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

If it was Craig, I'd imagine it would be a regular weapon, as opposed to the poison spray. But I think they should wait, as Fiennes' M and Bond haven't had enough time to warrant M's choices to help Bond after the assassination attempt. Not to mention he's had a tumultuous relationship with both his Ms so far. 

Perhaps it would be nice if the opening of the next Bond's era to start with the assassination of M by another 00 agent, as suggested by M in TMWTGG ("my predecessor died in that chair for the very reason..." or words to that effect). Bond's assignment would be to hunt down said agent. Then, Bond actor #7's last Bond film could be Bond's attempt on M's life. Nice bookends and continuity during the next era.

Maybe, I'm quietly fond of Fiennes' M. Sure, no Lee or even Brown but he was the best part of Spectre. Having him knocked out so soon would be a shame. Or he goes out with Craig. A few lines of Tennyson, a shootout, end.

I was just thinking out loud; I'd rather Fiennes' M stuck around, too. The military 'steel' is there, but he's prepared to go out on a limb for Bond and he has a nice line in dry (or indeed direct) put-downs ('You really are a cocky little bastard' and 'Well, now we know what the 'C' stands for' being particular SPECTRE highlights for me).

S'pose what I meant was Craig's 'tortured soul' take on Bond seems particularly suited to him trying to kill his own superior.

Absolutely. Perhaps Craig-Bond assassinating Dench's M after QOS might have been the best time. Lazenby and Dalton would have done well, also.

And yes, as long as Fiennes gets dry put-downs and delivers them in his trademark droll fashion, he is welcome to stay, in my eyes.

Currently reading 'Un-real Estate' and it's reading like an early Fleming Bond novel, and the striking dream Bond has is beautifully bizarre and beautifully human. Dream interpretation fascinates me and to have an image and scenario as distinct as cannons is a curious one. A quick google search says cannons symbolise:

- That enemies are colluding against you,
- That one's home/country is in danger of foreign intrusion - which is fitting considering Bond's inner monologue exploring the idea of Scaramanga having a master key to his room, and Bond booby trapping the room with the suitcase and three glasses.
- If no war is surrounding Bond, it signifies a warning of probable defeat.

Of course, all of these are applicable to Bond and makes for interesting reading. Excellent passage.

FieldsMan wrote:

Currently reading 'Un-real Estate' and it's reading like an early Fleming Bond novel, and the striking dream Bond has is beautifully bizarre and beautifully human. Dream interpretation fascinates me and to have an image and scenario as distinct as cannons is a curious one. A quick google search says cannons symbolise:

- That enemies are colluding against you,
- That one's home/country is in danger of foreign intrusion - which is fitting considering Bond's inner monologue exploring the idea of Scaramanga having a master key to his room, and Bond booby trapping the room with the suitcase and three glasses.
- If no war is surrounding Bond, it signifies a warning of probable defeat.

Of course, all of these are applicable to Bond and makes for interesting reading. Excellent passage.

Great stuff indeed, and thank you for your interpretation. I think he has another dream or dreams before the novel ends too, but I've not got that far yet. I remember Amis mentioning the dreams in TMWTGG in his The James Bond Dossier. I don't think he thought they went far enough, though. Whatever, I liked them. It was in fact something John Gardner would continue in his Bond continuation novels.

Bond and dreams cropped up in OHMSS, I always thought it was a wonderfully surreal part to the book. Bond dreaming about his wedding and things after that. Of course, his nightmare in that book was perhaps preferable to the reality he got once he married Tracy.

I don't recall the dream in OHMSS. Will have to revisit that. 

Haven't read The James Bond Dossier, so will have to check it out. Thanks SF.

Blunt Instrument wrote:

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?  

Goldeneye would've been ideal for that; namely, Barbara Ball-Buster's first scene, only the assassination would end up a success.

FieldsMan wrote:

Currently reading 'Un-real Estate' and it's reading like an early Fleming Bond novel, and the striking dream Bond has is beautifully bizarre and beautifully human. Dream interpretation fascinates me and to have an image and scenario as distinct as cannons is a curious one. A quick google search says cannons symbolise:

- That enemies are colluding against you,
- That one's home/country is in danger of foreign intrusion - which is fitting considering Bond's inner monologue exploring the idea of Scaramanga having a master key to his room, and Bond booby trapping the room with the suitcase and three glasses.
- If no war is surrounding Bond, it signifies a warning of probable defeat.

