IMDb > Dr. Goldfoot and the Bikini Machine (1965)
Dr. Goldfoot and the Bikini Machine
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Dr. Goldfoot and the Bikini Machine (1965) More at IMDbPro »

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Up 128% in popularity this week. See why on IMDbPro.
Elwood Ullman (screenplay) and
Robert Kaufman (screenplay) ...
View company contact information for Dr. Goldfoot and the Bikini Machine on IMDbPro.
Release Date:
6 November 1965 (USA) See more »
See Cuddly BIKINI GIRLS Made To Order! See more »
Dr. Goldfoot has invented an army of bikini-clad robots who are programmed to seek out wealthy men and charm them into signing over their assets. Craig Gamble and Todd Armstrong set out to foil the fiendish plot. Full summary » | Full synopsis »
Plot Keywords:
User Reviews:
A too-little-known (and too-little-appreciated) gem See more (45 total) »


  (in credits order) (verified as complete)

Vincent Price ... Dr. Goldfoot

Frankie Avalon ... Craig Gamble

Dwayne Hickman ... Todd Armstrong

Susan Hart ... Diane

Jack Mullaney ... Igor

Fred Clark ... D.J. Pevney
Patti Chandler ... Robot

Mary Hughes ... Robot

Salli Sachse ... Robot
Luree Holmes ... Robot
Sue Hamilton ... Robot
Laura Nicholson ... Robot
Marianne Gaba ... Robot

China Lee ... Robot
Issa Arnal ... Robot

Deanna Lund ... Robot

Pamela Rodgers ... Robot #12 (as Pam Rodgers)
Leslie Summers ... Robot
Sally Frei ... Robot
Kay Michaels ... Robot
Jan Watson ... Robot
Arlene Charles ... Robot
Alberta Nelson ... Reject #12

Milton Frome ... Motorcycle Cop
Hal Riddle ... News Vendor
William Baskin ... Guard

Vince Barnett ... Janitor (as Vincent L. Barnett)

Joe Ploski ... Cook
Kaye Elhardt ... Girl in Nightclub

David Sharpe
Bob Harris (as Robert Harris)

Ronnie Rondell Jr. (as Ronnie Rondell)

Carey Loftin
Louie Elias
Troy Milton
Marie Ann Leslie (as Mari Ann Leslie)
Ronnie Dayton (as Ron Dayton)
Paul Stader

Harvey Parry
Jerry Summers
Fred Stromsoe
Sam and the Apemen ... Sam & the Apemen - band at Condor Club
Diane De Marco ... Diane De Marco - singer at Condor Club

Annette Funicello ... Girl in Dungeon

Deborah Walley ... Craig's Cafeteria Date

Harvey Lembeck ... Motorcycle Thug in Dungeon

Aron Kincaid ... Motorist Who Hits Diane
rest of cast listed alphabetically:
Philip Bent ... Passerby (uncredited)
Charlene Glazer ... Girl (uncredited)
Christopher Riordan ... Robot Dancer (uncredited)
Peter Sachse ... Passerby (uncredited)

Directed by
Norman Taurog 
Writing credits
Elwood Ullman (screenplay) and
Robert Kaufman (screenplay)

James H. Nicholson (story) (as James Hartford)

Louis M. Heyward  uncredited

Produced by
Samuel Z. Arkoff .... producer
Anthony Carras .... co-producer
James H. Nicholson .... producer
Original Music by
Les Baxter 
Cinematography by
Sam Leavitt (director of photography)
Film Editing by
Fred R. Feitshans Jr.  (as Fred Feitshans)
Eve Newman 
Ronald Sinclair 
Art Direction by
Daniel Haller 
Set Decoration by
Clarence Steensen 
Costume Design by
Richard Bruno 
Makeup Department
Ted Coodley .... makeup artist
Ray Forman .... hair stylist (as Ray Foreman)
Jon Peters .... hair stylist: Miss Hart
Production Management
Jack Bohrer .... production supervisor
Second Unit Director or Assistant Director
Claude Binyon Jr. .... assistant director
Art Department
Karl Brainard .... property master (as Karl R. Brainard)
Ross Hahn .... construction coordinator
Richard M. Rubin .... property master
Sound Department
Vernon W. Kramer .... sound (as Vern Kramer)
Terrance Emerson .... sound cable (uncredited)
James Nelson .... supervising sound editor (uncredited)
Special Effects by
Roger George .... special effects
Art Griggs .... special effects technician (uncredited)
Ronnie Dayton .... stunts (uncredited)
George Dockstader .... stunts (uncredited)
Louie Elias .... stunts (uncredited)
Bob Harris .... stunts (uncredited)
Carey Loftin .... stunts (uncredited)
Troy Melton .... stunts (uncredited)
Harvey Parry .... stunts (uncredited)
Ronnie Rondell Jr. .... stunts (uncredited)
David Sharpe .... stunts (uncredited)
Paul Stader .... stunts (uncredited)
Fred Stromsoe .... stunts (uncredited)
Jerry Summers .... stunts (uncredited)
Camera and Electrical Department
Alva Roy Hicks .... grip (uncredited)
Costume and Wardrobe Department
Richard Bruno .... costumer
Music Department
Al Simms .... music supervisor
Al Simms .... wailing
Albert Harris .... composer: additional music (uncredited)
Albert Harris .... orchestrator (uncredited)
Transportation Department
Frank Khoury .... unit driver (uncredited)
Other crew
Jack Baker .... choreographer
Wallace C. Bennett .... script supervisor (as Wallace Bennett)
Art Clokey .... title designer: main titles
George Dockstader .... motorcycle coordinator
Michael A. Hoey .... dialogue coach
Annette Funicello .... special thanks
Aron Kincaid .... special thanks
Harvey Lembeck .... special thanks
Deborah Walley .... special thanks
Crew verified as complete

