The 29th Hall of Fame

Gonna try to get to The Promise tonight. No promises.

I’d say this is worth a viewing. I’ve heard nothing but good things about it

Too long for a work night though, but I bet my wife wants to see it.

Pppfff you are wishing a lot!

Should have nominated Kingdom of Heaven, it's in my top 5 English speaking films.

Two in there are Ridley Scott's. 2 are films based off classic novels and #1 holds 2 films that are a bit extreme. My top 5 are actually 6 but I cant pick which is better, A Clockwork Orange or the original The Wicker Man.

I think I have about 10 films to watch to finish out his filmography, most of which are his 90’s output and a few films from the last decade (the counselor, All the Money in the World, Exodus and house of Gucci). He’d make a good director for the challenge, that’s for sure

If you take yourself back, and put yourself in the shoes of an average cinema enthusiast in the mid 1960s, you can easily feel the magnetic pull Goldfinger had, not just to people already interested in James Bond fiction, but to a wide range of individuals. The film is colourful, good looking and it sounds great - but most of all it moves with a relentless pace, never dawdling and always providing excitement. The actual and story locations provided a sweep of cinematic sightseeing, from Latin America to Miami, Switzerland and Kentucky. Our hero loses two companions, and as such the film subverted some expectations the way Psycho did in a more major fashion 4 years prior. The film introduced amazingly novel concepts, with an armed luxury car that had incredibly imaginative features, and an inspired plan from it's memorable villain. When you take into account the spectacular title song, Sean Connery, and the amazing production design - you begin to realise how exciting this was for film fans of the day. So much so, that it can rekindle a fondness for the movie in this film fan of the present.

After a deadly assignment in Latin America, MI6 agent James Bond is recuperating in Miami when Felix Leiter (Cec Linder), Bond's CIA colleague, informs him of the presence of Auric Goldfinger (Gert Fröbe) who Bond crosses paths with, resulting in the death of Jill Masterson (Shirley Eaton) who has betrayed him. Back home, he's sent on assignment from M (Bernard Lee) to check out Goldfinger's smuggling method, and purposes. In Switzerland, an assassination attempt on Goldfinger by Jill's sister, Tilly (Tania Mallet) attracts Bond's attention, but before he can really join forces with her she's killed also, and Bond is captured by his foe - who is smuggling gold by molding car parts from the precious metal, which is re-smelted when over the border. Bond also discovers a rather large plan Goldfinger has in the works - "Operation Grand Slam" - irradiating the gold in Fort Knox to make it unusable, thus increasing the value of the gold he owns ten-fold. The Chinese are also interested in this plan, as it would destabilize the United States and other Western countries. His one hope is getting Goldfinger's ally Pussy Galore (Honor Blackman) to switch teams (so to speak*) and betray this gold obsessed villain.

Yes, this was the film that produced what would be a replicated formula, for this was the one that pushed James Bond films over the top in terms of popularity, box office success and merchandizing. It had a truly great henchman working for the villain - Oddjob, who is so wonderfully played by Hawaiian wrestler and weight lifter Harold Sakata. Sakata has Oddjob implacably smile so often when James Bond finally tangles with him at the end of the film - and he seems invulnerable. The filmmakers have him crush a golf ball with his bare hand, and had him demonstrate his razor-edged hat earlier in the film. He might seem stereotypical these days (every supervillain has an invincible henchman now), but at the time this unusual kind of henchman was novel. It provides excitement, for there really doesn't appear that there's any way James Bond can defeat the mountainous man, so instead of brute force, he has to rely on his sharp wits and ingenuity to find a way to victory. The fight they have remains exciting to this day.

The first thing that really strikes me as an awesome achievement is the title song by John Barry, and originally sung by Anthony Newley (who wrote the lyrics) but thankfully sung by Shirley Bassey in the film. The entire score from Barry is perfect - ever so powerful, with so much brass behind it, and sexually charged. I love the sound of Goldfinger, and the sound effects ended up winning the film an Oscar - Norman Wanstall, who provided them had already worked on the two previous Bond films and would go on to work on the next two and later, Never Say Never Again. It's a film that's as fun to listen to as much as watch - and this was an aspect of the film that was paid careful attention to. Growing up, I had a special affection for most Bond songs (even some of which I'd probably be embarrassed to admit to today.) Goldfinger would rank at the very top of where I'd put every Bond film sound-wise. John Barry would be with the series up to and including The Living Daylights.

