The Eon style at its deftest. Director Guy Hamilton tautly steers Sean Connery's inimitable 007 through some of his most memorable encounters: the gold-painted heroine, the Aston Martin car chase, the laser beam, the plot to irradiate Fort Knox. It has the best Bond villain in the eponymous Auric Goldfinger (Gert Frobe) and the best henchman in Oddjob (Harold Sakata).
And the wittiest script. About to be dissected by a pencil-thin ray of scarlet laser-light, Connery demands: "Do you expect me to talk?" "No, Mr Bond," scoffs Froebe. "I expect you to die!" Like the scene in the mosque in From Russia With Love, this scene is brilliantly written, designed, storyboarded, lit, photographed, edited and scored. If Hitchcock had shot this it every frame would have been analysed.
And the best gadget. As described by Desmond Llewelyn's deadpan Q, the Aston Martin DB5 is of course an outrageous affront to audience credibility. But the subsequent chase through the Pinewood backlot is done with such verve and unabashed conviction that even the most absurd device, the passenger ejector seat, is persuasive.
And the best climax. The choreographed fight in the echoing and cavernous Fort Knox set has a ferociously cool sadism, perfectly offset by the shot in which Oddjob smilingly beckons the battered Connery to get back on his feet.
Goldfinger cleverly builds up character by minor touches. Froebe's furtive, covetous glance at the stacked goldbars inside the vault, his gold-plated Colt.45, his petty vanities in naming his alpine factory Auric Enterprises, his Kentucky stables Auricstud, even labelling the geiger-counter Auricspectrometer'.
And there's minor touches of quirky humour. Oddjob's impassive smile, the matronly Swiss gate-keeper who drops Connery a small curtsy only to later machine-gun the Aston Martin as he makes his escape. And still the best joke in the entire series is in the pre-title sequence where Connery , after sabotaging a Caribbean ammunition dump, nonchalantly unzips his wetsuit to step out in immaculate evening dress, and affixes a carnation to his lapel.
Goldfinger is also composer John Barry's most successful integration with character and action, from the brassy exuberance of the title song to the almost imperceptible base that marks out Oddjob's robotic stride, and the menacing triangles that underscore Goldfinger's sinister Koreran retinue.
True, there are thin bits. The American gangsters, the Sindy Doll pilots. And Honour Blackman is miscast as Pussy Galore. But, there's no doubt, Bond peaked in 1964.
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