Art by Dick Bobnick
I’m a big fan of James Bond, have been since I was a kid. Having recently repurchased the complete Criterion collection of all 24 films, I thought I would do a rewatch of them all and break them down a bit, one blog post at a time.
A couple caveats: I have only read a couple of Fleming’s original novels, and so I won’t be doing any direct comparisons of the films to their literary counterparts. I’ll also only be covering the Eon films, so that means no spoofs, spin-offs, and no Never Say Never Again.
Having said that, let’s get into it!
THE MOVIE: Goldfinger! I love this movie. Terence Young, who directed the first two 007 movies, moved on to something else, so he was replaced by Guy Hamilton, who actually knew Bond’s creator Ian Fleming from intelligence work in the war.
Goldfinger, released in 1964, sees Bond put on an investigation of gold magnate and suspected smuggler Auric Goldfinger. Bond, unable to help himself, immediately gets more heavily involved and discovers that there is much more to Goldfinger than expected. Namely, that he seeks to infiltrate Fort Knox and destabilize the world’s economy.
This film is considered the first blockbuster Bond film, was adapted to target American audiences specifically, and also introduced a lot of Bond staples, including elaborate gadgets and the Aston Martin as his “official” car of choice.
It would go on to win an Academy Award for Best Effects/Sound Effects.
THE BOND: Sean Connery returns as Bond. This particular venture sees him at his most flirtatious, it feels, and at his corniest, with some baddie-death-related one-liners. It should also be noted, though, that Bond gets thoroughly trounced almost entirely throughout this film, showcasing a vulnerability that was lost at times in the preceding films.
THE GIRLS: Shirley Eaton doesn’t get a lot of screentime as Jill Masterson, and yet is one of the most iconic Bond roles in the entire legacy. Playing Goldfinger’s employee, she went from helping him cheat at cards to cheating herself…with Bond. That would be the factor leading to her untimely demise, but it’s HOW she dies–covered entirely in gold paint and left to suffocate that creates a simultaneously horrifying and fascinating visual impossible to forget.
Tania Mallett has an equally short role as Jill Masterson’s vengeance-seeking sister, Tilly Masterson. Though her luck with Goldfinger goes no better, she does have a memorable time not giving Bond any attention despite his best efforts.
Most famously, perhaps, is Honor Blackman’s performance as Pussy Galore, an expert pilot and the leader of an all-female flying squad called her Flying Circus. Blackman had previously starred as Cathy Gale on the British spy show, The Avengers, and was chosen for her charisma and her judo talents, both of which she utilizes to great effect in this film.
THE VILLAINS: Goldfinger features two of Bond’s most iconic bad guys. Auric Goldfinger, played by German actor Gert Fröbe, has become rich dealing in and smuggling precious stones and minerals. He is greedy, manipulative, destructive, and he will do anything to win, including cheating at every opportunity. He has one of the single greatest exchanges in the Bond series, when he has 007 strapped to a table, a cutting-edge laser slowly working its way toward bisecting him:
Bond: You expect me to talk?
Goldfinger: No, Mr. Bond, I expect you to die.
Goldfinger’s henchman is Oddjob, a monosyllabic Korean killer played by Olympic silver medalist weightlifter Harold Sakata. Oddjob’s weapon of choice is a bowler hat with a metal brim capable of breaking necks as he flings it like a circlet. Even without it, he’s a formidable foe and spends most of the film absolutely dominating Bond and beating him mercilessly. Sakata was burned badly while filming his death scene, committing to the moment even after the cameras stopped rolling.
Character actor Martin Benson plays Mister Solo, a mobster who disagrees with Goldfinger’s audacious plan; and Burt Kwouk (Cato, in the excellent Pink Panther films) plays the Chinese scientist who supplies Auric with the bomb he needs.
THE LOCATIONS: The film opens with a brief action sequence largely unrelated to the rest of the film and sees Bond disrupting a drug operation. It’s supposed to be set somewhere exotic (Serbia?), but was shot in England. Likewise the scenes set inside Fort Knox, as filming crews weren’t allowed inside the United States’ most famous depository.
