Special agent 007 comes face to face with one of the most notorious villains of all time, and now he must outwit and outgun the powerful tycoon to prevent him from cashing in on a devious scheme to raid Fort Knox — and obliterate the world’s economy.
- James Bond: Sean Connery
- Auric Goldfinger: Gert Fröbe
- Pussy Galore: Honor Blackman
- Jill Masterson: Shirley Eaton
- Tilly Masterson: Tania Mallet
- Oddjob: Harold Sakata
- M: Bernard Lee
- Martin Solo: Martin Benson
- Felix Leiter: Cec Linder
- Simmons: Austin Willis
- Miss Moneypenny: Lois Maxwell
- Midnight: Bill Nagy
- Kisch: Michael Mellinger
- Johnny: Peter Cranwell
- Bonita: Nadja Regin
- Smithers: Richard Vernon
- Mr. Ling: Burt Kwouk
- Q: Desmond Llewelyn
- Mei-Lei: Mai Ling
- Swiss Gatekeeper: Varley Thomas
- Dink: Margaret Nolan
- Brigadier: John McLaren
- Atomic Specialist: Robert MacLeod
- Blacking: Victor Brooks
- Capungo: Alf Joint
- Hawker: Gerry Duggan
- Gangster (uncredited): Roland Brand
- Gangster (uncredited): Bill Brandon
- Gangster (uncredited): Norman Chancer
- Flying Circus – Champegne Pilot (uncredited): Marian Collins
- Gangster (uncredited): Bill Edwards
- Mr. Strap (uncredited): Hal Galili
- Flying Circus – Champegne Pilot: Caron Gardner
- Gangster (uncredited): Laurence Herder
- Gangster (uncredited): William Hurndell
- Flying Circus – Champegne Pilot (uncredited): Lesley Langley
- Gangster (uncredited): John Maxim
- Gangster (uncredited): John McCarthy
- Flying Circus – Champegne Leader (uncredited): Aleta Morrison
- Sydney (uncredited): Tricia Muller
- Gangster (uncredited): Lenny Rabin
- Flying Circus – Champegne Pilot (uncredited): Maggie Wright
- Sierra (uncredited): Raymond Young
- Flying Circus Pilot (uncredited): Jane Murdoch
- Conductor: John Barry
- Director: Guy Hamilton
- Novel: Ian Fleming
- Presenter: Albert R. Broccoli
- Presenter: Harry Saltzman
- Director of Photography: Ted Moore
- Screenplay: Richard Maibaum
- Story: Berkely Mather
- Editor: Peter R. Hunt
- Production Design: Ken Adam
- Screenplay: Paul Dehn
- Theme Song Performance: Shirley Bassey
- Art Direction: Peter Murton
- Makeup Artist: Paul Rabiger
- Assistant Director: Frank Ernst
- Hairstylist: Eileen Warwick
- Assistant Art Director: Maurice Pelling
- Sound Recordist: Gordon K. McCallum
- Special Effects: John Stears
- Wardrobe Supervisor: Elsa Fennell
- Sound Recordist: Dudley Messenger
- Set Dresser: Freda Pearson
- Production Manager: L.C. Rudkin
- Continuity: Constance Willis
- Makeup Artist: Basil Newall
- Camera Operator: John Winbolt
- Special Effects Assistant: Frank George
- Wardrobe Master: Eileen Sullivan
- Wardrobe Master: John Hilling
- Assistant Art Director: Michael White
- Title Designer: Robert Brownjohn
- Grip: Jimmy Spoard
- Technical Advisor: Charles Russhon
- Potential Kermode: **James Bond wears a strap on plastic seagull hat**
This entry is widely recognised as the template for all the Bond films that followed – and we can see why in the opening sequence. James Bond ( Sean Connery) in disguise wearing _a strap on plastic seagull_ on his head.
It’s a Roger Moore Bond movie nine years before Roger Moore! I love the ludicrous Bond movies such as Goldfinger and Octopussy – two of my favorites. Octopussy has Roger Moore _riding a plastic crocodile_ and Goldfinger has _Sean Connery wearing a strap on plastic seagull hat!_
_Thunderball_, a year later, continued the ludicrous fun with Connery’s Bond riding a jet pack and fighting cross dressing assassins.
It’s a shame that in 2006, the franchise died and became something utterly bland with the advent of the Craig era.
– Potential Kermode
- John Chard: Bond, Bowler Hats, Galore and the Man With the Midas Touch.
Goldfinger is directed by Guy Hamilton and adapted to screenplay by Richard Maibaum & Paul Dehn from the novel written by Ian Fleming. It stars Sean Connery, Gert Frobe, Honor Blackman, Shirley Eaton & Harold Sakata. Music is by John Barry and cinematography by Ted Moore.
Operation Grand Slam.
Connery’s third outing as James Bond sees 007 investigating the movements of wealthy gold dealer Auric Goldfinger (Frobe). Little does 007 or MI6 know, but Goldfinger is hatching a master plan that will spell disaster for the world’s financial climate.