Ted Moore was director of photography, and here was another man who had been aboard during the previous two films. I find that in the Bond films of the early era, functionality was much more important than art - and as such we don't really get a chance to produce something beautiful until we get to the stunning locales (which got greater and greater as the series went on.) Here it's in Switzerland that we get some of our most impressive shots - and otherwise it was really the production design that hit the ball out of the park. Production Designer Ken Adam, who had worked on Dr. No, built some magnificent sets - such as the lair that Goldfinger transforms into a briefing room complete with model of Fort Knox, and of course the interior of Fort Knox itself, which had to be designed with great use of imagination - as few people have ever seen it. Ted Moore would work on Thunderball, Diamonds Are Forever and the first two Roger Moore Bond films. Ken Adam would work on many Bond films in the future, win 2 Oscars for non-Bond related films, and be nominated for an Oscar for his work on The Spy Who Loved Me.

Gert Fröbe was the perfect choice to play Goldfinger - he most definitely looks the part, and has that unpleasant sense of violence in his presence. Theodore Bikel was tested for the role, and would have proven to have been an interesting alternative, but Tito Vandis would probably have been a big mistake. I'm afraid to say that the female actors seem to have been picked mostly for their looks, although Honor Blackman is obviously talented and brought her Judo skills to her role as Pussy Galore. Overall, these seem like fun parts to play, with little to really stretch anyone acting-wise. Fröbe couldn't even speak English, which is particularly interesting, but the dubbing work is perfect and if I didn't already know it I never would have guessed. Lois Maxwell (who lived just down the road from me when she retired from acting) and Desmond Llewelyn had remarkable longevity in their roles as Miss Moneypenny and Q respectively. Again, they weren't pushing barriers in their performances, but were fine.

Richard Maibaum wrote a very taut screenplay for Goldfinger (sharing credit with Paul Dehn) and helped shape the successful direction it went in - always moving, fast paced and although less complex when it came to spycraft and worldview (Goldfinger's conspiracy with China via Chinese agents almost goes unnoticed to the casual viewer) it widened the film's audience and brought a tight focus to the story. It helped keep everything exciting and straightforward. Maibaum was involved in writing the screenplay for every Bond film up to You Only Live Twice, and except for Live and Let Die and Moonraker had a hand in every Bond screenplay up to and including Licence to Kill in 1989. Remarkable longevity in the series, which only ended due to him passing away in 1991, long before the series restarted with Pierce Brosnan in the lead role. We also have to credit Ian Fleming, of course, although his stories were followed to a lesser extent as the series went forward.

Goldfinger marked Guy Hamilton's entry into the series as far as being director went - an unusual role with so many competing interests from producers (Harry Saltzman and Albert R. Broccoli) to screenwriters, the public, main star and history. Hamilton's career is forever wedded to James Bond, even though he'd already directed a fair few films, and would helm the likes of The Battle of Britain while other directors were taking a shot at the role. He'd end up directing 4 James Bond films in total, but had the greatest satisfaction knowing he'd directed this one. He'd previously turned down an offer to direct Dr. No. Peter Hunt would edit the first 5 Bond films (and was second unit director as well on You Only Live Twice) - after that he'd actually graduate to the director's chair, helming On Her Majesty's Secret Service before leaving the series. I think he did an excellent job in all roles, especially on Goldfinger. Robert Brownjohn famously put together Goldfinger's remarkable main titles, and this expanded into the film's marketing campaign overall - absolutely brilliant. He'd also been in charge of constructing the title sequence for From Russia With Love. The focus on sexuality would continue throughout the entire series. Special effects supervisor John Stears would eventually win an Oscar for working on Star Wars, and was nominated for one for his work on Thunderball

It's a great team, and by this third film in the series they'd had a lot of experience together, finding out what worked and what didn't - always improving. This honing of skills seemed to have reached a peak with Goldfinger (for me the next film, Thunderball, couldn't match this film's excitement and fast pace.) These days we expect so much from a Bond film, but at the same time we often happen upon one which is full of effects, locations and thunderous sound but come away with a sense we were bored the whole time - that the characters themselves were completely lost in all of that sound and fury. Goldfinger has the advantage of not being too overbearing, but instead investing a lot in it's variations, and has a perfect balance of excitement, visual stimulation, great sound, interesting characters and an overall satisfying story. You can add spectacular sights and explosive action to the hilt, but without the characters and story the audience will walk away unimpressed. There are many interesting little touches, with colours approximating gold showing up in many unexpected places (in Theodore Bikel's audition, his hair seemed to be radiating the colour.) It's a perfect blend of overall ingrediants.

