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Directed by | |||
| Guy Hamilton | |||
Writing credits | ||
| Richard Maibaum | (screenplay) & | |
| Paul Dehn | (screenplay) | |
| Ian Fleming | (novel) uncredited | |
Produced by | |||
| Albert R. Broccoli | .... | producer | |
| Harry Saltzman | .... | producer | |
| Stanley Sopel | .... | associate producer (uncredited) | |
Original Music by | |||
| John Barry | |||
Cinematography by | |||
| Ted Moore | (director of photography) | ||
Film Editing by | |||
| Peter R. Hunt | (as Peter Hunt) | ||
Production Design by | |||
| Ken Adam | |||
Art Direction by | |||
| Peter Murton | |||
Makeup Department | |||
| Basil Newall | .... | makeup artist | |
| Paul Rabiger | .... | makeup artist | |
| Eileen Warwick | .... | hairdresser | |
Production Management | |||
| L.C. Rudkin | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Frank Ernst | .... | assistant director | |
| Richard Jenkins | .... | second assistant director (uncredited) | |
| Michael G. Wilson | .... | third assistant director (uncredited) | |
Art Department | |||
| Freda Pearson | .... | set dresser | |
| Maurice Pelling | .... | assistant art director | |
| Michael White | .... | assistant art director | |
| John Chisholm | .... | prop man (uncredited) | |
| Peter Lamont | .... | draughtsman (uncredited) | |
| Ron Quelch | .... | production buyer (uncredited) | |
Sound Department | |||
| Gordon K. McCallum | .... | sound recordist (as Gordon McCallum) | |
| Dudley Messenger | .... | sound recordist | |
| Harry Miller | .... | dubbing editor | |
| Norman Wanstall | .... | dubbing editor | |
| Charlie McFadden | .... | boom operator (uncredited) | |
| Otto Snel | .... | sound recordist (uncredited) | |
Special Effects by | |||
| Frank George | .... | special effects assistant | |
| John Stears | .... | special effects | |
| Wally Armitage | .... | special effects (uncredited) | |
| Joe Fitt | .... | special effects technician (uncredited) | |
| Fred Heather | .... | special effects (uncredited) | |
| Garth Inns | .... | special effects (uncredited) | |
| Bert Luxford | .... | special effects technician (uncredited) | |
| Jimmy Ward | .... | special effects (uncredited) | |
Visual Effects by | |||
| William Creighton | .... | carpenter: Fort Knox model (uncredited) | |
| Cliff Culley | .... | optical effects supervisor (uncredited) | |
| Roy Field | .... | visual effects (uncredited) | |
Camera and Electrical Department | |||
| John Winbolt | .... | camera operator | |
| David Watkin | .... | cinematographer: title sequence (uncredited) | |
Costume and Wardrobe Department | |||
| Elsa Fennell | .... | wardrobe supervisor | |
| John Hilling | .... | wardrobe master | |
| Eileen Sullivan | .... | wardrobe mistress | |
Editorial Department | |||
| Ben Rayner | .... | assembly editor | |
| Brent Eldridge | .... | digital color correction (uncredited) | |
Music Department | |||
| John Barry | .... | conductor | |
| Shirley Bassey | .... | singer: title song | |
| Leslie Bricusse | .... | lyricist: title song | |
| Anthony Newley | .... | lyricist: title song | |
| Monty Norman | .... | composer: The "James Bond" theme | |
| Vic Flick | .... | musician: guitar (uncredited) | |
| Bobby Graham | .... | musician: drums (uncredited) | |
| Sidney Margo | .... | music contractor (uncredited) | |
| John Scott | .... | musician (principal saxophone) (uncredited) | |
Other crew | |||
| Albert R. Broccoli | .... | presenter | |
| Robert Brownjohn | .... | titles designed by | |
| Charles Russhon | .... | technical adviser | |
| Harry Saltzman | .... | presenter | |
| Constance Willis | .... | continuity girl | |
| Charles Dorat | .... | french adaptation: post-synchronized version (uncredited) | |
| Charles Russhon | .... | government liaison: USA (uncredited) | |
| Charles Russhon | .... | military liaison: Kentucky (uncredited) | |
| Pierre Salinger | .... | liaison: USA (uncredited) | |
| Bob Simmons | .... | body double: James Bond, in opening sequence (uncredited) | |
| Yves Thos | .... | poster designer: France (uncredited) | |
| Terence Young | .... | director: pre-production (uncredited) | |
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| Thunderball | Dr. No | Moonraker | On Her Majesty's Secret Service | From Russia with Love |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb UK section |
I first saw GOLDFINGER round about 1977 and it has been shown on British television more times than I can count . In fact it`s somewhat ridiculous the amount of times it`s been repeated and having seen it so many times after more than 25 years I find it impossible to say much on it.
I will say however that future Bond production teams seem to have taken all the lesser bits of GOLDFINGER while completely ignoring all the good elements . The lesser bits are the awful puns like " Shocking " and " He blew a fuse " . How many times have you watched a Bond movie where the hero has dispatched a bad guy and you`ve made your own pun which is ten times better than the one Bond says to camera ? Exactly . Of course in 1964 these one liners might have been ground breaking but after the franchise has gone on you feel that the screenwriters have been ordered to write a sequence so that Bond can make a groan inducing one liner . Oh and I haven`t even mentioned Pussy Galore ( Insert your own joke here ) , this is another thing that the producers seem obsessed with - woman with completely unreal names , everytime someone makes a Bond movie we get a Plenty O Toole or some such weird name . The novelty wears out very quickly .
What I liked about GOLDFINGER is that James Bond is shown as being vulnerable , it`s about the only film in the franchise when he is unable to save the lives of his lovers for example , and lets not forget the classic scene of the lazer beam creeping up the table where he has to use his wits , and has anyone noticed that he doesn`t actually save the day at the Fort Knox climax ? He doesn`t even need to be there . Compare that scenario with the later Bond movies ( Especially the Roger Moore ones ) when he stops the baddies single handed in a ridiculously contrived and OTT manner , such a pity they don`t make Bond films like this anymore .
Despite seeing GOLDFINGER more times than I care to mention I`ll no doubt watch it again next time it`s on British television