The film also takes Bond to Miami, Florida (where he first encounters Auric Goldfinger), London to get properly outfitted for his assignment, the Alps and resorts of Switzerland, and ultimately to Kentucky and Fort Knox itself. While the Switzerland sequences seemed the most exotic this go-around, the sunny poolside in Florida and the impressiveness of Fort Knox gave the United States a glowing look.
THE CARS: You can find a comprehensive list of the cars in the film here, but the two most notable are Goldfinger’s beautiful (and gold) Rolls Royce Phantom III Sedance de Ville, and James Bond’s tricked-out Aston Martin DB 5. Bond mentions that his beloved Bentley is nowhere to be found, and he is instead given a modified Aston Martin loaded with gadgets. The Aston Martin would go on to be heavily tied into promotional materials and would itself become a staple of the Bond franchise.
THE GADGETS: Goldfinger really turned up the gadget ratio, from the seemingly mundane (an underwater breathing apparatus designed to look like a seagull) to the Aston Martin. The car was fitted with revolving license plates, a GPS tracking device, bulletproof windows, an oil slick and a smoke screen to be released from the rear, machine guns that came from the front, tire slashers that extended from the wheels (Bond inexplicably and irresponsibly uses these to try and pick up a woman), and a passenger ejector seat!
Bond also utilizes a grappling gun, a tracking device that fits in the heel of his shoe, and a larger magnetic tracking device he stashes in Goldfinger’s car.
Oddjob has hit steel-rimmed hat weapon, while Goldfinger has his industrial lab, a private plane with spy holes looking into the different chambers, and even an atomic bomb.
Though Goldfinger doesn’t have a lair like, say, Doctor No, he does have a ranch house that he’s tricked out. In addition to dungeon-like prison cells in the basement, his rumpus room is designed to completely transform. The window panels fold down, a massive map drops from the ceiling, and the floor even slides apart to reveal a massive model of his Fort Knox target.
And while that’s impressive, he also proves that it’s deadly when he uses his controls to seal the room and release a deadly nerve gas.
THE MUSIC: John Barry returns to Bond once again to score this film, including the theme song, “Goldfinger”, with lyrics by Anthony Newley and Leslie Bricusse. While the films have had a stylized credit sequence since the beginning, with Dr. No’s technicolor and feminine introduction, and though From Russia With Love had a bit of the theme song sprinkled in, Goldfinger really kicks off the tradition of having an elaborate credit sequence with the theme song performed over it (in this case, by Shirley Bassey). The soundtrack album would go on to top the Billboard 200, while the Goldfinger single would reach 8th in the Billboard Hot 1000.
I love that song.
THE SUPPORT: Bernard Lee and Lois Maxwell return as M and Moneypenny respectively, of course, and serve well their usual roles of giving Bond his orders and flirting with him.
New in the role of CIA agent Felix Leiter is Cec Linder. Jack Lord, who played Leiter in Dr. No, had worried some executives for looking “too cool” and potentially taking attention away from Bond. Lindner, by comparison, is older and stuffier, looking more like a bureaucrat than a slick spy peer.
Desmond Llewelyn returns as the Quartermaster, but instead of being called Major Boothroyd, this films seems a transition into referring to him as Q for short. His inventiveness and surly nature is always a delight.
FINAL THOUGHTS: There is a lot to love about this film. The villain is single-minded and dismissive of Bond, and for large parts of the film, he should be. Bond’s arrogance and recklessness sees him overcome at almost every turn, even rendering him inactive for large parts of the middle and the end, a prisoner biding his time and hoping his peers will put clues enough to rescue him in the nick of time. In that sense, it’s unusual to see Bond do so little, even with the advantage of his new gadgets.
The Aston Martin’s many functions are exciting to see, as something like that was still relatively new to cinema, as was the industrial laser death weapon Goldfinger uses, which didn’t really exist at the time. The music is superb, and the many gold motifs throughout the film give a visual theme to match the title and villain.
Pussy Galore is a compelling anti-hero, a Catwoman-esque character, though I wish we had seen more of her Flying Circus. And Oddjob is perfect all around. All in all, one of my favorites.
OTHER BOND BREAKDOWNS: