Goldfinger (1964)

DarthDimi

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St_George

Goldfinger

by @St_George

Directed by: Guy Hamilton; Produced by: Harry Saltzman and Albert R Broccoli; Screenplay by: Richard Maibaum and Paul Dehn – adapted from the novel by Ian Fleming (1959); Starring: Sean Connery, Honor Blackman, Gert Fröbe, Shirley Eaton, Tania Mallet, Harold Sakata, Bernard Lee, Cec Linder, Martin Benson, Desmond Llewelyn, Lois Maxwell and Margaret Nolan; Certificate: PG; Country: UK/USA; Running time: 110 minutes; Colour; Released: September 17 1964; Worldwide box-office: $124.9m (inflation adjusted: $912.3m ~ 2/24*)

* denotes worldwide box-office ranking out of all 24 Bond films (inflation adjusted), according to 007james.com

Plot ~ 8/10

Fleming purists will tell you it was with Goldfinger that the fantasy began to out-muscle the conceivable in the films – and yet, ironically its plot is very close to that of Fleming’s novel. Fearing tycoon Auric Goldfinger is smuggling copious amounts of gold out of the UK, the Bank of England enlists MI6′s services. Bond, having botched his first Miami-based observation of his target (by seducing his mistress, resulting in her death via full-body-painting), meets him again for a sparring game of golf and then tails him to a Swiss base where, by being captured and transported to the rogue’s stud farm in Kentucky, he learns the depths of his villainy: Operation Grand Slam. Teaming up with Chinese communists, Goldfinger plans to detonate a nuclear device inside America’s gold reserve Fort Knox, contaminating its contents for the best part of a century, thereby crippling the West’s finances, establishing China as the predominant economic power (er, hello 2012!) and making his own gold astronomically valuable. Barmy but brilliant.

Bond ~ 10/10

The irresistibility of Connery’s Bond in Goldfinger is not down to his sex-appeal and screen magnetism; although, as ever, they both play an important part. Instead, I’d argue it’s down to something his take on the role had yet to demonstrate: his terrific capacity for light comedy. With this flick’s heightened fantasy and higher number of comic predicaments, he glides through it all as smoothly as the vodka Martini goes down that he quaffs from a golden glass on Goldfinger’s jet. Enjoying his wittiest one-liners so far, yet seemingly accepting all the gadgets the script supplies him, the actor appears to relax, delivering a 007 whom, despite his serious moments (Jill and Tilly’s deaths, for instance), blithely cruises through his mission, sure everything will turn out fine in the end. For right or wrong, Connery wouldn’t be this good in the role again.

Girls ~ 7/10

For me, the irony of Pussy Galore is that in spite of her unquestionably iconic moniker, she may be the least memorable of the Bond Girls this movie. The most memorable is surely Shirley Eaton’s Jill Masterson. The sight of her covered in gold paint, which unrealistically has killed her, is utterly unforgettable, of course, but so too is Bond’s first glimpse of her, lying face down on a sun-lounger, dressed only in black underwear. And yet, like her avenging sister Tilly (played by lovely Tania Mallet), Jill is hardly a well rounded character. Both really exist to become this flick’s ‘sacrificial lambs’. Pussy Galore herself, although Honor Blackman inhabits her with judo-kicking conceivability, is also underwritten; a hard-hearted if sexy lesbian pilot whom 007 turns very easily. There’s also Nadja Regin (who appeared in Russia) as the opening sequence bathing girl and Margaret Nolan as Dink (the ‘golden girl’ in the titles), whom suffers Bond’s ‘man talk’ gag.

Villains ~ 9/10

Despite featuring a gang of embarassingly cartoonish American gangsters in the stud farm gamesroom scene, Goldfinger scores big when it comes to villains thanks to its two heavy hitters: basically they’re both cast-iron classics. Who can forget Auric Goldfinger? In Fleming’s novel he’s an ugly bear of a redheaded man; in the film, his exterior as a charming, likeable rogue belies the ruthlessly evil, madcap megalomaniac he really is – and the terrific Gert Fröbe (with a fine vocal dubbing performance by Michael Collins) captures the character brilliantly. And who can forget Oddjob? Russia's Red Grant is, yes, surely a better all-round character, but former weightlifter and wrestler Harold Sakata’s silent-but-deadly, square-shaped heavy with his bizarre accoutrement (a steel-rimmed bowler hat) would become, like so many things in this film, a terrific template for so many of the henchmen that followed him in the series.

Action ~ 7/10

Perhaps oddly for such a fondly recalled Bond film, Goldfinger is far from the most action-packed. One of its most eternally popular sequences is certainly all about action, though: the car chase around Goldfinger’s Swiss factory buildings involving Bond’s gadget-laden Aston Martin DB5. Although stop-and-start and thus not as fast-paced as it might be, it’s one of the highlights of the film, no question (in a movie of many highlights), allowing 007 to show all his ingenuity, all of the car’s horsepower and all of its toys as he attempts to out-run, out-fox and generally try to escape from his opponent’s minions. The only other real action sequences are the opening fight (with the goon’s classic electrocuted-in-the-bath demise) and Bond’s showdown with Oddjob inside Fort Knox while US troops raid the outside, which to be fair is mostly played for laughs to demonstrate how indestructible the grinning villain is until our hero uses his nous to defeat him.

Humour ~ 10/10

Being it’s maybe the wittiest of all Bond films, Goldfinger is easily one of the funniest – humour is the order of the day pretty much throughout. As mentioned, 007 gets to deliver some of his most delicious lines of the series (when Oddjob doesn’t open a door for Pussy: “Manners, Oddjob, I thought you always took your hat off to a lady”; on Goldfinger’s horse: “Certainly better bred than the owner”; on his car’s ability to track targets: “Ingenious, and useful too – allow a man to stop off for a quick one en route”). It’s also replete with some of the series’ best visual gags, what with the little old lady who stops baking to operate the Swiss factory’s gate only to turn out to be a machine gun-toting first line of defence and, of course, the nuclear bomb’s timer in the finale stopping exactly on ’007′. The oh-so appealing facet of the Bond films laughing at themselves, which would run throughout the rest of the series, properly began here.

Music ~ 10/10

Goldfinger's score may not be cinematic Bond music at very best, but it’s damn close. And the reason why is because if in Russia John Barry’s ‘Bond sound’ was in its genesis, in Goldfinger it properly matures. Accompanying the on-screen action with smooth saxophones, blaring brass, soaring strings and shimmering harps, it’s a masterclass in a more-is-more score enhancing a more-is-more movie (listen to the ebullient Oddjob’s Pressing Engagement by clicking on the above image). And that, of course, isn’t even to mention the (fittingly) gold disc-attaining title song written by Barry, with lyrics by Leslie Bricusse and Anthony Newley, and performed unforgettably by Shirley Bassey. It was the hit that made Bassey’s career and the tune that made the Bond title song; every subsequent one would be an event – and most live in its shadow.

Locations ~ 5/10

This flick’s a little let down by its locations. Dr No has Jamaica; Russia has Istanbul; what does Goldfinger have? Er, Switzerland in spring/ summer and Kentucky. Now, don’t get me wrong, there’s nothing inherently wrong with Switzerland (mostly the Alpine Furka Pass) as a Bond film locale; it’s pretty, even picturesque thanks to Ted Moore’s excellent cinematography. However, it’s hardly exotic, thus rather bland. And Kentucky? well, sure, it’s the state in which Fort Knox resides so Bond has to dip into it at some point, but there must be more exciting places 007 could have visited in mid-’60s America? Like Miami, say. Wait, he goes there after the title sequence, doesn’t he? Er no, it’s back-projection-o-rama – none of the cast actually did. Ho-hum.

Gadgets ~ 10/10

That age-old tradition of Bond setting off on a mission after seeing Q like a freebie-toting presenter of The Gadget Show starts here, folks. Yes, the head of Q-Section becomes a real character for the first time in Goldfinger and he and Bond get off to the best (or worst) possible start; the latter irritably putting up with the former’s workman-like pride in the seemingly ridiculous alterations he’s made to his new motor, the oh-so iconic Aston Martin DB5, and irritating the former as he ‘jokes about his work’. But those alterations prove far from ridiculous when he gets out into the field. Not only are the DB5′s revolving number plates, tyre-slashers, oil slicks, rear bulletproof shield, machine guns mounted from behind the front indicators and, yes, that ejector seat all invaluable, collectively they ensure the DB5 is easily the coolest of all the gadgets in the Bond canon. 007 also has a couple of tracking homers; one that’s magnetic, so it’s attachable to opponents’ vehicles, and a dinky one that fits in the sliding heel of his shoe.

