Goldfinger : A Double 0 Blast from the Past

My Mother watching me open a Bond Attache Case on my Birthday in 1966

One of the bloggers I follow is reviewing films in his library in alphabetical order. I've been enjoying his posts and have responded to several of them. He recently posted on Goldeneye, the 1995 reboot of the James Bond film series. So I am anticipating a great look at Goldfinger next. I did not think it would be right to put all my comments on his page since they are likely to be lengthy, so I decided I would create my own post and link it from his site. I will also link his post when it goes up here. I do all of this because when all is said and done, Goldfinger is my favorite James Bond movie. Double 007, is a character that I have followed since I was seven years old. Bond is my heroin, I need another injection as soon as possible because the rush makes me incredibly happy. Later this year I will get a fix when 007 returns in Skyfall, but for now, let's stick to the classic cream of the crop.

My favorite Bond novel has always been "From Russia with Love". I read it dozens of times and I loved the movie version. So how is it that a great movie made from my favorite Bond novel falls to second place behind this particular film? It is simple, "Goldfinger" defined what James Bond would be for most of the world. This was the movie that exploded into the public consciousness, this was the story that took Bond from being a secret agent to being an icon.  This was one of the most audacious acts of film making to ever become a mainstream hit. For it's time, (and in my opinion for all time), it invented the modern action film. Sure there had been other movies that featured spectacular action sequences, but none had the personality of James Bond. While at times the movie has it's tongue planted firmly in it's cheek, it also keeps us in suspense and creates a realistic scenario for the most outrageous storyline imaginable, a robbery of the gold depository at Ft. Knox. Mainstream films had not seen the amount of sexuality on the screen that Bond made standard for most films that have come after. When your hero manages to turn a lesbian criminal into a hot blooded last minute hero, you know you are approaching epic chutzpa.

Goldfinger was the template for most Bond films for the next twenty five years. There was a main villain, a series of women who may or may not be reliable allies, a secondary villain/henchman, sexual innuendo galore, and gadgets. The greatest gadget James Bond ever had in the movies was the Aston-Martin from this picture. When "Q" points out the ejector seat, Bond himself replies "you're joking".  When we get to see the car in action, midway through the movie, we are treated to three minutes of pure cinema joy, topped off by seeing the ejector seat actually being used. Even with all of it's tricks though, the car can't save Bond, and like in most of the books, he has to rely on his personal strength, ingenuity and charisma to achieve victory.  There is a lot of humor in Goldfinger, but never so much that we forget we are watching a real story. The over the top gags in the pre-title sequence, never make you feel like it is a comedy, they just punctuate the mood with the right amount of sly humor and fun that any film goer should want. I remember how in "Goldeneye" Pierce Brosnan tries to pull off some of the sexual puns that Connery drops without effort. What was breezy and a little bit naughty in "Goldfinger" was a lot less easygoing and a lot more vulgar in "Goldeneye". The most recent Bond films have been very serious, which is nice for those of us who want a real spy movie, but It leaves something to be desired still for those who want the "James Bond Experience".
 

There are a couple of additional elements to mention that make Goldfinger the top Bond film of all time. The image of Shirley Eaton, splayed out on the bed, naked but covered in shiny gold  paint, will certainly leave a deep impression. It is sexual and deadly at the same time. That is what Bond has always been about.This became another iconic image from the movie series and perhaps next to the gun-barrel title view of Bond, the most recognizable visual image from almost any movie. It was featured on the film's poster, on magazine covers, and in parodies ever since. It is a backdrop for the titles of the film as well. And since I have just mentioned Miss Eaton, I'll share an image with you that should make you all a little jealous.  The image here is of a custom printed poster painted for a group that sold these types of Bond memorabilia. It is hanging on the wall in my family room right now with about eight other posters from the Bond movies, but if you enlarge it a little you will see that in addition to the artist signature on the print, it has the signature of the golden girl herself. 

