The James Bond Bedside Companion

by Benson, Raymond

  Third, as John Brosnan mentions, the script improved on the novel by having Goldfinger take Bond to America as a prisoner rather than as an employee. Abruptly deciding to spare Bond's life (as well as Tilly's) and hire him as a secretary is unbelievable. In the film, Goldfinger keeps Bond alive and in his sight, simply to keep anyone who may be observing (such as Felix Leiter) from thinking Bond is in any danger. Goldfinger orders Pussy Galore to dress more seductively and openly show Bond around the stud farm "as a guest." And of course, Goldfinger can't resist the temptation of handcuffing Bond to the atomic bomb inside Fort Knox – something he probably planned when he made the decision to keep Bond alive.

  Fourth, the script changes Goldfinger's intention. In the novel, his plan is simply to rob Fort Knox. In the film, he plans to detonate an atomic bomb inside the vault, thereby contaminating the U.S. gold supply for the next fifty-eight years or so. Not only would this cause economic disaster for America, it would also increase the value of Goldfinger's own supply of bullion ten-fold. It's a more ingenious plot, for which Maibaum and Dehn share the credit.

  Finally, there is a change in the cause of death for both Oddjob and Goldfinger. In the book, Oddjob is sucked out of the airplane window when Bond smashes it with a throwing-knife. Goldfinger dies by Bond's own hands, strangled to death. In the film, Oddjob meets his death in a more spectactular way during the climax of the film. He is electrocuted, thanks to Bond's quick thinking, inside the vault of Fort Knox. And it's Goldfinger who is sucked out of the airplane window, after a gun has been fired in the cabin. This reworking of the ending is more logical in terms of structure, and is ultimately more satisfying.

  As usual, there are a couple of sequences that don't quite work. For example, there is the scene in which Goldfinger explains Operation Grand Slam to a room full of gangsters. He promises them one million dollars today if they'd like, or ten million tomorrow if they stay and hear him out. All but one stay and listen to the plan to raid Fort Knox, about which they all seem enthusiastic. But Goldfinger then leaves the room and gives an order for the gangsters to be killed with nerve gas. Why he does this is never explained. Perhaps Goldfinger just wanted to express his megalomanic desires to this group of top American gangsters, then decided he didn't need them after all.

  The script contains some awfully funny lines. In one scene, a radio is blaring out that the president is "completely satisfied." Bond's hand turns the radio off at this point, and we see him in bed with Jill Masterson. "That makes two of us," he says with a contented sigh. A little later, as he's taking a bottle of champagne from the refrigerator, Bond tells her that "drinking Dom Perignon '53 at a temperature above thirty-eight degrees Farenheit is like listening to the Beatles without ear-muffs." One of my favorite lines in the film occurs when Bond is strapped down, watching a laser beam in closer and closer toward his groin. "You expect me to talk?" he asks Goldfinger. "No, Mr. Bond," Goldfinger replies, "I expect you to die!"

  DIRECTION

  Terence Young began preproduction work on Goldfinger before deciding to direct The Amorous Adventures of Moll Flanders instead. To replace him, Broccoli and Saltzman turned to Guy Hamilton, on of their original choices for Dr. No.

  Hamilton brought to the series a fresher, tighter style. Hamilton has a special flare for comedy as well, which is evident in the Bond films he directed (Hamilton holds the record—four Bond films). Unfortunately, the other three Hamilton efforts are low on the totem pole as far as the series is concerned, mainly due to his leanings toward comedy. Too often, the comedy is downright silly. But in Goldfinger, the humor is witty and sharp. The visual jokes are a pleasure, and not offensive at all.

  Honor Blackman (as Pussy Galore) practices her judo on stuntman Bob Simmons in preparation for a scene in Goldfinger. (Photo by Loomis Dean, Life Magazine. © Copyright 1964 by Time, Inc.)

  Hamilton brought an even faster pace to the rhythm of the film. Goldfinger moves rapidly, effecting changes of location so quickly that one can understand why Broccoli calls them "bumps." Less than two hours long, Goldfinger is the shortest Bond film in the series, yet there is nothing missing in terms of plot development Hamilton makes sure that all information is emphasized and heard, and his mise en scene is controlled and sophisticated. The only sloppiness in Goldfinger is during the raid on Fort Knox, in which the soldiers do not die convincingly, and at the film's end, when the wires holding the model airplane can be seen.

