Born and raised in France, British director Guy Harrison learned his craft as an assistant director apprenticing with the likes of Julien Duvivier (“Anna Karenina” 1948), Carol Reed (“The Fallen Idol” 1948, “Outcast of the Islands” 1951), Orson Welles (“The Third Man” 1949) and John Huston (“The African Queen” 1951). A competent craftsman, he showed early promise with “Manuela/The The Stowaway Girl” (1957) and “A Touch of Larceny” (1961), both of which he co-scripted. But time revealed him to be at his best with spy movies such as the underrated “Funeral in Berlin” (1966) and his four James Bond pictures. Hamilton helmed the superb “Goldfinger” (1964) and reteamed with Sean Connery’s Bond for “Diamonds Are Forever” (1971). In 1973 and 1974, he guided Roger Moore through his paces in Moore’s first attempts at playing 007 in “Live and Let Die” and “The Man with the Golden Gun”. Hamilton’s work in the series demonstrated clearly the director’s economy and cynical wit. Following his Bond… read more
A step down from 'Live and Let Die' but still entertaining. Lee makes a good adversary and the film does have a few good setpieces but it just seems to drag a little and is somewhat anti-climatic. Moore certaintly growing into the part with light comedy and quips becoming more prevalent. Ekland a weak Bond girl easily outdistanced by the appearance of Maud Adams.
Pedestrian, weakly scripted and often plain boring this isn’t Bond finest hour despite the memorable golden gadget, a brilliantly executed car flip and Christopher Lee’s turn as Scaramanga. I was expecting even more overt humour than previously in Live and Let Die and whilst it’s there for the most part it’s quite muted, as is the entire film.
A propulsive survey of scores focusing on the thriller: procedurals, bank heists, neo-noirs, spy films, giallos, and sci-fi mind-games.