Interesting find.
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I have to say, I think I much prefer the charismatic, quasi-foppish cinematic Scaramanga. Novel Scaramanga comes across as a one-dimensional redneck with magic reflexes.

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 and that saving the world's sugar crop seemed like somewhat of a comedown for Our Man.

Fleming was running on empty by this stage, I think.    

Having just read the chapter where Bond eavesdrops The Group meeting through the champagne flute, the cracks are starting to show, and the sugar crop plot is a comedown. I do think there is promise, with profits being used to fund communist activity, but so far it's a huge contrast to such a strong opening. 

I do wonder how Hendricks know that Bond is after Scaramanga. He says his "superiors", but if that's the KGB then how do they know? Didn't M and Tanner only know about Bond's mission?

Finished a few days ago. Too hungover to articulate thoughts. Stay tuned.

Edging my way closer to the end. Scaramanga has just busted Bond and Goodnight in his room, Bond has talked his way out of it (Goodnight is clearly cleverer here than the film) and now Bond sits, contemplating the day ahead and perhaps his own death. I don't recall Bond so fixated on his own death before, and it makes for compelling reading. Fleming has a way with the final pages of each chapter in this book. They seem to elevate what's just come before.

But there is definitely a primitive quality to this addition. Primitive in its structure and primitive in its ideas, locations, characters. It feels much more like a local crime episode as opposed to international intrigue, but despite that, there are still some striking images conjured to make it appear cinematic - the aforementioned cannon dream, Bond imagining Goodnight sleeping under her mosquito net, Scaramanga  in his shorts and holster pointing the golden revolver to Bond and Goodnight, etc. And I do like the low-key espionage elements, such as the secret passages between hotel rooms. 

What's with the constant referral to 'James Bond'? In the previous novels, Fleming would refer to him as merely 'Bond' with the odd full name thrown in. Here I feel as though I come across his full name more than just his surname. Trivial gripe, but a curious one.

Forgot to post thoughts.

Weakest entry in Flemingdom by far. Practically nothing of any interest occurs between the opening chapters featuring Brainwashed Bond and the brouhaha on the train.

Scaramanga is just never interesting. He has the depth and originality of a daytime TV cowboy villain. The story is unexciting and Goodnight's a non-entity.

Dare I say that the Caribbean setting, whilst understandably synonymous with Fleming and his character, is slightly overused by this point of the series.

Naturally, the weakness of this novel is partly due to the passing of Fleming in the midst of its creation.

On the other hand, I don't mind the ending too much, and it is indeed the end of the James Bond story as penned by Fleming. It's almost rather fitting that Bond, after his many tribulations for Queen and Country, is offered a knighthood and all the more fitting that he turned it down. The "Scottish peasant" quip is a nod to Connery, of course, and doesn't quite resonate with the Bond of the pre-film novels, but nevertheless, the 007 of any era of Fleming's writings was not a seeker of titles or publicity. The closing paragraph about Bond's perpetually hungry cock needing a new bird every week was touchingly sombre.

I like the MI6 good cop/bad cop and the attempted assassination in chapter two, all of which were remixed by Skyfall. Also the scene with Tiffy in the brothel, which is quite affectionate. The rest of Golden Gun is no better than many pulp novels of the period and often much worse.

TMWTGG is a Contractual Obligation novel that has acquired a historical significance it doesn’t deserve.

CJB wrote:

Forgot to post thoughts.

Weakest entry in Flemingdom by far. Practically nothing of any interest occurs between the opening chapters featuring Brainwashed Bond and the brouhaha on the train.

Scaramanga is just never interesting. He has the depth and originality of a daytime TV cowboy villain. The story is unexciting and Goodnight's a non-entity.

Dare I say that the Caribbean setting, whilst understandably synonymous with Fleming and his character, is slightly overused by this point of the series.

Just about to get to the train chapters but the stuff I've just read feature some interesting smaller character moments, but nothing too interesting in the way of plot. The Group seems a little vanilla by Fleming's standards and you're right in that Jamaica does seem a little overused-- and used more effectively in LALD and DN. 

But it is a very easy read and I look forward to reading it. It's no FRWL or MR, though.

AMC Hornet wrote:

Ian Fleming's Hamlet.

