Bond and Beyond's Novel Discussion: The Man With The Golden Gun

Reading the same book every Christmas would be huge undertaking for me, considering it's the silly season, but admittedly I do take to personal Christmas traditions. Watching the film is much easier, (and considering it's so closely aligned anyway) and it's something I do every December.

Blunt Instrument wrote:

FieldsMan wrote:

Who's got a first edition of The Man With The Golden Gun? Does it have the Golden Gun imprint? Worth a mint if it does, I imagine. Mine doesn't. 

Not the easiest on camera that chap, is he?  

Solid pair of hands, though.

I fear I kicked off on Golden Gun last night and being the reader I am, almost done. But, been flicking back to make mental notes. Huzzar.

Nice going Hilly! Busy start to December for me, but managed to squeeze in the first chapter. Solid opening. It's nice to get insight into the "machinery" of MI6 for those seeking entry to the service. Rather cinematic I'd imagine, going through the cogs. Almost like a montage (or like how Bond gains access to the opera in QOS) underscored by something like Barry's Capsule in Space or Arnold's Night at The Opera. 

High time for a film to be centred on Maria Freudenstadt.

The line, "Bond was sitting in the same upright posture, The Times still unopened in his hand" evoked an image of Michael Fassbender as 007. Perhaps because he's written as someone a little vacant, and I remember his performance at the end of Jane Eyre, as the now-blind Rochester.

I need to get it finished this weekend. Been slowly reading it when I get time as I want to write an article about the literary Scaramanga.

I'd be interested to read that when it's ready. 

Read the second chapter. Again, highly filmable content, with expanded roles for Tanner, M and Moneypenny. Interesting how M is so reliably protective of Bond when he attempts to kill his superior whereas lately M would write him off when she/he doubts him. 

The mentioning of Burgess and Maclean was a nice touch. Grounds it in the real world to be peppered with colourful characters like Scaramanga. 

Speaking of, the decision to chase after Scaramanga seems a little left of centre here. I understand the reasoning, but sending Bond on an impossible mission didn't quite work out the year before. Bond is less stable than what he was, so to pluck Scaramanga out in a do-or-die scenario seems a little odd. But time will tell.

Well, I'll catch up and say that yes, I do like the machinations of SIS from the fail-safe system in place to root out troublemakers, to M's reading of the Scaramanga profile and whatnot. I reckon Fleming could've written a book solely consisting of a normal day at SIS and it would have been riveting. I like Tanner as always in the books, the fact he says that if it was Bond he would've called him at home and said about having a drink or put me up or some such. That Moneypenny is frightened when Bond walks into M's office or that as soon as it happens, M is subjected to orders by Head of Security. The image of Bond being dragged across offices comatose is quite something. I fear I imagined Lazenby for these scenes. In my take on his post-DAF revenge-fest, I imagined Bond as returning all long haired and bearded (but that would've been best suited for 1971/73 not the novel, here, of around 1964).
I like M's going to Blades (the description of Blades and his times there, the same bottle of Algerian wine) and his curt phrasing of Bond being sent to a battlefield death. You could imagine that, dare I say, in a DAF with Lazenby who has to prove he's still a blunt instrument and not intent on revenge or something like that.
"Better for him to fall on the battlefield. If he brings it off, he'll have won his spurs back again and we can all forget the past. Anyway, that's my decision."
Similarly, his signing of the report: "Action? followed by the italic, authoritative, 'M.'."
Do like Moneypenny standing by him, staring down at him as he writes/reads and wondering whether she loves him or hates him.

As much as post-OHMSS I am a little dismayed by the output, it's good to see a continuity as there was throughout the books (FRWL to Dr No) from OHMSS through to this. Bond's losing his wife causing him to have a decline of sorts, getting sent to Japan which leads to him having amnesia and falling into the clutches of the KGB which leads him to try and kill M.
Whereas in the films, of course, there wasn't really any sense of continuity (I suppose the closest would be CR to QOS).

