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A fake Fabergé egg and a fellow agent's death lead James Bond to uncover an international jewel-smuggling operation, headed by the mysterious Octopussy, being used to disguise a nuclear attack on N.A.T.O. forces.
Bond is back and his next mission takes him to Fort Knox, where Auric Goldfinger and his henchman are planning to raid Fort Knox and obliterate the world economy. To save the world once again, Bond will need to become friends with Goldfinger, dodge killer hats and avoid Goldfinger's personal pilot, the sexy Pussy Galore. She might not have feelings for Bond, but will 007 help her change her mind? Written by
The scenes of people fainting involved the same set of soldiers moving to different locations. See more »
When Odd Job separates the head from the statue the falling head hits the statues left arm, a break away is clearly seen, the arm bounces, yet does not break away as intended. See more »
Mr. Ramirez and his friends will be out of business.
At least they won't be using heroin flavored bananas to finance revolutions.
See more »
The original UK release ended with "James Bond will return in 'On Her Majesty's Secret Service'" but by the time the film was released in America the decision had been made to make Thunderball next so the credits were changed accordingly. See more »
What Goldfinger does, that so many subsequent Bond movies forget, is not overdo things. It underplays everything. This is a movie of such effortless cool and style that it's sweeps the viewer along with charm. Many Bond movies also jar between action and non-action scenes (The World is Not Enough, for instance). Goldfinger moves through the gears with aplomb.
Goldfinger is so stylish that even the pre-credit sequence contains more cool than the entirety of most 007 films. You have the iconic wetsuit/tuxedo scene; Bond lighting a cigarette just as an explosion goes off; the unflinchingly brutality of Bond electrocuting a man then just turning away to make a quip; and finally him slamming the door - even than leads perfectly into the Shirley Bassey theme.
Everything is pitch perfect. Goldfinger himself is the ideal combo of vulgar greed and gentlemanly host. A perfect foe for for Bond. Pussy Galore combines the voluptuousness of 60's Bond girls with the spirit of the more modern ones. Connery himself is the epitome of Bond; charismatic, tough, ultra-suave.
There are plenty of standout scenes; the laser-beam table is unmatched in the series for sheer, pure tension; the aston martin chase is again one of the best in the series and shows up similar scenes in the likes of Die Another Day as merely visual showcases - this one is genuinely exciting. Bond's fight with Oddjob set the template for numerous, 'How do I stop this guy?' cat-and-mouse fight scenes, especially in Spielberg movies.
You might argue than Goldfinger could do with at least one more action set-piece, as it does slow down before the climax whilst Bond is Goldfinger's guest. But it wouldn't really fit into the story. As a Bond film, Goldfinger is practically perfect. Connery even has the best wig.
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