Undeniably the turning point in the James Bond franchise, Goldfinger is also one of the most fondly remembered by the cinema loving public. Here is when Bond not only went go-go gadget crazy, but he also impacted on pop culture to the point the waves created are still being felt today. Bond traditionalists are often irked by the mention of the change Goldfinger represents, and with just cause, because this really isn’t Fleming’s core essence Bond. Bond has now become a gadget using super agent, a man who laughs in the face of death, a quip never far from his lips. Yet the hard facts are that this Bond is the one the world really bought into, ensuring for the foreseeable future at least, that this type of Bond was here to say. Marketing was high pitched, fan worship became feverish and the box office sang to the tune of $125 million. Toys, gimmicks and collectables would follow, the Aston Martin DB5 would become “The Most Famous Car in the World”, in 1964 Bond truly became a phenomenon.
Purely on an entertainment front, Goldfinger delivers royally, the sets, casting and the high energy set-pieces all seep with quality. This in spite of the actual plot being one of the weakest in the whole franchise. As great a villain as Auric Goldfinger is, with a voice dubbed Frobe simply joyous in the role, his motives are rather dull and hardly cause for some worldwide Bondian panic. But the film rises above it to the point it only really registers long after the end credits have rolled. We have been treated to Odd Job (Sakata instantly becoming a Bond villain legend), that laser, the DB5 and its tricks, the delicious Honor Blackman as Pussy Galore (still an awesome name today and still sounding like a character from a Carry On movie), the golf match, Shirley Eaton’s golden girl and the ticking time bomb finale played out during the chaotic scenes involving Ken Adam’s brilliantly designed version of Fort Knox.
Bond staples also serve the production well, the title sequence is neatly strung together as scenes from the movie play out over a writhing golden girl, who was model Margaret Nolan and who briefly appears in the film as Dink. The theme tune is a blockbuster, sang with gusto by Shirley Bassey and the locations dazzle the eyes as we are whisked to Switzerland, Kentucky and Miami. Stock characters continue to make their marks, with M, Moneypenny and Q (setting in motion the wonderful serious v jocular axis of his “to be continued” relationship with Bond), starting to feel like old cinematic friends. Only let down is Cec Linder’s turn as Bond’s CIA counterpart, Felix Leiter, gone is the swagger created by Jack Lord in Dr. No, and while Linder is no bad actor, he doesn’t sit right in the role, he’s looks too world weary. A shame because he is integral to how the plot pans out.
Director Guy Hamilton was helming the first of what would end up being four Bond movies on his CV, he made his mark by bringing more zip and quip to the Bond character. Connery was firmly ensconced in the role of Bond, he was a mega star because of it, but cracks were beginning to appear in how Connery viewed this gargantuan success and the impact it was having on his hopes to be viewed as a serious actor. However, he was signed up for Thunderball, the next James Bond adventure, and Terence Young would return to the director’s chair, could they top the success of Goldfinger? 9/10
- Wuchak: _**Iconic 60’s Bond film**_
Released in 1964 (or January, 1965, in the USA), “Goldfinger” was the third Bond film in three years. This was the film that pushed 007 over-the-top and is rightly considered a classic. It’s very iconic of mid-60’s cinema — the title song, the gold-painted woman, Oddjob’s deadly hat and the breaking into Fort Knox. The next two films in the series are just as great and IMHO better — “Thunderball” (1965) and “You Only Live Twice” (1967). “Thunderball” made more at the box office than any other Bond flick from the Connery era and “You Only Live Twice” upped the ante with the action & spy stuff and is just all-around entertaining.
Yet “Goldfinger” continues to be the Bond film that’s most highly regarded of the 60s and this should be respected. But don’t expect the wall-to-wall action that was introduced with “You Only Live Twice” and remains to this day. Yes, “Goldfinger” has some quality action sequences, but less than what you’d typically get from a 007 flick post-“Thunderball.” In fact, one clash in the film is a simple game of golf between James and Goldfinger (Gert Fröbe). An earlier scene involves Bond forcing Goldfinger to lose a card game. This doesn’t make “Goldfinger” bad, of course, just different. “A View to a Kill” (1985) is notable for the same reason.
Other positives include a fairly long sequence in the magnificent Swiss Alps, where it was shot, and quality Bond women like Shirley Eaton (the ‘golden girl’) and brief appearances by Margaret Nolan (Dink) and Nadja Regin (Bonita); Honor Blackman is cool as Pussy Galore, but she never tripped my trigger.
Despite all the good, there are some negatives. For instance, the gas fly-over by Pussy Galore’s girls and the falling-over of the troops comes off lame. There’s also a little too much “down time” in the second half that’s not all that interesting.
Nevertheless, “Goldfinger” is a James Bond classic, full of iconic imagery and scenes. When it was released it was extraordinary, but it may now strike some viewers as tame or even lame in ways. Regardless, it’s definitely a worthy Bond flick and has its unique charm.
The film runs 1 hour, 50 minutes, and was shot in Miami Beach, Florida; England; Switzerland; and Kentucky.