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An underrated and forgotten thriller that offers something authentic to a contemporary audience. It stands out for its unique backdrop and realistic, gritty feel - not a surprise given its credentials: Directed by Peter R. Hunt, who also helmed the similarly non-gimmicky, On Her Majesty's Secret Service, and produced by Michael Klinger, the man behind Get Carter. Roger Moore is largely an 'average' man, playing against type: a womaniser yes, but an under-achiever set up to take a fall. The rest of the cast is good, including Suzanna York, who holds her own in a well-rounded female role. An ideal match for Moore, their relationship is grown-up and believable. Ray Milliand is the dominant, straight-talking patriarch. John Gielgud, Bradford Dillman and Tony Beckley are all excellent in their different ways as the bad guys.

Unlike similar movies of the time, the production values hold up well, in part due to being filmed on location in South Africa, with a lack of green screen. In the mine scenes, you feel like you're under the ground - it's oppressive and claustrophobic - because that's where it was partly shot. That contrasts well with the action above ground, including some spectacular aerial work. The plot is fine, occasionally lacking pace, but engaging and entertaining, giving an insight into the gold industry and market. There is little social commentary: one of the villains of the story is a white racist; one of the heroes, a black man; there is a shadowy London-based elite. Overall, it does its job with some great set pieces - my favourite, a mountain-top scene with a Rolls Royce.

The apartheid regime setting - controversial, when the film was shot - makes it a rare and interesting watch. Aside from actually being made in the country, there is very little that is objectionable specific to the film. Proceedings are captured in a matter-of-fact, almost fly-on-the-wall style, which includes the gold mines, city life and the beautiful surrounding landscape, with some authentic African dance scenes. There are no awkward verbal faux pas, as there can be from this period. Generally - wisely, perhaps - it doesn't make any strong political statements. The backdrop is presented as more a slice of life, with bigger themes going uncommented on and of less concern than its own particular story. It was not aiming to be on the right side of history - or the wrong side - it was just trying to be entertaining. It does that but also works on a relatively neutral, documentary level.

I hadn't seen Gold for 20-30 years. The film stayed with me from my childhood but has largely disappeared from our screens, partly due its age but almost certainly because of where it was filmed (there was even a trigger warning on Talking Pictures TV). I don't fully understand the controversy as it is now more of a monument to its time, like being transported back to the 1970s - both literally and fictionally - without the social commentary or agenda that biases so much contemporary work. An initial choice for director was Steven Spielberg who probably wouldn't have given the film the same hard edge as Hunt. Laughably - for political reasons - Wales was put forward to double for South Africa, something that would have produced a hollow counterfeit of what the film is. Released between Moore's first two Bond films, it stands the test of time better than either.

Gold is still very watchable and, with the passing of several decades and all that has happened since, has the added benefit of being an interesting and genuine historical work. Well worth your viewing time.

This is not a great film, but it has its moments. In 1974 probably not too many people knew much about South Africa and the gold mining process, so for that reason it was educational. The mine sequences are interesting although undoubtedly filmed on a studio set. For me the most interesting action sequence though is when the hero is trying to land a plane on a tailings pile at a speed low enough to almost stall out. Most interesting of all, thirty years ago it was almost unheard of to see frontal nudity in a major film. When Susannah York's breast appeared out of the suds in the bathtub scene, my jaw dropped open. I couldn't believe I was really seeing it. For sheer surprise it ranks right up there with Charlton Heston kissing a black woman in that science fiction film that I think was called The Omega Man. Today of course such things are commonplace.

I saw this film while living in Geneva Switzerland in 1981, courtesy of a borrowed video cassette copy. I was a lot younger then, thirty, and less discerning, but I was utterly enchanted by actress Susannah York, and have been ever since. It had the feel of a good James Bond adventure and I thought that actor Roger Moore was at his best, and in fact was better in this film then in any of his James Bond movies. I've never visited South Africa, but had studied the history of the country, and I enjoyed viewing the on-location scenes of the country. There are great scenes workers in the mines, as well as Zulu warriors in their regalia.

