Film Review: Goldfinger (1964)
Perhaps the most iconic film in the long-running franchise, Bond’s third outing remains his definitive adventure for many fans, and concludes a trilogy of some of the best thrillers of all time.
In embarking on this Bond marathon, it was inevitable that some films would be more familiar than others — the previous two instalments had only been seen once before, for example. But even though as a child I was constrained by whatever DVDs we had in the house, I like to think that I would have seen Goldfinger even if we didn’t already own it. It’s just too iconic, so much so that even commenting on this fact feels like a cliché, whilst also being another genuinely great spy thriller: let’s just say such a status was not gained by accident.
I don’t think it’s unreasonable to suggest that every subsequent Bond film, at least until Casino Royale, is in some way trying to replicate Goldfinger. I would even argue that this was when this franchise ceased making “spy/thriller films” and instead started making “Bond films”: the supervillain with the evil plan; the disconnected pre-credit sequence to introduce Bond again; the archetype for every theme song since; this film would feel familiar to any Bond fan who hadn’t yet seen it. This, of course, makes it slightly harder to review — I don’t think I’m going to stumble onto some hot take here, at least not without lying to you. I could say that it’s overrated, or that it’s a sign of the excess to come — but I don’t think that. I agree that it’s a fantastic film, and even if it signalled where this franchise was heading (away from the serious spy thrillers) this film can’t be blamed for the criticisms of future instalments.
The pre-credits scene warrants particular attention here: From Russia with Love had one too, but this was where the formula really became established. It’s great seeing Bond in the middle of an assignment, allowing for a miniature dose of action without any of the preamble. It culminates in a great fistfight before Shirley Bassey’s bombastic theme song bursts into earshot, somehow improving an already pitch-perfect opening. For all the simple pleasures of the previous films, this sequence clearly positions itself as the start of something worth getting excited about.
Speaking of getting excited, Connery’s performance certainly offers enough in this department. He’s impeccable as Bond, riding the wave of confidence from his two earlier performances to the peak of his portrayal. The scene of him outsmarting the prison guard, by walking back and forth before pretending to disappear, has always been a favourite of mine. The other series regulars are all on top form as well, but it’s Desmond Lewellyn who steals the show with his portrayal of Q. Although introduced in the previous film, it’s here that his spiky, unamused, but well-meaning character became defined. I joked in the Dr. No review about wanting Jack Lord to return as Felix Leiter, but I’ve always loved Cec Linder’s performance here.
The real star of the film, though, is undoubtedly Gert Fröbe. Auric Goldfinger is a phenomenal villain, easily one of the best in the franchise, and Fröbe’s performance does so much of the heavy lifting. He is suitably charming — a calculated act, of course — when he interacts with Bond, whilst being able to intimidate those he needs to and deliver chilling dialogue after the kill. His final scene at Fort Knox, when he switches sides to escape, shows him as the selfish coward we all knew him to be. Such is the fate that befalls the best Bond villains. In a similar vein, Harold Sakata sets the standard for every Bond henchperson, with his gimmick surviving as one of the more iconic — like everything else in this film. For all the outlandish elements of Goldfinger’s evil scheme, I appreciate that the plan itself doesn’t fall into the generic territory of world domination. It actually is a rather intelligent plot, ruining the U.S. gold reserves to inflate Goldfinger’s own wealth, and grounds the whole affair in some sense of reality.
I think that the major strength of Goldfinger is its ability to balance the more outlandish elements of the plot with a serious tone and presentation — and it definitely succeeds, perhaps where other Bond films have since failed. It helps, of course, that this film alone contributes so much iconography to the Bond franchise, probably more than any other: the theme song; the Aston Martin DB5; Goldfinger; Oddjob; the gold-painted girl; the laser scene; “no Mr Bond I expect you to die; the characterisation of Q; the iconic pre-credits scene; it’s astounding just how much of this film has ascended into the wider pop culture pantheon, even outside of the Bond films themselves. If you’ve seen any James Bond parody at all, it’s probably riffing on this individual film.
I’ll admit that this film didn’t feel as exciting as the two previous ones, purely because I’ve seen it so many times. But as a child — and still today — I can’t imagine a better introduction to the series. It’s a shame that later instalments lost the tone of these past films because whilst most Bond films can succeed on their over-the-top entertainment value alone, the earliest instalments do at least present any such antics — if introduced — seriously within their plots. Goldfinger is no exception and although it is the least serious of the original three Bond films, it is still a perfect culmination of what the series had accomplished by this point and would have been the finale to one of the greatest trilogies in cinematic history had the series ended here.
I don’t want you to think that my nostalgia for this film has clouded my judgement too much — although I’m sure most people who’ve seen it would attest to its many strengths — but I do think it speaks to how much of an impression this film would make on any young person watching it. It defined the Bond series for me, as it did with so many others, and it still retains that status for so many fans. From Russia with Love might be my preferred film upon this rewatch, but if this is the second-best film in your trilogy then you’re clearly doing something right.