The other element that so defines Bond, one that was created with this movie, is the Title song and the score by John Barry.  Shirley Bassey belts out a smoky, power ballad with enough imagery and force that the world of 007 would never be the same. Every Bond film since has chased the magic of this title tune. Some have come close, but none can match the lasting impact that this song had. John Barry was previously responsible for music in the Bond films, and he largely created the sound of the Bond theme although the writing credit goes to Monte Norman. This song, and the score of the movie prove that Barry was the real creative genius behind the music of James Bond. He scored many more of the Bond films and his contribution to the movie series cannot be overstated.




Goldfinger was also the start of the marketing of the James Bond image. His character is used in TV commercials, radio ads, magazine layouts, newspaper stories and a variety of tie ins that are hard to imagine. There were Bond toys, collector cards, dolls, books galore. Long before I saw the movie (I did not see it in it's initial release), I knew the story and the characters because I collected the bubble gum cards and read about the movie in fan magazines. Some of you will hate this, but if you ever get a Movie tie in cup at a fast food franchise, or a toy in a kids meal, or an adult collectible from the movies, you probably can blame Goldfinger, this is the movie that started all of that.

The story of the Bond explosion as a cultural phenomena equal to Beatlemania, is explored in a couple of the Laser disc versions of the movie. There is a rare Criterion Laser disc that I don't have, which covered the subject in detail, and then there was the MGM disc that came out (and may have been the reason the Criterion Version was pulled from shelves). It was an elaborate multi-disc set, and the documentaries on it may be found on the DVDs but I have not double checked. Just as an addition to the marketing of James Bond through Goldfinger, take a look at this photo:

That is the beach towel that covers my office chair and that I sit on every time I am posting to this blog. Those of you who are purists about movies will probably hate this, but to me the movies are not just about the film but the Zeitgeist of the event and my own personal memories. They are hard to separate from one another. I hope you have enjoyed this trip down memory lane, and if any of you wish to dispute that Sean Connery is the best James Bond, go buy another lottery ticket, because you clearly live in a fantasy world.

A March Madness Bracket for the Non-Basketball Fans

The Hunger Games

It is rare that a book series that is aimed at young adults, addresses themes as effectively as The Hunger Games Series attempts to do. While the books have the trappings of a young love story, they are much more dark than might originally appear. The world in which these characters live is actually one of brutal fascism, designed to benefit one group at the expense of the rest of the world. The back story of a rebellion that failed is the groundwork for a set up of a merciless contest designed to bring the defeated to their knees repeatedly each year. None of the original combatants still remains, but their descendants will bear the burden of the combat in this dystopian  story. The movie made from the books harkens back to storytelling of earlier science fiction films. This movie has action and some dramatic visuals, but what it mostly has are some big ideas and an actress and character that we will want to follow.

When I read the Hunger Games I was impressed with how moving some elements of it were. I visualized the sacrifice that the main character was making and from then on I was hooked. There are several strong moments in the film that bring those emotions to home immediately. The fear and courage that comes at the reaping ceremony does exactly what it needs to. We have a heroine who steps forward not out of pride or fear but out of love. The kind of self sacrifice that the fascists in charge may ultimately rue. Speaking of Rue, there is another character that is important to the story. Our lead identifies with another contestant, one that reminds her of her vulnerable younger sister. Katniss, the hero of this story develops the kind of empathy that might lead to trouble for the hierarchy of the existing social order. We don't get to know most of the children who are being forced into this death match, but there are times when we can see that many of them have the qualities that suggest they have not accepted being stepped on for seven decades. While they are not yet rebellious they do have questions and needs. Certainly there are cutthroats among them, but that is to be expected. What is surprising is the hollowness of each victory over another one of the tributes. When there is glee, it is almost always a show for others, on their faces, when alone there is despair.