Style ~ 10/10

Frankly, any Bond film that contains the moment Sean Connery, dressed in that white dinner jacket with that red carnation, checks his watch seconds before he nonchalantly endures the explosion he’s created would have to score highly in the style stakes, but Goldfinger's style doesn’t peak with this pre-titles moment, it arguably kicks-off with it. Of all the series’ movies, this one probably gets the wizard combination of look and sound as right as can be. Barry’s music perfectly underscores the cool, sophisticated, sleek treats on-screen, including Ken Adam’s outlandishly wonderful interiors (Fort Knox is utterly to die for, as is the baddie’s room in which a pre-tuxedoed Bond sets the explosives in the pre-title sequence) and the film’s practically perfect costume choices (yes, really, even Connery’s pale blue towelling robe in Miami).

Adjuster: -1

Surely the most iconic of all Bond films, Goldfinger is an absolute, bona fide classic of the series – and properly set the formula that every subsequent one has variously adhered to and divulged from. But it’s not perfect. For me, although boasting an excellent setting, the Fort Knox finale oddly disappoints; it’s just not as thrilling as it might be. Perhaps if Goldfinger could have surrendered its otherwise marvellous self-mockery here (and upped the action ante elsewhere), it’d be the series’ true 24-carat entry.

Overall: 85/100

Best bit: The triple combo that is the climax of the car chase, followed by the laser-table sequence, seguing into Bond meeting Pussy

Best line: “My name is Pussy Galore”/ “I must be dreaming”

Get the full treatment of my 'Bondathon' reviews here

royale65

Goldfinger

Both Dr. No and From Russia With Love were tremendously successful, but with Goldfinger the Bond movies went stratospheric in terms of their box-office achievements, making James Bond, 007, a leading pop-culture icon of the sixties, thus ensuring his legendary status.

Tragically the man who started it all, Ian Fleming would not live to see Bond become a phenomenon.

Fleming, a hard living type of man, who already had a heart attack, at the age of 53, did not heed his doctors advice, and so, playing golf in terrible weather, he suffered a pulmonary embolism.

Fleming survived this, but his body had enough. When sent to recover in a quiet coastal town, Fleming's mother died; thus he decided to live life, not “shy away from it”. Despite being gravely ill, Fleming pressed on with his life, but it was too much for his body to handle; whilst dining with an old friend he collapsed for the final time.

Fleming once said - “I shall not waste my days, in trying to prolong them.” In James Bond, Fleming would accomplish the deed of immorality, creating one of the most loved fictional characters of all time.

Ian Fleming died on the 12th of August, 1964. Curiously this was the date, that a future 007 moved to London from Ireland. His name; Pierce Brosnan. The first film that he saw; Goldfinger.

Goldfinger is the gold standard of Bond films. It is an ideal blend of both the literary and cinematic 007's, fusing them together to create a 64 carat piece of film history.

Goldfinger has it all; Sean Connery as 007, an iconic cast, John Barry's indelible music, Ken Adam's visually impressive sets, and also, the Aston Martin DB5, with refinements, of course, and finally a whole slew of gadgets.

Moreover Goldfinger is dripping with iconic scene, such as, Shirley Eaton's “Golden Girl”; near castration with a laser; the golf game; Q's workshop; the pre-titles sequence; Pussy Galore; chase in the DB5 and the climax in Fort Knox.

Thus Goldfinger is a near perfect film, nay film period. However there are some minor details that prevent it from being the best Bond of them all. Some of the details are technical, but the other one is artistic.

The back-projection gives the impression that the film is overly cheap; at three times the budget of Dr. No, it isn’t. Also the dialogue in the “Hood's Convention” is uniformly woeful and badly acted.

Still, this was was a major artistic turning point in Bond lore; Goldfinger had a new director, Guy Hamilton, and a new screenwriter, Paul Dehn. Together they presented a more stylised film and violence. Hamilton influence at the helm makes the film less callous, less brutal, more stylised, more overt.

If Terence Young had directed Goldfinger, as in three of the first four films, then surely, it would have been more brutal, more callous. Young understood the Bond role, he would have made it dangerous and not so stylised. After all, you're meant to question Bond's motives and actions; i.e. in From Russia With Love, Bond slaps Tatiana after the death of Kerim. One feels pity for Tatiana, and Bond, but one understood Bond's motives. As Fleming said Bond should not be particularly likeable, he is, after all, an assassin; it is his duty to get the job done, no matter what the cost to other people, or himself, both spiritually and physically.