  Hamilton's overall style is nowhere more evident than in the brilliant pre-credits sequence. It's the best of the series, and could stand on its own as a short subject. The scene begins with a visual joke: we see a duck in the water, which is revealed to be a rubber decoy attached to James Bond's head! Bond climbs out of the water, dressed in a rubber suit, and scales a wall surrounding a factory in South America. After disposing of a guard, Bond sets a timed explosive inside a strange room filled with heroin poppies. (This sequence is vaguely alluded to in the novel.) Bond then leaves the premises and discards the rubber suit to reveal a fresh white tuxedo underneath. A red carnation is added to the lapel, which provokes another laugh. Bond then visits a nearby nightclub, where he meets a dancer in her dressing room. Bond hangs his shoulder holster near the bathtub and embraces the girl, who is draped only in a towel. But she has set him up—in her eye, Bond sees the reflection of a man approaching him from behind. Bond whirls the girl around to catch the man's blow, and a very tough fight sequence ensues. Bond succeeds in throwing the man into the bathtub. The man grabs for Bond's gun hanging nearby, but Bond tosses an electric heater into the tub. The man is electrocuted instantly. Bond mutters, "Shocking. Positively shocking." It is said with a straight face, and with an inflection containing no amusement. The effect, however, brings the house down. Bond silently leaves the room and shuts the door.

  This opening sequence is a terrific exercise in style—there is humor, intrigue, eroticism, violence, sophistication—and Hamilton manages to keep it up for the remainder of the film.

  ACTORS AND CHARACTERS

  Richard Maibaum, in an article appearing in Playboy magazine, said that Guy Hamilton "evoked from (Sean) Connery an even surer, brisker, more sardonic Bond than in the earlier films. The effect was to make him more perversely attractive." This is definitely true. Sean Connery gives a performance that is a pleasure to watch. He personifies the meaning of "cool" in this film—he is totally relaxed, yet able to take command of any situation. He retains the tough persona but reveals an even more sophisticated wit than Bond has had in previous films. This is especially true during the golf game with Goldfinger. Connery succeeds in giving Bond an innocent exterior while the character is secretly conning Goldfinger out of five thousand pounds. Pussy Galore is an enemy, and Bond later realizes the value of having the woman as an ally. After relying on an arsenal of gadgets throughout the film, Bond must now trust his ultimate weapon—himself—to use on Pussy. Needless to say, Pussy's tomboy tendencies are vanquished.

  Gert Frobe takes the top prize as best villain in a Bond film. This German actor fits Fleming's description perfectly: he is short, round, and redheaded. It is claimed that Frobe's voice was dubbed for the film, but it certainly doesn't appear so. Frobe exhibits Goldfinger's controlled madness superbly, and his obsession for gold is quite believable. The look on Frobe's face when Bond tosses the gold brick down next to Goldfinger's ball on the putting green is priceless. Another great moment is when Goldfinger's gin rummy ploy has been wrecked by Bond. The camera moves in for a huge close-up of Goldfinger's red face after losing, and it is shaking with anger.

  Honor Blackman, who became a star playing Cathy Gale in the TV series, The Avengers, before the program was shown in America, portrays Pussy Galore. In the film, Pussy Galore is Goldfinger's employee and works as his personal pilot. In the novel, she was just another one of the hoods' congress members who became more actively involved in Operation Grand Slam. Blackman is good in the role, displaying the appropriate "butch" quality required for the character. In the
novel, Pussy Galore is a Lesbian, and makes no bones about it until Bond comes along. In the film, these qualities are vaguely hinted at, but at the most, Pussy comes off as just a tough tomboy. Blackman is especially good with the stunts, doing most of her own work without a stand-in. Already experienced in the martial arts from her TV series, Blackman seems to be a natural at judo.

  The beautiful Shirley Eaton portrays the doomed Jill Masterson, one of this film's two Obligatory Sacrificial Lambs. Though her role is brief, it is memorable. One can scarcely forget the many pictures of the "golden girl" used in the film's advertising campaign. She was even features on the cover of Life. Eaton was convincing as an English "party girl," and it's a shame her role wasn't larger.