I love the entry of Felix and how he has fooled Bond again with a fake identity. But I must admit, that moment when he jumped from the train, for one second I had been thinking that he had defected. Am I the only one who got that impression?
This book illustrates the strong friendship of Bond and Leiter once more and contrasts it quite nicely with Bond's love affairs, which are all doomed to fade into nothingness.

I agree that the book is somewhat lengthy in some passages, especially this evening when Bond is showing off in the end by shooting the pineapple from the entertainer's head. But I still like the book. The last scene when everyone is nodding frantically at Bond that he was to confirm the "truth" is really enjoyable.

Welcome aboard Kath! 

I imagine the book can seem lengthy in certain areas because a lot of it is padding. Bond's assignment is to assassinate Scaramanga, but in one of the recent chapters I read, Bond talks about how he has enough evidence against Scaramanga. I imagine that M's orders to assassinate the man wouldn't be on a whim, so it was odd to read that.

FieldsMan wrote:

Welcome aboard Kath!

Thank you!

Yes, you are right, I totally agree that this is somewhat illogical. Yet, I was wondering if Bond wanted proof to justify this execution to himself? He was never a fan of assassinations, after all, as we learn in FRWL and TSWLM. He is putting this off to justify the killing to himself. He must know that he was given this assignment as a form of punishment or test for his rehabilitation, so he probably wants to make sure that he kills Scaramanga for the right reasons.
I am still not sure what the killing of the two white ravens is about. I mean, this final conclusion that Scaramanga was somehow cursed turns the whole affair into something ironic. After all he has done he is killed in the end for the death of two birds? And after no-one was able to take him down, he is mastered by a girl who cursed him? Why hasn't she cursed him before, BTW? Why did she wait for him to shoot her birds first?
And I found it somehow odd that she never reappears. It looked like she was meant to play a bigger role and was replaced by Goodnight as a female sight-kick.

Secret Files wrote:

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.

Good luck on your article! I can only recommend "The International Journal of James Bond Studies", in case you're still in need of a publisher. As far as I know the second issue is in the make, but there surely will be a third soon.

I'm not sure too much should be looked into the curse. The two ravens' deaths are simply to demonstrate Scaramanga's ability and a means to ascertain his power. His ego was ultimately his downfall, as demonstrated by the chap who fell victim to four wounds to his elbows and knees, who became the topic of Scaramanga's conversation - brag that found its way back to London. 

But I agree about the Bond/Felix friendship. I'm not sure it was ever as prevalent and poignant here as it was in other novels. I wonder if Fleming was impressed by Jack Lord's portrayal in Dr. No - and caught wind of Lord's demands for GF - that he beefed up the role in TMWTGG and brought him Felix deeper in the action. 

As for the final 50 fifty pages or so (that I finally caught up on), it's definitely much more absorbing than the chapters at the hotel. Fleming describes vividly the train and Scaramanga's death which I feel is not only highly filmable, but bizarrely striking. There's something darkly odd about Scaramanga's final moments that I think would be a treat to see lifted for the screen. 

A thought occurred to me about whether Fleming intended TMWTGG to be his final novel anyway. There seems to be heavy focus on birds which, as we know, Fleming derived his protagonist's name from an ornithologist, and this particular line stood out: "with all the birds gone, there was dead silence". Of course we will probably never know the answer, but it's what first popped into mind when reading it. I think had he wanted to continue, he may have shown Bond back at MI6 in a 'business as usual' kind of chapter, but I suppose M's telegram suffices in closing that narrative thread. 

TMTWGG has strong bookends - the opening and final chapters are by far the strongest in the book, and I loved returning to Fleming's voice having been away from it for so long. But given the pantheon of great novels - CR, MR, FRWL, DN, GF, OHMSS, YOLT especially - and short stories, this one neighbours TSWLM for me. And given that TMWTGG is more traditional than experimental, however good TSWLM is, I think Golden Gun edges it out.

I know, I'm late, but we still have some days left! I have a feeling I have too many Fleming projects which keep on piling up, well...anyway, is there such a thing as too many Fleming projects?^^

FieldsMan wrote:

As for the final 50 fifty pages or so (that I finally caught up on), it's definitely much more absorbing than the chapters at the hotel. Fleming describes vividly the train and Scaramanga's death which I feel is not only highly filmable, but bizarrely striking. There's something darkly odd about Scaramanga's final moments that I think would be a treat to see lifted for the screen. 

