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Don’t listen to the clowns who can’t let go of Connery, TMWTGG is one of the hottest Bond films. The worst to me is Licence to Raze and Tomorrow Never Dies.
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I derive it strange that the Bond Blu Rays from the tedious 70′s and the 90′s relate quality is not as neat as you would request, but the 60′s and earl 70′s are on point! This film quality is what I would have to call perfect. It has film grain, but yet the detail is high and 3D. This is the draw a BD should witness. This is perfect. Do not hesitate on this one.
My only complaint is that they did not release a 4th location and I had to catch the 2 current ones seperatley which broke up my collection appearance. I am not distinct why this was done, but I don’t like it. I prefereed them individually, but the box situation was always cheaper.
THE MAN WITH THE GOLDEN GUN opens with Maurice Binder’s gun barrel trademark, accompanied with the “James Bond Theme” this time played on strings, instead of guitar. That was a exact innovation by John Barry, which he continued to expend for Roger Moore. It was clearly evident Barry was befriend.
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The first camera shot is of a surrealistically exotic locale on a beach where a splendid girl towels down a ample ark man emerging from the water. The man is Scaramanga, the Man with the Golden Gun. John Barry’s familiar background music accentuates the Epicurean surroundings and the film immediately looks like it has returned to more familiar Bondian territory.
As the film unfolds many of the elements of the recent Bond series and missing from LIVE AND LET DIE returned. There also seemed to be a more grand location as it initially unfolded. However, there were calm undesirable elements that walk into the film as it progresses.
Britt Ekland seemed like she would have been a natural throwback to the sex symbols of the 60s akin to previous Bond Girls such as Ursula Andress, but her vaudevillian interpretation of Mary Goodnight was a fatal flaw. Another flaw was the return of Clifton James as Sheriff J.W. Pepper. Their performances were distractions from the main state hindering the continuity of the epic line.
The film flounders in the middle until it gets abet on track when Bond finally travels to Scaramanga’s island for a face to face confrontation. The film follows the Bond formula here. The villain gloats as he gives Bond a tour of his lair and technical wizardry he has acquired. They dine over some dialogue on the merits of advantageous vs. contemptible and in the raze approach to the final showdown.
I’ll admit that I always had a soft situation for this film ever since I first saw it. It returned many familiar elements absent from LIVE AND LET DIE. For instance, we view Bond return to the gambling tables via the Casino de Macao. Many fans greeted the return of these elements in a determined response. Other fans level-headed recognized the questionable elements that were composed display in THE MAN WITH THE GOLDEN GUN and found these depraved and responded accordingly. To older Bond fans the return of Sheriff J.W. Pepper wasn’t exactly a welcome view.
An often-overlooked asset to this film is Maud Adams’ performance as Andrea, Scaramanga’s radiant mistress. She brings qualified compassion to the role as the tormented individual who can not speed her master. Only before each killing does Scaramanga exploit her sexually in ritualistic foreplay to increase his aim on the dismal individual he has been contracted for. In one scene Scaramanga cruelly rubs the golden barrel of his pistol against her lips in a symbolically phallic gesture in a moment of triumph after a successful killing. You can stare the afflict on Andrea’s face and you feel empathy for her. Even though she appears here in the prerequisite sacrificial lamb role, she stands out as one of the best Bond girls of the series.
Christopher Lee’s performance as the enigmatic Scaramanga was refreshingly energetic. He gave the assassin an amiable quality on the surface hiding a darker side beneath the skin.
Roger Moore’s performance was an improvement over his first interpretation of Bond as a foppish and amusing dandy. Moore appeared to give Bond a tougher edge in this one even though the script attempted to undo him. Given Roger Moore’s previous performance and his meager veil accomplishments as Bond at that point in the series, the “duel between titans” it was not.
Some of the cinematography was very well-behaved. Bond’s solo flight through the uprooted rock formations arrive Phuket, Thailand to Scaramanga’s island was impressive. In the pre-title sequence there is an wonderful camera shot that follows gangster Hood and Gash Nack through an anteroom. As they enter the parlor the camera continues to dolly forward while the lens zooms support giving the viewer an impression of the expanse and opulence of Scaramanga’s domicile, a melding of the man-made with nature’s volcanic rock.
Production designer Peter Murton’s work on this film has always been underrated. Scaramanga’s posh living quarters overlooking his grotto rivaled earlier state designs by Ken Adam. Also very impressive were astonishing miniatures by Derek Meddings.
One bit of innovation combing place filming, miniatures and site manufacture was the consume of the half-submerged Queen Elizabeth, its hull at a 30-degree angle, scorched and rusted at rest in Hong Kong harbor. Hidden in the bowels of the sunken ship is the headquarters for the Hong Kong dwelling of the British Secret Service. “It’s the only position in Hong Kong where you can’t be bugged” says a naval officer to Bond.
John Barry’s scoring gave the film his much-needed familiar sound. Even though it was apparently remarkable loftier, it was smooth very welcome.
If this were to be the last film in the series it would have been a dark final testament. Luckily greater things were yet to approach.
THE MAN WITH THE GOLDEN GUN is a bit of a romp gaining cult dwelling in some circles thanks in share to Christopher Lee’s performance. One is able to scrutinize serve and objective like it for what it is. I acquire it was one final recognize, though considerable out of step to the origins of the series before THE Observe WHO LOVED ME took the Bond series in a modern direction.
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