  The late Harold Sakata (also known as Tosh Togo) became an overnight sensation with his portrayal of the first in a long line of villains' super-strong henchmen. Variations on this character would be created for subsequent Bond films, but none of them have been as successful as the immortal Oddjob. Short, but built like an ox, Sakata is perfect as Goldfinger's Korean bodyguard and chauffeur. The character's dialogue, as in the book, only consists of grunts and inarticulate sounds, but the actor makes these sounds enormously expressive. He has a deadly smile, too. When he beckons to Bond before their massive fight inside the vault of Fort Knox, his accompanying grin makes us laugh and shiver at the same time.

  Tania Mallet gives an adequate performance as Tilly Masterson, who is Goldfinger's second Obligatory Sacrificial Lamb. In the novel, she too, is a Lesbian, but nothing is made of this in the film. Instead, Tilly is portrayed as a very independent woman who is out for revenge. She is a little reckless, and at one point almost shoots Bond accidentally. She is also stubborn and uncooperative; it is her fault primarily that she and Bond are caught spying on Auric Enterprises. But Miss Mallet's performance still manages to evoke sympathy when Tilly is killed by Oddjob's bowler hat.

  Felix Leiter is miscast once again, and this time the unlucky actor is Cec Linder, a Canadian. Linder is too old for the role – he looks like Bond's uncle rather than his best friend. Linder (and the script) depict Leiter as a terrifically nice guy, but a bit short on brains. This character, once again, has been misrepresented in the script and on the screen. And what's Felix Leiter doing relaying instructions from M to Bond? Leiter works for the CIA, not the British Secret Service. Apparently the two organizations have the same Q Branch too, for Leiter's car is also equipped with a radar homing screen.

  Bernard Lee, Lois Maxwell, and Desmond Llewelyn all return for the third Bond outing, and give their usual impeccable performances. Llewelyn, especially, has his moment of glory when explaining the Aston Martin's features to Bond. After a wonderful set-up by Connery ("Ejector seat? You're joking!"), Q delivers a perfectly deadpan line to the camera: "I never joke about my work, 007."

  OTHER ASPECTS

  Ken Adam is back as production designer for Goldfinger, and the film is one of his finest pieces of work. Fresh from designing Stanley Kubrick's Dr. Strangelove, Adam places his unmistakable stamp on Goldfinger with several fantastic, ultramodern sets. The pre-credits sequence features two interesting settings, including the weird room full of heroin poppies. The test center for Q Branch, Goldfinger's laser room, and Goldfinger's study are all unusual, expressionistic designs. But Adam's most breathtaking accomplishment in the film is the conception of the interior of Fort Knox. After having been denied admittance to the real Fort Knox, Adam was forced to design the vault according to his imagination. The result, in his own words, is "what we want the inside of Fort Knox to be like." It is a huge room of several stories, surrounded on all sides by jail-like bars housing piles of gold bricks. The set glitters and glows in the lights and is beautiful to look at. It also serves as a wonderful stage for the fight between Bond and Oddjob. With the help of art director Peter Murton, Adam has established a gold motif underlying the film's designs. As John Brosnan notes, the color seems to saturate every scene in the movie. It is one of Adam's best efforts. Ted Moore's cinematography also benefits from the illustrious designs. Goldfinger, as a result, is one of the most attractive films of the genre.

  The picture won the series' first Academy Award for best achievement in sound effects. The work of sound recordists Dudley Messenger and Gordon McCullum established a norm for the rest of the series, emphasizing exaggerated effects (especially in fight scenes).

  Peter Hunt once again shows his expertise at editing a fast-paced action film. His work on the Bond/Oddjob fight must count as one of his finer achievements. The same can be said for stunt arranger Bob Simmons. The Bond/Oddjob battle is certainly the best in any Bond film, and must surely stand as one of the great cinematic combats. During the fight, Oddjob plays with Bond like a cat plays with a mouse. Bond is thrown against walls, slammed in the chest, and sent hurtling across the floor. (Connery was even hurt during the filming of the scene.) Maibaum and Dehn again must share some of the credit, for the details of the fight are ingenious. When Oddjob's metal-rimmed bowler hat is stuck between the bars of the vault, Bond tricks the Korean into walking over to retrieve it. It is then that Bond uses a previously severed electrical cable to cause Oddjob to (as Bond puts it later) "blow a fuse."