Yet I am not sure if the atmosphere would actually transfer on the screen. For some reason I find it difficult to imagine this as a film scene...

FieldsMan wrote:

A thought occurred to me about whether Fleming intended TMWTGG to be his final novel anyway. There seems to be heavy focus on birds which, as we know, Fleming derived his protagonist's name from an ornithologist, and this particular line stood out: "with all the birds gone, there was dead silence". Of course we will probably never know the answer, but it's what first popped into mind when reading it. I think had he wanted to continue, he may have shown Bond back at MI6 in a 'business as usual' kind of chapter, but I suppose M's telegram suffices in closing that narrative thread. 

I totally love that. It has never occurred to me before! I had the same feeling, that this was meant to be the final novel. First, there is this climax of a knighthood (even if Bond declines it, because it would be bad for the job, this is a climax!) which points to the end of a journey. Bond could finally earn the fruits of his labor, were it not for his stubbornness. And secondly this last sentence points to eternity, that all relationships Bond will ever have will always fail, simply because he's not meant for a domestic life. Mary Goodnight suggests that she might be cooking and mending his clothes when Bond looses it. I think someone mentioned before that this is a flashback to this nightmare he had about being married to Tracy, domestic life is abhorrent to Bond. So, Bond tries desperately to go on like before, by declining his knighthood, which would be bad for his job and by denying domestic life, but the novel does not actually hint at a continuation of this life. Fleming only points out that Bond wants to continue at every cost, but actually his life seems to go off in a different direction, at least, this is what the last chapter felt like to me.

What kind of Fleming projects? 

Yep, I agree with your assessment.  I think I caught someone here (Ambler?) suggest TMWTGG was a contractual obligation. Maybe this was his way of retiring the character permanently. Maybe it was even his intention with YOLT, having him disappear to Russia on a whim.

He was contemplating 'retiring' Bond permanently as early as FRWL, which is why 007 ends that novel lying on the floor poisoned. But due to public demand, etc.

Like when Conan Doyle killed off Holmes in 'The Final Problem', but his readership was having none of it and Sherlock duly returned.

Makes me wonder if he had somehow managed to end OHMSS with Tracy living. She would likely die in the next book or it would simply end there, the camera lifting up and the car driving into the distance -as it were.

FieldsMan wrote:

What kind of Fleming projects? 

Yep, I agree with your assessment.  I think I caught someone here (Ambler?) suggest TMWTGG was a contractual obligation. Maybe this was his way of retiring the character permanently. Maybe it was even his intention with YOLT, having him disappear to Russia on a whim.

I just try to keep track with several discussions and I had to add some finishing touches to an article. :-) And I had to re-watch a movie I have written a review about which is Bond-ian. I had a feeling I might have been mistaken, but I wasn't. And tonight they broadcasted Casino Royale on TV. I'm doomed, see? And I still have not ranked the movies. How a Bond movie kept me from ranking Bond movies...

I'm not sure if Bond disappears to Russia on a whim. Maybe we can save that for the upcoming YOLT discussion, but I have a feeling there's a purpose behind Bond's amnesia. I mean, apart from the very comical effect that he has forgotten how to make love.

BluntInstrument wrote:

He was contemplating 'retiring' Bond permanently as early as FRWL, which is why 007 ends that novel lying on the floor poisoned. But due to public demand, etc.

Like when Conan Doyle killed off Holmes in 'The Final Problem', but his readership was having none of it and Sherlock duly returned.

I totally agree. But I think, in the case of Holmes, there really was a "public demand" in the meaning of public protests. In the end they made Conan Doyle an offer he could not turn down, because the sum was so extraordinary. But what would you offer someone like Fleming? A second mansion in Jamaica?

HillyKCMG wrote:

Makes me wonder if he had somehow managed to end OHMSS with Tracy living. She would likely die in the next book or it would simply end there, the camera lifting up and the car driving into the distance -as it were.

I actually think that Tracy was TOO perfect. So it's the same problem as with Romeo and Juliet. Perfect love must die or it will loose its perfection in the every day life, at least for Bond. Bond would never have adapted to a domestic life. And, I am afraid that Madelaine Swann will either disappear or not live for much longer. As far as I know something about "Japan" has leaked for 25 which strongly hints at her death, I'm afraid.