Again there's Britain's place in the world stage and I can't help but think that even by 1964, Fleming's Bond was more a man of the fifties as much as he has a penchant for JFK. I can't define it, just that Fleming's way of writing I always think of Bond being firmly set in the 1950s. That image of Bond sitting in his undies to read and drink once in Jamaica could easily have been set for Connery though I'm sure it wouldn't have made the grade in 1962. I wondered that if say, Fleming had lived well into the late 1970s early 1980s and somehow kept Bond going (or maybe he would've given up and let the films take the strain) just how Bond would've adapted or seem in books written then.

I forget the exact history of Golden Gun, but as it goes on it feels a bit off. There's repeated uses of 'neat' for various people, which though I'm sure not numerous to some, to me I twigged as I read. I don't recall other repeated uses of a word for things or people in previous books. Unless, unlike this run for TMWTGG, I'm paying closer attention.

Goodnight seems, as she did in OHMSS, pretty much as she ends up in the film of Golden Gun. I don't rate her much sadly. I guess in a literary sense, I had eyes for Miss Moneypenny and Ponsoby.
Though the moment where Bond laughs and says to Goodnight: "You mean it's a whorehouse?", well, that whole paragraph could be Timothy Dalton's delivery ("I'm a horse's arse!?")

Scaramanga's description in the file conjured to my mind how Christopher Lee appeared in Battle in the River Plate, long sideburns and an Hispanic look. Once we got going, I somehow saw Jimmy Dean as Scaramanga. Of the Bond villains, he's okay, I wouldn't say terrifically memorable. Perhaps because he comes after Blofeld in OHMSS/YOLT or the book version is quite different to the film.

I'm up past the train sequence. Forgive the nature of this post. I hit the ground and run.

Fleming's commentary on the East vs West is interesting. Yes Bond is referred to as a "sick man" but you can't help but wonder if Fleming is using Bond as a vehicle to express his own (hidden?) dichotomous view on Soviet policy. Makes me wonder what he witnessed in the lead up to writing TMWTGG. Naturally his rational views bleed through M referring to the Korean war and it makes for fascinating conflict. 

As for continuity, I guess Eon wanted some sort of connection between DN and FRWL in that Klebb's plan is in retaliation to Julius' death, and Sylvia does mention that Bond went of to Jamaica. Much more effective than the CR/QOS forced arc.

Moneypenny, Tanner and M all feel more humanised and rounded here, and there is lots to mine to give these characters more to do in the films in these opening chapters. Even having Moneypenny recognise that Bond isn't right highlights a deeper connection between the pair. And you're right in her not knowing whether she loves or hates M despite her respect for him is interesting. Would have been nice to see Lois work with this kind of material alongside Lee's M. And Tanner's "you cold-hearted bastard" is a good example of his friendship to Bond - a far cry for Kinnear's version. I could see Michael Kitchen's version saying that. 

If only Lazenby came back, what a different DAF we would have had. Might have even been TMWTGG. Curious connection between Scaramanga and The Spangled Mob, too.

I'll endeavour to start reading shortly.

I know Fleming has played with flashbacks in past novels, but they have a different effect here. There's something about the passage of time that I've yet to put my finger on, and its effect on memories. Using something I've just read as an example, Bond's newfound interest in Goodnight having not seen her since before the impossible mission in Japan. Of course it could just be a man having missed out on banging a bird for so long, but there seems to be a preoccupation with memories that became apparent from the earliest chapters ("a storm of memories whirled through his consciousness like a badly cut film...").

But it's nice for Goodnight's reappearance. I like the mundaneness of tailing and waiting around for Scaramanga. And so far, the sugar plot is shaping up nicely. Goodnight's speech about Cuba destroying competitors in order to trade with Russia is the perfect backdrop. I imagine the potential ramifications of a stronger ties between Russia and Cuba against Jamaica's newfound independence from Britain is something to consider.

Interesting to note, as some have, that Bond misses two golden chances to kill Scaramanga -chiefly in the car (the KGB/Gestapo method) out of some lack of confidence or hesitation that the Bond of old might not have had. A product of what happened post-Tracy or of the book being not one that Fleming ultimately finished. I read someplace that it did not benefit from having Fleming do a second draft where finer details are ironed out and sorted.

