Goldfinger’s ‘secret sauce’

Iconic publicity still for Goldfinger with Sean Connery leaning against the Aston Martin DB5.

Almost 60 years after it debuted, 1964’s Goldfinger remains one of the landmarks of the James Bond film franchise. But why was it?

The series made by Eon Productions and released by United Artists had two solid financial successes with Dr. No and From Russia With Love. But Goldfinger took everything up a notch or two or three.

What was the “secret sauce”?

Maybe it was the choice of the source material by Ian Fleming.

Eon had multiple options for proceeding after From Russia With Love. The Fleming novels Live And Let Die and Diamonds Are Forever were available. Eon had the rights to other Fleming short stories.

But, at the end of 1963, the cinematic Bond was ready to break out. The film franchise was ready to take on a larger-than-life story. There were elements of that in the first two films. Eon had passed on the giant squid of Fleming’s Dr. No novel. Regardless, Fleming’s Goldfinger novel had even more.

A robbery of Fort Knox. One of Fleming’s best villains. A henchman who hadn’t been seen before?

The filmmakers expanded upon Fleming’s vision. The author’s buzz saw was replaced with a laser beam. Fleming’s Aston Martin DB3 was replaced with an even more elaborate DB5.

In 2014, the blog raised the question of whether Goldfinger was the first A-list comic book film.

Sometimes, it’s just timing. Almost 60 years later, there’s no way to be sure.

My guess, selecting Goldfinger to be the third film was a choice that attracted U.S. audiences.

The selection may have been a simple business choice. The story would have more U.S. scenes, a way to capture American audiences.

Regardless, it was one of the best choices Eon and UA ever made.

Live And Let Die’s 50th: The post-Connery era truly begins

Live And Let Die's poster

Live And Let Die’s poster

Adapted from a 2013 post
For the eighth James Bond film, star Sean Connery wasn’t coming back. Three key members of the 007 creative team, screenwriter Richard Maibaum, production designer Ken Adam and composer John Barry, weren’t going to participate. And producers Albert R. Broccoli and Harry Saltzman were mostly working separately, with this movie to be overseen primarily by Saltzman.

The result? Live And Let Die, which debuted in 1973. It would prove to be, financially, the highest-grossing movie in the series to date.

Things probably didn’t seem that way for Eon Productions and United Artists as work began.

They had no Bond. Broccoli and Saltzman didn’t want Connery back for 1971’s Diamonds Are Forever. The studio didn’t want to take a chance and made the original screen 007 an offer he couldn’t refuse. But that was a one-film deal. Now, Eon and UA were starting from scratch.

Eon and UA had one non-Connery film under their belts, 1969’s On Her Majesty’s Secret Service. They had tried the inexperienced George Lazenby, who bolted after one movie. For the second 007 film in the series not to star Connery, Eon and UA opted for a more-experienced choice: Roger Moore, former star of The Saint and The Persuaders! television shows. Older than Connery, Moore would employ a lighter touch.

Behind the camera, Saltzman largely depended on director Guy Hamilton, back for his third turn in the 007 director chair, and writer Tom Mankiewicz. Mankiewicz would be the sole writer from beginning to end, rewriting scenes as necessary during filming. In a commentary on the film’s DVD, Mankiewicz acknowledged it was highly unusual.

Perhaps the biggest creative change was with the film’s music. Barry had composed the scores for six Bond films in a row. George Martin, former producer for The Beatles, would take over. Martin had helped sell Saltzman on using a title song written by Paul and Linda McCartney. The ex-Beatle knew his song would be compared to the 007 classic title songs Barry had helped write. McCartney was determined to make his mark.

Albert R. Broccoli and Harry Saltzman pose with their new star, Roger Moore, during filming of Live And Let Die

Albert R. Broccoli and Harry Saltzman pose with their new star, Roger Moore, during filming of Live And Let Die

Saltzman liked the song, but inquired whether a woman singer would be more appropriate. Martin, in an interview for a 2006 special on U.K. television, said he informed Saltzman that if Eon didn’t accept McCartney as performer, the producer wouldn’t get the song. Saltzman accepted both.

Live And Let Die wasn’t the greatest James Bond film, despite an impressive boat chase sequence that was a highlight. The demise of its villain (Yaphet Kotto) still induces groans among long-time 007 fans as he pops like a balloon via an unimpressive special effect.

Sheriff J.W. Pepper, up to that time, was probably the most over-the-top comedic supporting character in the series. (“What are you?! Some kind of doomsday machine, boy?!”)

But Live And Let Die is one of the most important films in the series. As late as 1972, the question was whether James Bond could survive without Sean Connery. With $161.8 million in worldwide ticket sales, it was the first Bond film to exceed the gross for 1965’s Thunderball. In the U.S., its $35.4 million box office take trailed the $43.8 million for Diamonds Are Forever.

Bumpy days still lay ahead for Eon. The Man With the Golden Gun’s box office would tail off and relations between Broccoli and Saltzman would get worse. Still, for the first time, the idea took hold that the cinema 007 could move on from Connery.

Many editors at the former Her Majesty’s Secret Servant website criticized the movie and its star in a survey many years ago. But the film has its fans.

“I vividly remember the first time I saw one of the Bond movies, which was Live And Let Die, and the effect it had on me,” Skyfall director Sam Mendes said at a November 2011 news conference. Whatever one’s opinions about the movie, Live And Let Die ensured there’d be 007 employment for the likes of Timothy Dalton, Pierce Brosnan, and Daniel Craig.

FEBRUARY 2012 POST: LIVE AND LET DIE, A REAPPRAISAL

JANUARY 2010 POST: 1973: TIME PROFILES THE NEW JAMES BOND

JANUARY 2010 POST: 1973: TIME CALLS 007 A `RACIST PIG’