Like many movies from the 1970's and 80's, Gold was perhaps not fully appreciated for it's insight into the world of precious metal mining during the Apartheid era, based on Zambian born, Wilbur Smith's novel "Gold Mine"

Roger Moore is the eponymous hero of the film, as first The Underground Manager and later General Manager of a deep gold mine in South Africa. Susannah York provides classic English beauty in the form of the love interest and John Gielgud and Bradford Dillman exude villainy in it's most obtuse form. Simon Sabela is the quiet spoken, understated "Big King", a giant of a black miner and champion of workers treatment underground.

Filmed in 1974, this was Roger Moore's first film since his debut as James Bond in "Live and Let Die" and was sandwiched between his next outing in "The Man with The Golden Gun". It was also Susannah York's first film for two years since taking time out to have children. Producer Michael Klinger wanted to take another Wilbur Smith novel, "Shout at the Devil" to the screen but couldn't raise the finance so he made "Gold" first, which allowed him to raise the finance for the former.

This film is a fascinating insight into gold production and how both the price and availability of gold was strictly controlled and the lengths unscrupulous speculators would go to in order to cut production and increase the price. John Gielgud excels as the quintessential English financier, a role he played again in the same year in "11 Harrowhouse".

Bearing in mind that Moore was 46 years old, he makes a fine, handsome hero, as Rod Slater and the 35 year old Susannah York oozes class as Terry Steyner, the grand-daughter of mine owner Hurry Hirschfeld (Ray Milland). And a little golden nugget to boot is the performance of Tony Beckley, the mildly camp but almost psychotic geologist turned henchman. The action underground is first class and indeed quite gory in parts. It is perhaps. surprising that a film showing a miner having his face ripped off in an accident only has a 12 rating on DVD but then we live in different times.

The soundtrack for the film, composed by Elmer Bernstein, is both very "hip" for the period and has some beautiful orchestral pieces, particularly for the love scenes. Jimmy Helms' title track rendition is superb as are the two Don Black penned songs "Wherever Love Takes Me" (Oscar Nominated) and "Where Have You Been All My Life".

Finally, on a somewhat sombre note, virtually everybody of note from the actors and crew are sadly no longer with us. Only the writer, Wilbur Smith, lyricist Don Black and title song singer, Jimmy Helms remain. However, the film is a poignant reminder of a world where the colour of your skin literally determined your worth in life and in death.

I was very surprised when I saw this film. After all, by the time they made "Gold", South Africa was already being roundly condemned by many nations for its apartheid policies. In fact, soon film projects in the country would be a thing of the past and the fact that American and British actors appeared in the film and that much of it was filmed in South Africa surprised me. Perheps, however, they studio chose such a project because it really made the mine operators look like scum...and thereby was a criticism, indirectly, of apartheid.

The bosses at a gold mine in South Africa have a reprehensible scheme. They know that an underground lake is very close to one of their mines. And, if they accidentally drill too close, it will flood the mine and kill a lot of workers. BUT, it will also make the price of gold shoot to the moon...making them even richer! The problem is that the General Manager of the mine is killed in a mining accident and they trust that the new GM, Rod Slater (Roger Moore) will play along with their scheme. As for Slater, what he seems mostly interested in during most of the film is stupping the boss' wife (Susannah York).

To me, a major defect in the picture is spending so much time on the affair. First, it really didn't make a lot of sense. Second, it really had little to do with the plot. Third, it just seemed like a lot of padding. And, fourth, you really don't care about these two...other than, perhaps, seeing it as a chance for Slater to do to his boss' wife what the boss plans on doing to everyone else!

Overall, a rather pedestrian handling of material that could have been a lot better. Not a bad film...but not a very good one either.

By the way, I have been to South Africa twice--spending about a month there. One thing I loved about the country were the lovely accents...none of which I heard during the course of "Gold"!