Review of Goldfinger (1964) by Lenny R — 30 Jun 2017

This is probably the only Bond film actually based on a Fleming book (rather than just taking the name, a la The Spy Who Loved Me, etc) that significantly improves upon its source. It does so by rethinking some of the more ludicrous ideas, such as Goldfinger's plan for the Fort Knox attack (the absurd scheme Bond postulates, that Goldfinger scoffs at, is more or less Fleming's version), and Pussy's lesbianism (her 'disorder' is much more overt in the book, and Bond helpfully 'cures' her of it with his man-lovin'. Whether it was done for reasons of censorship or common decency doesn't matter to the end result - the movie, by not explicitly addressing her orientation, leaves it a mystery, thereby doing away with Fleming's homophobic bulls#!t). They've also improved upon the Aston (in the book it's a DBIII with a phone in it), kind of creating a monster as far as the gadgets go, but allowing for a classic sequence, where Bond invades Goldfinger's compound in his fully-loaded spy car.

Gert Frobe is great as Auric, gentlemanly geniality barely concealing menace. Harold Sakata is also really good as Oddjob, Goldfinger's hat-slinging mute Korean manservant.

Honor Blackman is a fine Pussy. Shirley Eaton is good fun as Jill. Tania Mallet is not quite as good, as Jill's vengeful sister Tilly, but does OK.

Guy Hamilton's first (and easily best) effort as director set the standard for the series for many years to come, introducing an overall jokier tone than the previous two, most obviously in Bond's affectionate needling of the grouchy Q.

The score is one of John Barry's best (for me, it's second only to OHMSS), and the Shirley Bassey theme song has rightfully become a classic.

Overall, this is still probably the best Bond movie ever made.