Guy Hamilton, “Goldfinger” (1964)
Third in the series of James Bond spy film series, “Goldfinger” remains the standard to which all other films in the series are compared and usually found wanting. “Goldfinger” more or less established the template for successor JB films to follow: an opening scene before the credits that is not always related to the film’s plot; a megalomaniacal villain with a bizarre scheme to hold the world to ransom; the villain’s main enforcer employee having a bizarre modus operandi along with a taste for brutal violence; James Bond failing to save one or two sacrificial lambs; the super-spy himself dropping sarcastic one-liners about the villains he’s disposed of; the action taking place in several foreign locations; and an emphasis on fast cars and the latest technological gizmos, even if nearly 60 years later those gizmos look quaint and cartoonish. Of course the film always ends with Bond and his love interest with the double-entendre name sinking into each other’s arms with the theme music starting up and the end credits starting to roll.
Even if viewers have seen other JB films and know what they can expect, at least “Goldfinger” does not take itself seriously – indeed, the film does overdo its self-mockery – and the actors acquit themselves well. The plot holds together well with the right balance of the plausible, the logical and the fantastic, as it strides briskly through various sketches in which Bond (Sean Connery) and the villain Auric Goldfinger (Gert Frobe) battle each other through deception and persistence on Bond’s part. Initially holidaying in Miami, Bond is directed by CIA agent Felix Leiter (Cec Linder) to observe Goldfinger cheating in a game of gin rummy: Bond discovers Goldfinger’s ruse and blackmails him into losing the game, but this results in the death of Jill Masterton (Shirley Eaton) who had been helping Goldfinger cheat. After returning to London, Bond volunteers to continue following Goldfinger to compensate for his having failed to protect Jill and to ascertain how Goldfinger is smuggling gold bullion across national boundaries in order to manipulate and game international gold prices. Bond and Goldfinger meet again to play a round of golf, during which the villain again tries to cheat but is foiled; Goldfinger then warns Bond to stay away from him in future. The spy tracks Goldfinger to Switzerland where he meets Jill Masterton’s sister Tilly (Tania Mallet) who intends to kill Goldfinger for having killed Jill. Later Bond sneaks into Goldfinger’s refinery where he discovers how the villain is smuggling gold (it is incorporated into the body of his Rolls Royce) and hears mention of Goldfinger’s plan to steal the gold held in Fort Knox in the US state of Kentucky. Bond ends up being captured and Tilly, who turns up on her own, is killed by Goldfinger’s enforcer Oddjob (Harold Sakata).
Bond is flown to Kentucky as Goldfinger’s prisoner by pilot Pussy Galore (Honor Blackman) where, through his own devices, he discovers that Goldfinger plans to kill all military personnel guarding Fort Knox by gassing them with nerve gas and then plant an atomic bomb in the gold vaults there that will detonate and irradiate the gold, rendering it useless and causing the value of Goldfinger’s own gold reserves to skyrocket and create global market chaos.
The plot is straightforward and fast, with just enough dialogue papering over any holes and other implausible aspects. Most of the violence occurs in the later half of the film and it can be brutal. For a large part of the film Bond is Goldfinger’s prisoner and must use his wits and charm to convince Pussy Galore to switch sides and betray her employer (and risk being killed later) but this significant part of the plot is treated in a crude manner. Bond’s guilt in failing to protect Jill and Tilly Masterton plays a large part in his decision to pursue Goldfinger and Oddjob to the extent that he risks his life several times but this aspect of the plot is dealt with superficially when it could have been a major part of Bond’s character development. Unfortunately though, scriptwriters back in the early 1960s were dealing with source material for the film that was homophobic and misogynist, and they did what they could to scale back the characterisations of Pussy Galore and Tilly Masterton, both portrayed as lesbians in the original novel, not to mention Bond’s aversion to homosexuality and attitude to women who refused his advances, to something more credible even in the James Bond fantasy film universe. On the plus side, the film does portray a range of women characters from capable and intelligent individuals to others, admittedly minor characters, who were little more than wallpaper.
As it is, “Goldfinger” is enjoyable for its plot, its look and its characters, but beyond those, it is no more than what it set out to be: escapist spy-thriller fantasy.