TMWTGG-a few questions

Just some things that came to mind when viewing recently:

1. WHY NOT EXAMINE THE BULLET THAT WAS SENT TO MI6?
2. WHO THE HELL ARE THE GOONS IN THE NIGHTCLUB AND DO THEY JUST GO AROUND ATTACKING EVERYONE?
3. Why in the hell is 007 so pissed off throughout?? Probably because he doesn't like being on the other end of the scope, but Roger is beyond distant.
4. What is going on in the office to make M so crusty?
5. Hip is used far too little.
6. Barry's score is wonderful.
7. They should have run with the gritty Eastern/kung-fu vibe a bit more and delved into 70's Hong Kong.
8. Why are all the women so tepid and stupid?
9. I'm always surprised Goodnight doesn't turn right around and walk smack into the sliding glass door of the hotel.
10. The film isn't too long, so why the hasty recut of the final sequence? It makes the film lose a lot of impact and also Scaramanga's games seem idiotic without the cat and mouse elements.
11. Why do Hai Fat's goons not question their boss's sudden resignation by gunshot?
12. If Fat built the power station for selling off to bidders, why did Scaramanga get to build his madhouse there?
13. Are there not AMC dealers stateside? IDK but the last thing I'd want to do on vacation abroad is deal with foreign car salesman trying to rip me off on domestic cars in a different language.
14. Can we just have the Wint & Kidd & Nick Nack movie?
15. The Bond-Scaramanga dynamic should have been fully exploited. Lee is beyond himself with delight in getting a role that doesn't involve typecasting.
16. Couldn't Kra have just slipped and knocked Goodnight over instead? Whoops.
17. Mankewicz outdid himself with the one liners.

The most low key of the series has its elements, but only true fans can get to them easily. The LALD mold is visible, as is the on set turmoil.

hegottheboot wrote:

Barry's score is wonderful.

I agree with this. The title song for this movie has been critisiced a lot; I agree that the song itself is weird - but catchy, IMO -, but I think that the instrumental cues used in the film score are beautiful.

Bond to Macau is also an excellent rendition of Bond theme, though I'm not too keen on the strings arrengement of Bond theme used in "Let's go get 'em" (I don't hate it, it's just that I think the classic guitar would have worked much better).

I can only address Questions 1, 2, 11 & 13:

1: Good point. My guess is that the bullet Andrea sent wasn't made by Lazar, so Q & Colthorp wanted to compare it with a bullet that was known to have been fired by Scaramanga. Don't ask me why.

2: I'd say Baldy was the club owner, and was jealous of anyone that Saida even looked at.

11: Two words: Would you?

13: J Dubya, the quintessential ugly American abroad, was drawn to something reassuringly familiar: a sign in English advertising American Motors. Perhaps he decided to check out that year's models, and maybe recommend them to the Loouisiana State Po-lice to replace all the Chevys that got totaled the year before?

Personally, I'm grateful for the nightclub goons ... the dressing-room punch-up is probably Gun's best action sequence.

"Not from where I'm standing."

Bond jumping onto the Queen. Presuambly if it hadn't been a MI6 HQ he'd wait for the next junk to Macau.

Song isn't all that unfortunately. Didn't Alice Cooper do one for Golden Gun or did I dream that?

'Alice Cooper wrote a song titled "The Man with the Golden Gun" to be used by the producers of the film, but they opted for Lulu's song instead. Cooper released his song in his album Muscle of Love' - from the film's Wiki page.

Blunt Instrument wrote:

'Alice Cooper wrote a song titled "The Man with the Golden Gun" to be used by the producers of the film, but they opted for Lulu's song instead. Cooper released his song in his album Muscle of Love' - from the film's Wiki page.

Aha, thanks Blunty. I'll have to go check it out for curiosity's sake.

Blunt Instrument wrote:

Personally, I'm grateful for the nightclub goons ... the dressing-room punch-up is probably Gun's best action sequence.

I thought this too, until I saw the film crew's reflection in the mirror…

My question is: why the slide whistle during one of the best stunts in the franchise?!!?

From what I've read, that was actually John Barry's idea.

hegottheboot wrote:

14. Can we just have the Wint & Kidd & Nick Nack movie?

Brilliant idea. The first time I got booted off MI6 was for proposing that Wint & Kidd host a children's TV show. The BBC went with Sir Jimmy Saville instead and look how that turned out.

The children would have been so thrilled.

hegottheboot wrote:

Just some things that came to mind when viewing recently:

1. WHY NOT EXAMINE THE BULLET THAT WAS SENT TO MI6?

Never thought of that.

He Got The Boot wrote:

2. WHO THE HELL ARE THE GOONS IN THE NIGHTCLUB AND DO THEY JUST GO AROUND ATTACKING EVERYONE?

Assumed they were just club bouncers.

He Got The Boot wrote:

3. Why in the hell is 007 so pissed off throughout?? Probably because he doesn't like being on the other end of the scope, but Roger is beyond distant.
4. What is going on in the office to make M so crusty?

Agreed that the main office cast is "crusty. It's very noticeable and fits in with the rest of the film feeling out-of-synch and lower-tier. I would say, though, that Roger's conversation with Scaramanga over dinner was his finest performance in that film.

He Got The Boot wrote:

11. Why do Hai Fat's goons not question their boss's sudden resignation by gunshot?

Why does Scaramanga even want a power station? Seems odd that a man who built his life on being the world's best assassin would want to go reputable by running a power franchise.

Scaramanga wrote:

14. Can we just have the Wint & Kidd & Nick Nack movie?

You know, a rogue's gallery of villains teaming up against Bond in "25" might not be a bad idea. I wouldn't mind seeing modern-day versions of Wint and Kidd, or seeing SPECTRE hire Scaramanga.

No matter how many times I watch it, it never fails to disappoint me. Everything about it feels flat; the title song is atrocious, and Lulu seems to be one of the forgotten title singers (her name is rarely mentioned in articles that discuss the music of James Bond; it's as if she never happened). Sheriff Pepper is out of place, the AMC doesn't belong, the lead villain is not particularly threatening, the sub-plot with the Solex a major snooze....there's just nothing at stake here. Even the premise of the world's two best assassins doesn't pay off. If EON ever wanted to remake this film, they should hire Stephen Hunter to consult, it not outright pen the screenplay.

Walecs wrote:

I agree with this. The title song for this movie has been critisiced a lot; I agree that the song itself is weird - but catchy, IMO -, but I think that the instrumental cues used in the film score are beautiful.

Its a good song, but it doesnt fit very well with the actual movie.

From the song:
"Love is required whenever he`s hired,
It comes just before the kill,"

Does that mean that Scaramanga hooks up with every guy or girl that he takes a contract to kill? Did anything happen offscreen in the funhouse at the start of the movie, before he kills that guy? What were his plans for Bond?

KingCobra686 wrote:

Its a good song, but it doesnt fit very well with the actual movie.

From the song:
"Love is required whenever he`s hired,
It comes just before the kill,"

Does that mean that Scaramanga hooks up with every guy or girl that he takes a contract to kill?  Did anything happen offscreen in the funhouse at the start of the movie, before he kills that guy?  What were his plans for Bond?

Fashionable before Silva came along.

On point 13 of the original post, I know why Sheriff Pepper was shopping for an American Motors car whilst on holiday.

It's called product placement.