Hilly KCMG wrote:

Interesting to note, as some have, that Bond misses two golden chances to kill Scaramanga -chiefly in the car (the KGB/Gestapo method) out of some lack of confidence or hesitation that the Bond of old might not have had. A product of what happened post-Tracy or of the book being not one that Fleming ultimately finished. I read someplace that it did not benefit from having Fleming do a second draft where finer details are ironed out and sorted.

Yes, I think it's Fleming's way of showing that he's not a cold-blooded killer and only feels like killing when his life is in direct threat. I know the out-right assassinations in Casino Royale go against this, but this was the furrow Fleming had been ploughing since From Russia, with Love.

I'd imagine that, had Fleming reworked his material that Bond's two opportunities would have stayed, considering that he's still fresh from an ordeal that took even his memory. Not to mention that Fleming needed to pad out the book. Bond from the CR-GF years would have taken out Scaramanga within a couple of chapters. The novel centres on this assignment to get Bond back into groove, so I don't think it's a problem with the story at all.

In fact, I love the simplicity of it all. Bond's obstacles are mostly internal - they aren't giant squids, carpet beaters, Red Grant, an avalanche... It's Bond and his health. It's Bond stripped back, which interestingly is how Bond stripped back should be on film. The world is still coloured with characters like Scaramanga and Goodnight, cyanide pearls and golden guns. Fleming isn't stripping away what makes a Bond book a Bond book, like CR06 did.

True, I do like the mention of the KGB/Gestapo methods. Reminds me of Bond thinking to a colleague's experience at the hands of the Gestapo in I think Goldfinger. Got to feel for Leiter though in these books. Shark bait in LALD and then wrecked in this book. Though this being said, at least Bond continues to be human in these books. Like how his escape from Piz Gloria is driven by nerves or how he loses his mind in YOLT, here he's beaten about and lives, just, to die another day.

Hilly KCMG wrote:

True, I do like the mention of the KGB/Gestapo methods. Reminds me of Bond thinking to a colleague's experience at the hands of the Gestapo in I think Goldfinger. Got to feel for Leiter though in these books. Shark bait in LALD and then wrecked in this book. Though this being said, at least Bond continues to be human in these books. Like how his escape from Piz Gloria is driven by nerves or how he loses his mind in YOLT, here he's beaten about and lives, just, to die another day.

I want to revisit the earlier Bond novels to mine for more examples of this. If Bond reacted as such after the torture sequence in SP, I imagine it could have prompted an interesting end to that film.

I think so. Bond of the books takes the blows and somehow comes back. Like the end of Golden Gun has him in hospital for a while.

I finished it earlier, had to re-read Scaramanga's death. Felt a bit anti-climatic though I guess for who he was, it was a suitable enough death. Found the snake skinning and eating bizarre, but as PK would say that's what Fleming did well.

Just as well Bond turned down the KCMG (the "Katie" to his Charlie Michael George). In a sitcom we had, Yes Minister, someone goes through the awards CMG is known as a Call Me God in Whitehall circles, whereas the KCMG is Kindly Call Me God.

Like the fact Bond and Leiter have never shaken hands and that he's one of Bond's "men friends".

Overall, it's an okay book, doesn't blow my socks off like earlier books or OHMSS but it's what it is.

Blunt Instrument wrote:

Well, from the last time I read it I seem to recall thinking that the literary Scaramanga was a sight more thuggish than the urbane Mr Lee

You're right. Having just finished reading the two chapters following Bond's meeting of Scaramanga, it's hard to imagine Christopher Lee playing this character, partially because Lee is so obviously English and by 1974, too old to play a 35 year old (if a variation of Scaramanga was to appear in a Bond film these days, maybe Armie Hammer could do it?). 

But Fleming created a striking entrance for Scaramanga. The pistol tie clip, the moustache, the shooting down of Joe and May, and Tiffy's ('Artificial' made me smile) reaction to Scaramanga's presence makes him a worthwhile villain in my eyes. 

Hilly wrote:

True, I do like the mention of the KGB/Gestapo methods.

I imagine Fleming would have gone into greater detail in his second draft about the KGB/Gestapo methods, but yes it's a good reminder we're in Bond's world and not a B-grade crime novel.