  John Barry's musical score is tops, and like the other production elements, serves as a groundplan for future scores. Shirley Bassey's rendition of the Goldfinger theme (with lyrics by Anthony Newley and Leslie Bricusse) is explosive and exciting. The song became a familiar tune connected with the series, and was the first Bond musical hit. The song is featured over the film's main title credits, which are designed by Robert Brownjohn. Similar to the credits of From Russia With Love, the sequence features projections on the body of a gold-painted girl.

  Barry's score is brassy and raunchy. It has a sassy sexiness to it, personified by muted horns and tuned percussion. In 1964, John Barry was just reaching his prime. His scores for the rest of the series, as well as for other films in the mid- to late sixties, feature his best work.

  The producers achieved a remarkable degree of originality and freshness in Goldfinger (and in the first two films, for that matter). Unfortunately, this was the peak, and although there would be some exciting and interesting moments in future Bond films, none would equal Goldfinger or its two predecessors.

  THUNDERBALL (1965)

  PRODUCTION

  Thunderball, you will recall, is based on an original story by Kevin McClory, Jack Whitlingham, and Ian Fleming. McClory won the film rights to THUNDERBALL in 1963, after a two-year court battle with Fleming and Ivar Bryce, while Fleming retained the rights to his published novel. Meanwhile, during the filming of Goldfinger, Cubby Broccoli and Harry Saltzman were planning the next Bond film (which was to be On Her Majesty's Secret Service). But these plans were dropped when McClory was approached by the producers with a deal to coproduce Thunderball.

  McClory proved to be invaluable to Broccoli and Saltzman in the making of the film. An avid water sportsman, McClory lent his expertise in scuba diving to the production. His many contacts in this field were helpful, and the coproduction was a success.

  The producers decided to make Thunderball even more larger than life than Goldfinger. Allotted a budget of two and a half million pounds, the film emphasizes exaggeration. There are more gadgets, and the technology of the film takes the starring role. As a result, Thunderball is spectacular visually, but this approach has its detrimental effects as well. Beginning with Thunderball, Eon Productions began to lose sight of the James Bond character, as well as the special world created by Ian Fleming. James Bond became a character with no motivation—a man simply manipulated by the technology filling the screen. Credibility also began to go out the window; the James Bond films became something resembling science fiction.

  Thunderball, however, is still better than any of the Bond films produced after 1970. It manages to retain some of the hard edges found in the earlier films. This is most likely due to the film's director, Terence Young, who is back after a one-picture
absence. But even Young was dissatisfied with the film; he admits that it "is not his favorite by a long shot." Thunderball tends to bog down under the weight of its own bigness. Parts of the film are extremely slow moving, the plot is overcomplicated, and the film is too lengthy. Assets of the film include impressive visual effects; underwater photography; a fairly good cast; the most exotic locations yet; a fine John Barry score; and a few moments here and there which stand out as pure Bond.

  The film was made on location in the Bahamas and interiors were shot, as usual, at Pinewood Studios in England. In terms of box office receipts, Thunderball was a phenomenal success.

  SCREENPLAY

  Richard Maibaurn wrote a screenplay based on the novel THUNDERBALL in 1961 when it was considered for the first of Eon Productions' series. These plans were dropped when the title went into litigation, and Dr. No was substituted. In 1964, Maibaum wrote a new screenplay with John Hopkins. The final version of the script is fairly faithful to Fleming's novel, with a few variations.

  Sean Connery with Claudine Auger as Domino on location in the Bahamas for the filming of Thunderball. (Wide World Photo.)

  SPECTRE is back, as is Ernst Stavro Blofeld. As in the novel, the SPECTRE headquarters are in Paris and its cover identity is an organization that locates missing members of the French Resistance, which is credible enough. But SPECTRE would become comparable to a Fortune 500 conglomerate in later films. In From Russia With Love, SPECTRE's headquarters were aboard a yacht near Venice. In Thunderball, Ken Adam's futuristic design of SPECTRE's conference room tends to ultramodernize Fleming's original conception. The script includes the execution of a SPECTRE agent who has been embezzling funds. He is electrocuted in his chair during the meeting. As John Brosnan notes, this is basically a rehash of the execution of Kronsteen in From Russia With Love. (Since the electrocution occurred in Fleming's novel, perhaps the scene in Russia was inspired by the Thunderball execution.) Variations of this type of execution scene would appear in subsequent films.