Normally, we’d have waited to do a post about The Man With The Golden Gun’s 40th anniversary. But with this week’s passing of co-director of photography Oswald Morris, this is as good a time to examine the ninth James Bond film.
Let’s face it: Golden Gun doesn’t get a lot of love among James Bond fans or even professionals. It’s exhibit A when the subject comes up about 007 film misfires. Too goofy. Too cheap. Too many of the crew members having a bad day.
Over the years, Bond fans have said it has an average John Barry score (though one supposes Picasso had average paintings). It has too many bad gags (Bond watches as two teenage karate students take out a supposedly deadly school of assassins). And, for a number of first-generation 007 film fans, it has Roger Moore playing Bond, which is bad it and of itself.
Golden Gun is a way for fans to establish “street cred” — a way of establishing, “I’m not a fan boy.” The 1974 film is a way for the makers of 007 films to establish they’re really talking candidly, that not every Bond film has been an unqualified success.
The latter point is true enough. Golden Gun’s worldwide box office plunged 40 percent compared with Live And Let Die ($97.6 million versus $161.8 million, according to THE NUMBERS website). Within a few weeks of its December 1974 U.S. release, United Artists hurriedly paired Golden Gun with Thunderbolt and Lightfoot, which UA released earlier in 1974, to make a double feature.
In terms of long-term importance, Golden Gun was the finale of the Albert R. Broccoli-Harry Saltzman 007 partnership. Saltzman would soon be in financial trouble and have to sell out his share of the franchise to United Artists. In a way, things have never really been the same since.
This is not to argue that Golden Gun is the best offering in the Eon Production series. Rather, in many ways, it’s the runt of the litter that everybody likes to pick on — even among the same people who’d chafe at criticism of their favorite 007 film.
The documentary Inside The Man With The Golden Gun says the movie has all of the 007 “ingredients.” Of course, such a documentary is approved by executives who aren’t exactly demanding candor. But the statement is true. It has not one, but two Oscar winning directors of photography (Morris and Ted Moore); it has a score by a five-time Oscar winner (Barry); it is one of 13 007 movies Richard Maibaum contributed writing.
Then again, movies sometimes are less the sum of their parts. It happens. Not everyone has their best day.
For many, Golden Gun is a convenient piñata. Despite some positives (including a genuinely dangerous driving stunt), it’s never going to get much love in the 007 community.
Filed under: James Bond Films Tagged: | Albert R. Broccoli, Harry Saltzman, James Bond Films, John Barry, Oswald Morris, Richard Maibaum, Roger Moore, Ted Moore, The Man with the Golden Gun, Thunderbolt and Lightfoot, United Artists