Hilly wrote:

Interesting to note, as some have, that Bond misses two golden chances to kill Scaramanga -chiefly in the car (the KGB/Gestapo method) out of some lack of confidence or hesitation that the Bond of old might not have had. A product of what happened post-Tracy or of the book being not one that Fleming ultimately finished. I read someplace that it did not benefit from having Fleming do a second draft where finer details are ironed out and sorted.

In the myriad of reasons Fleming tells us for Bond's hesitation is that he'd have to kill the driver. It's a curiosity considering he's introduced himself as Mark Hazard, and since the KGB method of assassination is mentioned, if the Russians ever heard word that Scaramanga was assassinated in such a manner, then surely this method would lead them to believe it wasn't MI6. 

I'm somewhere between feeling like it's Fleming's way to stretch the story out, and his making a valid point as to why Bond didn't assassinate Scaramanga then and there. Perhaps it would have worked better as a short story.

Ian Fleming's Hamlet.

Only a few chapters in, so I'll start engaging in greater detail when I'm done.

In the meantime, boy was Mary Goodnight wrong about the longevity of the Castro regime. Dumb bint.

I've been busy for the past several days so I'm only three chapters into it myself. It's a shame we never got to fully see this M and probably never will onscreen.

Strangways&Quarrel wrote:

I've been busy for the past several days so I'm only three chapters into it myself. It's a shame we never got to fully see this M and probably never will onscreen.

Yep. Bernard Lee would have been perfect in these scenes.

AMC Hornet wrote:

Ian Fleming's Hamlet.

Sound points above, Fields. Don't know why but the Mark Hazard name doesn't sit with me for Bond. As his aliases go but then perhaps I'm thinking too much of Roger Moore's "St. John Smythe" and all that.

Lee being perfect for the scenes puts me in mind why I like his scenes in OHMSS with Lazenby. M has some edge in those scenes that he hasn't had for a while (I think of Dr No mostly, the stuff about Bond's gun and the aftermath). Lee/Lazenby in Golden Gun or Lee/other would've done well.

Maybe in some alternate reality where Lazenby ignored his agent (and his head), did seven films and was followed by Dalton's six...

I did always think Hazard might have made a good villain name. Don't think it should if it's one of Bond's aliases. I always found St John Smythe to be a good cover for Moore's Bond, but David Somerset is the best of covers. Robert Sterling was good also. 

I wouldn't mind the Transworld Consortium name to be used for MI6 at some point in the films. It's purely fan service, but might indicate some kind of interest in Fleming's material. 

Hilly wrote:

Lee being perfect for the scenes puts me in mind why I like his scenes in OHMSS with Lazenby. M has some edge in those scenes that he hasn't had for a while (I think of Dr No mostly, the stuff about Bond's gun and the aftermath). Lee/Lazenby in Golden Gun or Lee/other would've done well.

Lee was suitably so in FRWL and GF too, but you're right in that there's a roundedness to his characterisation in OHMSS. 

While I'd agree, I fear had Lazenby stayed on for a faithful adaptation of TMWTGG, it would have been the end of Bond, since he already had the immeasurable task of replacing Connery. To turn on M would confuse and irritate many an ill-informed fan, I imagine. 

Hilly wrote:

Maybe in some alternate reality where Lazenby ignored his agent (and his head), did seven films and was followed by Dalton's six...

That would take Dalton up to Tomorrow Never Dies, and I just can't accept that, I'm afraid. 

Hilly KCMG wrote:

Don't know why but the Mark Hazard name doesn't sit with me for Bond. As his aliases go but then perhaps I'm thinking too much of Roger Moore's "St. John Smythe" and all that.

Mark Hazard is a very Mickey Spillane sounding name. While it fits a little given this novel is dealing more with gangsters like Diamonds Are Forever did but given Bond isn't pretending to be an American it just doesn't sound all that convincing. St. John Smythe fit very well for AVTAK and I agree with FieldsMan in Somerset being the best cover and more inconspicuous one of them all.

Brainwashed Bond's attempt on M's life is a piece of Fleming that so far has never made it to the screen.

It may not be a popular thing to say, but I reckon Craig could give an updated version a decent go?