One is glad to 007 for doing the job, but it raises some moral scruples. It's a violent world and 007 is a product of that world. It's a poisoned chalice for Bond, he reluctantly accepts his chosen profession, as no-one would do it, no-one should have to do it, and because he's bloody good at it, but he's destroying his soul. And that is the beauty of Fleming's novels, the moral ambiguity that Bond finds himself in.

Then again, would Young's Goldfinger had been as successful as Hamilton's Goldfinger? It is a tricky one for the film-makers to juggle, and one they have achieved, more and less, with aplomb for nearly fifty years.

Thus Goldfinger utilizes the character of James Bond and the situations that he finds himself, in a different, almost imperceptible way. It's a subtle shift, and that is the difference between the cinematic and literary 007's, but the spirit of Fleming's writing remains, even if the context has been altered.

This means, alas, that Goldfinger cannot be placed amongst the higher echelon's of Bond's films, which it deserved to be.

Still, Guy Hamilton provided the interpretation that Bond would be know for; cool, lethal and always ready with a quip. In fact, Hamilton's Goldfinger would be so successful, and his take on the Bond persona in particular, that it would be used as a template for many of the up-coming Bond adventures. Hamilton, then, would focus on Bond's sophistication and wryness, and less on the coldness and brutality.

Perhaps Hamilton took his cue from Ian Fleming's source novel, which is his most laid-back and expansive.

To adapt the novel into a screenplay, the producers Cubby Broccoli and Harry Saltzman turned to Richard Maibaum, who translated the first two Bond films. He was joined by Paul Dehn, a film critic, turned film screenwriter. Together they made Bond more palpable and less objective, by glossing over the aspects of Bond's less than savoury job.

Goldfinger has just the right proportions of escapism, coolness, sexiness, danger, tension, romance and espionage. In short, Goldfinger is one of the most perfectly balanced films in the canon.

Moreover the screenwriters actually improved upon Fleming's novel, by tightening up the films climax, and removing the plot-hole; as Bond says in the film, it would be impossible to raid Fort Knox, the sheer logistics of it makes it so. Instead the screenwriters ingeniously have Auric Goldfinger try to irradiate America's gold supply, thus increasing the value of his own gold.

In the book, Bond gets captured early on. That's fine in a book, but on film it does not work, as well. We're used to seeing Bond being proactive, decisive, but in Goldfinger, in the mid-to late act anyway, we're pilfered of that.

Goldfinger is the first film to put an emphasis on hardware, after the film-makers noticed audiences enthusiasm over the Attaché case in From Russia With Love. Besides Fleming himself added gadgetry to his novel, so the film-makers were embellishing.

Fleming loved cars, and Goldfinger is the most auto-centric novel off his. In the original novel, Bond drives an Aston Martin DB III, with all the necessary additions. In the film, the producer's chose the latest Aston Martin, the DB5, complete with extra gadgetry, of course. With such ingenuity, is it any wonder that the DB5 became the most famous car in the world?

Fortunately, however, the hardware does not overwhelm the people, or the story, unlike later efforts, which shows the skill of the director and the screenwriter, to balance out the different aspects to the story.

Goldfinger is a near perfectly cast film; with the exception of the aforementioned gangsters. Fleming created some of his finest characters in his novel.

Gert Frobe and Harold Sakata are the living embodiments as Fleming's most colourful villains, as Goldfinger and Oddjob, respectively. The latter, clad in his man servants garb, complete with bowler hat, is utterly preposterous, due to his size and muscle, but is a deadly foe. In the words of Ian Fleming;
“This was not a man of flesh and blood. This was a living club, perhaps the most dangerous animal on the face of the earth.”

The former is one of Mr Bond's most worthy and memorable antagonists. Frobe plays the role of Auric Goldfinger just right; charismatic, intelligent, extrovert, evil and quite, quite mad.

One of the most unforgettable moments in any movie, is Shirley Eaton as Goldfinger's paid companion, Jill Masterson; she is the famous “Golden Girl”. Despite appearing for less than five minutes, Jill's death leaves an indelible image. The seduction scene between her and Bond, is one of the most believable in the series, not least because of Eaton's and Connery's sexual chemistry.

With a name as risqué as Pussy Galore, it needed a good actress to pull it off. Fortunately Honor Blackman more than suffices. Tough and resourceful, Blackman is ideally suited to play alongside Connery's 007.