The movie has the pacing of a traditional science fiction narrative from the fifties or sixties or seventies. It is not frantically forcing us forward from one scene to the next. Characters are given time to respond to events and process them. We focus only on two main characters, but their story is the backbone of the suspense in the movie. For example,we don't  see the whole flashback that plants the seeds of their relationship all at once. It plays out in moments revealed over a stretch of time. The romance does not blossom from the first but is tentative and perhaps not even real. The battle is not staged continuously, but in starts and fits. We keep the point of view of our heroine and are not invited into multiple scenes of the others managing alliances and resources. While we sometimes see shots of the viewers and managers of the games, they are usually brief, and the story of the will of the two leads is what moves us into the last conflicts. In the book, the political forces are much more in the background but in the film they come forward more clearly. The role of President Snow in playing out the games is beefed up and benefits from the casting of Donald Sutherland. He can play rogue, snake , or charmer with the best of them. His voice carries both venom and sincerity at the same time, marking him as a more important character than we might believe from this first story. Katniss does not learn the politics of the game quickly, but in time we can see Jennifer Lawrence'  facial expressions convey a growing wisdom. For the climax to work, we have to believe she has figured out the way politics work in this futuristic world. She is not an invincible foe who conquers all comers, she is lucky and clever, and ultimately has the biggest heart of anyone on the screen, even if she tries to keep it hidden.

For almost an hour we get a slow build to the game at the center of the story. Like films of old, we are given small amounts of information along the way. Everything is not clear from the beginning but we get what is needed by the time we require that information. There is a dramatic visual look to the movie but we are not lingering over that look. The odd dress and manner of the residents of the Capital, are not shown to provoke a reaction from the audience, they suggest a culture that has gone to lengths to find diversion from the reality of their empty existence. The idea is to contrast the lifestyles of the dominant Capital residents with those of the subjugated districts. The inequities that exist here are not a result of hard work and enterprise, but rather the consequence of the power that is wielded so brutally against the other districts. The bread and circuses for the district residents, divert them from paying much attention to the social system that they benefit from. The forced sacrifices of the outer districts, reminds them of the order of things. The screenwriters and director however have sown the seeds of future stories by showing that there are limits to how far a people can be pushed. Katniss shows compassion and honor for one of her rivals, and it suddenly becomes clear that they are not all enemies, and they all have the same oppression to face. Just as there is an emotional surge when Katniss steps forward to take the place of her sister, there is a nicely timed emotional eruption when she honors a competitor with a salute that undermines the point of the games. The game designer gets justly blamed for a number of mistakes in the proceedings, but having no seven second delay built into the broadcast means that the control of the emotions is actually in the hands of the competitors. Katniss figures this out and uses it to her favor in several spots.

The one major flaw in the film from my point of view is the use of a shaky cam technique in the set up in that first hour. Usually that tool is used to build energy into action scenes, and to make the choreography of a fight scene pop. Here, it is used to suggest energy and tension in the slow build segment that comes prior to the tributes arrival in the capital. I thought it took us out of the story. It is rarely used in the more traditional action sequences in the rest of the film. There were a couple of chase scenes but most of the time, the camera is still as Katniss, Peeta, and Rue develop in the battle. The more traditional editing and camera work help in the confrontation with Cato, the antagonist from another district toward the climax of the film. Other technical aspects of the film work better. There is CGI but it is very limited to the Capital City shots and a couple of the challenges the contestants face. It is relatively subdued compared to most modern science fiction based stories.  The music sounded like it fit the coal mining district that our leads come from. It would not be out of place in an episode of "Justified" or in the film Jennifer Lawrence was nominated for last year, "Winter's Bone". The supporting performers are well cast and give just enough energy to the proceedings without going over the top. Stanley Tucci is both exploiting and supporting the combatants in the role of host for the games. Toby Jones who was in the other Truman Capote film a few years ago, and was excellent in Tinker, Tailor, Soldier, Spy" just last fall, could have been over the top, but he is used just enough for us to get the sense of entitlement of the Capital City viewers. Wes Bentley's mustache and beard do most of the acting for him, but there is a nice expression on his face when the outcome of the games becomes clear and he must face his consequences.

