga, whom he saw as Bond's alter ego, "a super-villain of the stature of Bond himself." Tensions between Mankiewicz and Hamilton, and Mankiewicz's growing sense that he was "feeling really tapped out on Bond," led to the re-introduction of Richard Maibaum as the Bond screenwriter. The two share screen credit.
According to Roger Moore, Hamilton wanted to toughen Bond up, in order to be closer to Ian Fleming's original intent for the character. One of the ways was by having Bond twist the arm of "Andrea Anders" (Maud Adams) behind her back, and threaten to break it unless she told him what he wanted to know. Moore didn't enjoy filming the scene, feeling that Bond would have instead charmed the information out of her. Another scene Moore didn't like was pushing the boy into the water during the boat chase. Hamilton met Maud Adams in New York, and cast her because "she was so elegant and beautiful that it seemed to me she was the perfect Bond girl".
Hamilton decided to cast Marc Lawrence, with whom he had worked on DIAMONDS ARE FOREVER, as a gangster shot dead by Scaramanga at the start of the film, because he found it an interesting idea to "put sort of a Chicago gangster in the middle of Thailand". Hamilton has stated that "Nick Nack" (Hervé Villechaize) was intended to be a miniature version of the Oddjob character (they both wear black bowler-style hats) from GOLDFINGER.
Hamilton adapted an idea of his involving Bond in Disneyland for Scaramanga's funhouse. The funhouse was designed to be a place where Scaramanga could get the upper hand by distracting the adversary with obstacles, and was described by production designer Peter Murton as a "melting pot of ideas" which made it "both a funhouse and a horror house." Hamilton admitted that he added the slide whistle to the famous car roll because he didn't think there was a way the audiences would take such a stunt seriously. He later regretted this.
John Barry's score was last released by Capitol/EMI in 2003. It was his fifth and last score for a Hamilton film.
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Posted: |
Apr 23, 2016 - 7:26 AM
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By: |
RoryR
(Member)
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I know I'm in the minority, but I always liked "From Russia With Love" better than "Goldfinger", both in approach and feel. "Goldfinger" was when the series started to become silly, with more heavy reliance on improbable gadgets, etc. This is not meant as a knock on Hamilton's direction, though.
"Goldfinger" is still a fun film overall.
I think most critics agree that "From Russia With Love" is the best Bond in terms of a quasi realistic spy thriller, but "Goldfinger" got the elements hightened, more implausibly of course, as audience-pleasing "grand entertainment, a large element of which was the brassy score. Things have never quite jelled as well in any Bond film since, and the formula became a parody of itself during the Roger Moore years. I think the franchise has struggled to be grand entertainment again ever since, and the end of the Cold War hasn't helped.
The last Bond film, "Spectre," I thought a real bore. Why they can't rediscover what worked so well in "Goldfinger," I just can't fathom.
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