Taken prisoner, Bond's only hope is to convince Pussy; he does that by telling her that the poison gas she's about to unleash over the troops guarding Fort Knox is deadly.

Bernard Lee reprises his role as M, who, is displeased with Bond for causing a stir by “borrowing” Goldfinger's girlfriend in Miami. Bond, on the other hand, is guilt ridden over Jill's death.

Thus their briefing is beautifuly, understatedly tense; M admonishes Bond, and 007 is angry at M, for not telling him what he was in Miami for. However Bond, and Bond knows that, his anger is miss-directed; Bond is feeling guilty. Connery and Lee both play this superbly, in a well written scene.

Guy Hamilton also influenced the role of Q, the beloved gadget master, played by Desmond Llewelyn. Q is sat down in his workstation. When 007 enters, so Llewelyn stood up. Hamilton thought otherwise; Q would never stand up, as 007 never treated Q's gadgets with any respect. Thus was born the Q/Bond dynamic; Q the cranky teacher, and Bond the irreverent, naughty schoolboy.

As said naughty schoolboy, Sean Connery is in magnificent form as 007. Every line, every movement is perfect. In Goldfinger, Connery is really a pleasure to watch.

With Goldfinger Ken Adam and John Barry really hit their strides. Adam used the higher budget to create some sumptuous sets, including the Rumpus Room, the laser cutting room and, not forgetting his masterpiece, Fort Knox, where Adam let his considerable imagination run wild, creating a veritable “Cathedral of Gold”.

On the music front Barry produced one of his finest soundtracks; it just screams “Bond”, with it's twangy guitar and big, brassy sound; simply breathtaking. For the main title theme, Barry delivered one of the greatest theme song's of all time; Goldfinger, sung with great gusto by Shirley Bassey.

When Goldfinger was released, it broke box-office records. Furthermore Goldfinger spawned a host of imitators, and they hoped on board the “Bond-wagon”.

Goldfinger was the first Bond blockbuster, and it's easy to see why; superlative performances by the key actors; Barry's soundtrack; Adam's innovative sets; John Stears amazing special effects, all resulting in the most iconic, definitive Bond film.

Agent003

GOLDFINGER (1964)

CHARACTERS: Sean Connery gives another great peformance as Bond one of his best actually. I think in his first three films he gave his best peformances, but after that I think he just started to get a bit tired of the role. I don't think he looked quite as fit as he did in FRWL and Connery's hair piece is just a complete distraction from the film. Apart from that I Connery is perfect as Bond and I still think he's the best Bond ever. The woman are pretty nice in this film. While some might say Honor Blackman is a bit too old to be playing a Bond girl. But she still looks great and provides us with probably one of the most memorable Bond girls ever. Shirley Eaton however I always thought was a bit of an overrated Bond girl. She's not really that good looking and I think she's only really famous because of her Golden girl scene, and of course so they could send her on tour promoting the film, I thought he're sister in the film Tilly Masterson was much more interesting and attractive. Goldfinger is a great villan. Gert Frobe gives a great peformance as the corrupt gold smuggler and his henchman Oddjob provides for an entertaining and memorable villan. So thats it basically :) They're all great. 8.5/10

PLOT: The plot is very good and perhaps more importantly, easy to follow. Some might say Goldfinger's plan to kill the entire army of Fort Knox security troops with nerve gas in order to infiltrate America's largest gold depository and place and nuclear atom bomb in order to make his gold more valuable is a bit silly and unrealistic. But I think it's actually one of the more down to earth kind of plots and I'm more than willing to except that its all possible. Infact I think it would probably be one of the few that would be most likaly to succeed, mainly because most of the evil plans are about as realistic as unicorn slugs. 9.5/10

BOND BLUEPRINT: The Bond Blueprint isn't exatly followed perfectly. But I don't think there's a Bond film that does. The action is amazing. Write from the beginning explosion at the Mexican drug dealers den right to the plane crash at the end, Goldfinger is probably the most action packed film of the lot. The music score by John Barry is at its best as usual, however I'm not really the biggest fan of the Shirley Bassey title song but its still great. The gadgets are of course the most important part and Goldfinger really owns this triat. Bonds legendary Aston Martin DB5 is the highlight and mark of the film. Infact its really the highlight of James Bond and it makes sense for them to bring it back in TB, GE, TND and SF. The only thing that is really a let down is the locations in the film. Each of the Connery films would try to stay roughly in one location for the film. So each would be recognisable from each location. DN had Jamaica, FRWL had Turkey, TB took place in The Bahamas or more specifically on the island of Nassau, Then there was YOLT which took place in and around Japan. Then finally for DAF we had Las Vegas. GF is really the low point for the Connery films. Here, we start the film in Miami which is all fine. But then we head off to Switzerland and from there to Kentucky. This maybe the location of Fort Knox which Fleming mentioned in the novel. But surely there where more exotic places they could film. Perhaps even the US mint in San Francisco.