You know whether or not this movie is for you, if you read the books and respected them. This is not the soap opera that so many young adult stories entail. It is also not the twelve round mortal combat bloodsport that an exploitation film maker might turn this into. It is a work that reminds me of the original "planet of the Apes". It moves slowly forward, steams out information and character as needed, contains several action sequences that are not overdone, and asks some pretty important questions about us as human beings. I liked this movie a lot and I think I respected it even more. My guess is that you will as well if you take a chance and watch it with an analytical mind as well as a romantic heart.

Turner Classic Movies Presents Casablanca 70th Anniversary Event

Turner Classic Movies Presents Casablanca 70th Anniversary Event





There is no reason to go into detail or review the story of this classic film. If you need that kind of information you are on the wrong site. What kind of person are you who would not know and love this movie? I'm not sure I want to know. I can say that once again the movie was the pure delight that it has been since I first saw it when I was eight years old. It would be twenty two years old when I saw it on a Sunday afternoon movie program, probably KHJ TV channel Nine here in the Los Angeles area. In those days old movies were the backbone of the local channels, back before they started buying re-runs of TV shows, strip programming of game shows, and daytime talk shows. Only the network affiliated stations could afford original programming like soap operas, so the locals usually played movies from packages they had leased or that belonged to their parent companies. KHJ was an RKO station and probably had the rights before all the repackaging and corporate mergers turner small time outfits into branches of the mega firms. Sundays in the 1960's were filled with Bogart Flynn, and Cagney movies. Musicals were offered but were frequently cut down to fill time slots. With a strong narrative like this, there was too much danger in cutting things out so the time slots would be adjusted to get all of the movie in.

Robert Osborne with an Intro to the Film.

My parents almost named me Laura May, but since I wasn't a girl they nearly defaulted to Kit Carson. I lucked out and they finally decided on the name of the main character from their favorite movie, I became Richard (usually Rick to them) because of Casablanca. Bogart and Bergman are so terrific in this that many other performances might be overshadowed. I noticed two great sequences where Ingrid Bergman does all the acting with her eyes and mouth, no dialogue, no gestures, just her face, and what a face. One of those scenes is where she is watching her husband Victor Laszlo take over the room and order the playing of the French National anthem in response to the Germans boisterous Deutchland Uber Alles. She is amazing, but what many will miss is how good Paul Henried is in that scene. You can feel the passion he brings to the cause as you read her eyes and know that it was hero worship that lead her to marriage with him, not sexual passion. He sometimes comes off as a wet blanket but if you are watching, you know how good he had to be to overcome the great love story at the heart of this movie.

I guess I should not suggest that Claude Rains would be overshadowed, after all next to Bogart himself, he had the best lines in the film. His stammered thank you upon receiving his winnings after claiming to be shocked about the gambling is hysterical. There are so many casual asides with Bogart and the evil Major Strasser, that an inventory would be pointless, but pay attention to the playful way he gives those lines or the gleam in his eye as he looks at another potential romantic victim. He is the most lovable cad in the history of movies, because he plays the part not as a letch, but as if he were really interested in all the women he exploits. He is charmed by Bergman's beauty, envious but not licking his lips like a wolf. Of course he turns out to be the ultimate hero by choosing sides like Bogart does when his ability to ignore the tragedy going on in the world finally runs out.

Two films never leave me dry eyed. Along with "It's a Wonderful Life", "Casablanca" pretty much guarantees waterworks from me. As Rick sits in the dark of his bar, in the most distant place he could retreat to, his forlorn curse about encountering Ilsa again is heartbreaking. When Rick tells Ilsa that they will always have Paris, it is a grown up response to the sad dilemma they find themselves in. It also means that we have to suck it up and accept that they will never be together. That is tough because that is what we all want ultimately.

The event last night wasn't sold out but it was at 80% capacity and everyone was happy to be there. The other eleven theaters were not doing any business but a seventy year old film, still managed to bring in a crowd on a Wednesday night. It was my wife's birthday and she seemed happy to be spending it in our favorite club, after all Everybody comes to Ricks.