When I became interested in James Bond films, Timothy Dalton was just about to start a new era, and it seemed like Roger Moore had always been Bond - the films of Sean Connery seemed quaint compared to what we got with each installment. Appreciating Goldfinger as a film enthusiast, it's very interesting to note what all of the assembled talent did to help create the film that would capture the World's attention. Sean Connery radiates a seemingly effortless confidence and cool detachment, while at the same time being someone with natural sex appeal. Honor Blackman was never one of my favourite Bond girls, and I always thought the name Pussy Galore atrocious. But there's also that strange irony for such a misogynistic series - many of these female characters were strong and capable, and Galore's flight skills and Judo technique, not to mention partnership with Goldfinger, gives the role complexity and interest. It's a shame that Shirley Eaton and Tania Mallet die so soon after being introduced - but they were memorable all the same.

The excitement I had for Bond films when I was really young can never be replicated, but after examining Goldfinger I have a newfound interest and respect for them - especially these early ones. What they lack in meaning they make up for in the sheer craft and ingenuity. Goldfinger still looks great after all these years (they had to have lost something during the VHS era - but after undergoing digital restoration, with DTS 5.1 audio incorporated, they are gorgeous and have a new lease of life) and I hope future film fanatics will enjoy going back in time for many years to come, to admire the evolution of what has become one of the all-time great series of films. Before I forget, I can't end the review without quickly mentioning that old lady with a huge machine gun who blasts away at our suave secret agent - another great moment in a great film, and although some Bond films would late overdo the comedic aspect, the blend in Goldfinger is again spot on. The only thing that ages it is James Bond's complaint about The Beatles, which turns the character into a bit of a dag (Australian term, meaning a person who is unfashionable and socially awkward) - but otherwise, he's sex on two legs. The misogyny is a little over the top (okay, more than a little) but the World as a whole seems to have accepted this aspect of Bond - and the series does have many strong female characters. Over half a century on, Goldfinger still stands out as a cinematic jewel, sparkling in it's own unique fashion and brilliance.



* Pussy Galore was gay in the novel, but in the film they could only vaguely hint that she was.

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The Promise



I quite enjoyed this one. The story was very well told and never made me lose my attention. I thought the film looked really good too. The main lead performance was a very solid one I thought. The movie felt very genuine, showing us how the events were really tugging at the heartstrings of the main character. It was very well directed and I should probably week out more of their movies. Previously I only saw Rosetta. Overall a real good nomination I thought.

+

Okay, it's about time I set the deadline on this baby, which will be : September 4th

35 reviews so far, out of 144 - pretty good going

I'm going to make an early prediction that Goldfinger will win.

Goldfinger is a strong contender. I see The Promise as being a dark horse front runner.

So I watched Stroszek (1977) for the first time today. Honestly, this was a little underwhelming. I couldn't really connect with the film. I thought the screenplay was decent and the performances were fine, but the film failed to engage me. I didn't find the story very interesting and it felt a lot longer than it was. At one point, I checked to see how much time was left, thinking it was close to the end and there were still 41 minutes left. The film is described as a comedy and the poster claims it is terrifically, spontaneously funny, but I did not find it funny or humorous at all. There were a couple good moments, but overall I expected more. I've seen five Werner Herzog films now and I find him an interesting director. I respect and appreciate him as a director, but for me this is the weakest of his films that I have seen. That being said, I didn't hate the film and I wouldn't even consider it a bad film, just one that didn't do much for me. My ratings/rankings of the five Herzog films I have seen:

Aguirre, the Wrath of God (1972)
Fitzcarraldo (1982)
Nosferatu the Vampyre (1979)
Woyzeck (1979)
Stroszek (1977)

I've only seen 1 of Herzog's films so far, I'm glad another was nominated.
Aguirre, the Wrath of God (1972) was Siddon's nom in the 15th HoF.
I rated it

My money's on Das Boot. Goldfinger will likely be in the top 3, though.

I have been meaning to watch Das Boot for quite a while now. I bought a digital copy on itunes a while ago and haven't watched it yet. I might watch it tomorrow.

Invasion of the Body Snatchers has a shot too. That may be the next one I watch after rewatching Goldfinger

Just curious which version it was? I'd like to see the theatrical version as it's been decades since I last watched that.

Yup. I have high regards for the original Body Snatchers.

Anyways I'm 4 movies in and it's great to be back! Hopefully back in the saddle with these for awhile.

It's the 3 hour and 28 minutes director's cut version.