OVERALL: Goldfinger is by far the best Bond film. It has everything you could possibly want in a Bond film: Action, Adventure, Woman, Gadgets, Exotic Locals and Amazing villans. Overall I think very highly of Goldfinger and truly think it is the best Bond of all time. 100/100

DRush76

"GOLDFINGER" (1964) Review"

Ever since its release in 1964, the movie, "GOLDFINGER" has been regarded as one of the best Bond movies ever. In fact, it is considered by many Bond fans as the franchise's definitive film, considering that it more or less created what is known as "the Bond formula". The 1959 Fleming novel that it is based up, is also highly regarded by some fans, while others believe that the movie is an improvement on the literary version. While I agree that the movie, "GOLDFINGER" is an improvement over the novel, I have a low opinion of both versions. However, I'm here to comment on the movie and not the novel.

As I have stated before, "GOLDFINGER" is without a doubt my least favorite Bond movie of all time. Not only did Bond seem to act like an oversexed adolescent, culminating in that ridiculous scene between him and Pussy Galore in Goldfinger's barn, the movie is hampered by a weak Felix Leiter, portrayed by Canadian actor Cec Linder (who seemed more like a sidekick than an ally) and major plot holes that included:

1) Goldfinger's reason for keeping Bond alive - why the man didn't think to find out what exactly Bond knew about "Operation Grand Slam", I don't know.

2) The method Bond uses for convincing Ms. Galore to betray Goldfinger - it's bad enough that Bond had to assert his masculinity over the cool and professional Ms. Galore, the writers have us believe that he used sex to convince her to betray Goldfinger. Why? Why not have Bond convince her that Golfinger was simply a fruitcake? I guess the writers wanted an excuse for Bond to use the "magic penis". The entire barn scene left me feeling disgusted and less impressed by Pussy Galore.

3) Goldfinger's murder of the Mafia bosses - This was so ridiculous and unecessary. Many Bond fans have claimed that the reason Goldfinger told the Mafia bosses about his plans for Fort Knox before murdering them, was because he wanted bask in the enjoyment of letting someone know about his plans. If that was the case, why not have Goldfinger tell Bond before attempting to kill the agent or leave him for dead? What makes this scenario even more ridiculous is that when Mr. Solo decided that he wants nothing of the Fort Knox plan, Goldfinger sent him on his way with a gold bar . . . before Oddjob kills the man and crushes him inside a car. Why not simply leave Solo with the other gangsters and kill them all? Without having to reveal his Fort Knox plan?

Are there any positive aspects about "GOLDFINGER"? Why . . . yes. Thankfully, the movie's cast included Gert Frobe as Auric Goldfinger. Although my opinion of Goldfinger's intelligence has diminished over the years, I remain impressed by Frobe's commanding performance. And there is the talented and classy Honor Blackman (who was already famous in the U.K. in the TV series, "THE AVENGERS"), playing the tough and intelligent Pussy Galore. I enjoyed Ms. Blackman's performance so much that it seemed a shame that her character was ruined in that Galore/Bond wrestling match inside the barn. Shirley Easton made the most of her brief appearance as one of the doomed Masterson sisters, Jill. And let's face it, no one will ever forget the last image of her gold-painted body spread out upon the bed inside Bond's Miami hotel room.

Last by not least, there is the movie's theme song, performed by the talented Shirley Bassey. After all, it is considered one of the best Bond theme songs ever. And that is an opinion I do share.

Despite some of the movie's positive aspects, I have always harbored ambiguous feelings about "GOLDFINGER" for years. In the past, I tried to accept the prevalent view that it was probably one of the best Bond movies. But after watching it the last time . . . Well let me put it this way, whether or not it was responsible for creating the Bond formula, I now finally realize how much I truly dislike it.

3/10

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