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
88 min
Color (Pathécolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Australia:G | Australia:M (TV rating) | Spain:13 | UK:U | UK:PG (DVD) | USA:G (1980 re-release) | USA:Approved (PCA #21124) | West Germany:16 (nf) (cut)

Did You Know?

The lead character is called "Dr. Goldfoot" because he wears both golden pixie slippers and a black and gold jacket. It is also alluded to, briefly, that he actually has golden feet.See more »
Revealing mistakes: Craig is seen running down the hall at full speed to his uncles office. At the end he hits the wall with his shoulder and the whole wall including a closed door shake. Obviously a temporary set.See more »
Todd Armstrong:Mmm. Whoever you are, honey, I could, I could love you to pieces.
Diane:What took you so long. I knew that the moment I saw you.
See more »
Movie Connections:
Edited from Pit and the Pendulum (1961)See more »
The Bikini MachineSee more »


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28 out of 33 people found the following review useful.
A too-little-known (and too-little-appreciated) gem, 11 June 2005
Author: Brandt Sponseller from New York City

Now this is what I call a too-little-known gem. Despite being a perpetual "student" of film and being a fan of Vincent Price, 1960s films, and the various genres this film can be seen as, I somehow overlooked this title for years. I can't remember anyone else I've read or talked to who mentioned this title. Maybe that's because a film like this is an acquired taste, one that apparently many people haven't acquired. I must have come across it sometime, but I didn't really notice it until I stumbled across it on Netflix recently.

Some of the descriptive terms that regularly pop up in others' reviews of this film include "silly", "ridiculous", "goofy", "insane", and "absurd". I wouldn't disagree with any of those terms. What I would disagree with is that they denote something undesirable in films, or that they denote something that deserves less respect than other descriptors. Other admirable terms that I would add include "surreal", "satirical", "madcap", occasionally "atmospheric" and "funny". Dr. Goldfoot and the Bikini Machine certainly isn't intended to be realistic, and despite popular conceptions, it's not intended to just be a laugh-out-loud comedy, either.

One could think of Dr. Goldfoot and the Bikini Machine as what we now call "high concept"--"Vincent Price, in a transformative mode between his Corman-directed Poe characters and Dr. Phibes, meets Frankie Avalon in a beach film attitude meets James Bond meets 1960s 'madcap'/'screwball' comedy".

Price is Dr. Goldfoot, a satire of a Bond mad scientist, with a name that's obviously a pun on Goldfinger. He's planning on usurping the wealth of some of the world's richest men by creating a veritable army of hot robotic women in gold bikinis, appropriately enough, since they're mechanical but artificially intelligent/sentient gold-diggers. Todd Armstrong (Dwayne Hickman) is one of the victims of the nefarious plan, and Craig Gamble (Frankie Avalon), an almost secret agent, becomes involved because the robot aiming for Armstrong initially mistakes Gamble for him--they have a similar look. Gamble falls in love with her and searches for her once she disappears. This gradually leads to Armstrong and the eventual discovery of Dr. Goldfoot's scheme.

In the 1960s, filmmakers were on the upswing of increasing experimentation. The Hays Production Code, which filmmakers had started seriously challenging in the 1950s, was decreasingly influential or "enforceable", and would be abandoned before the end of the decade. In addition to broaching previously forbidden subject matter and images, filmmakers were also increasingly experimenting with the structure of films. The roots of this were the same as the roots fueling parallel revolutions in pop music, for example, and more importantly, in society, leading to the lifestyle experimentation of the hippies. For films, plots were often pushed and prodded, including some attempts to effectively abandon them. The result was a lot of sprawling and too-often-messy "madcap" comedies. In a number of famous cases, such as Casino Royale (1967), or What's New Pussycat (1965), the experimentation ended up hurting the films as much as helping. Dr. Goldfoot and the Bikini Machine has the same basic attitude and sense of experimentation, but director Norman Taurog and writers Robert Kaufman, James H. Nicholson and Elwood Ullman admirably keep a relatively tight lid on their plot. It gives us the best aspects of the era's "freewheeling" sense of filmic adventure while not forgetting about the importance of a coherent story.

As a Price fan, some of my favorite moments arrived with Price satirizing his previous screen personae. Dr. Goldfoot lives in an elaborate laboratory/dungeon beneath a funeral parlor that serves as a front (this is prescient in an oblique way of Don Coscarelli's 1979 film, Phantasm), and many scenes of Dr. Goldfoot in his home environment are surprisingly atmospheric, including the chamber housing Goldfoot's razor sharp pendulum, which almost trumps the one in the Roger Corman Pit and the Pendulum (1961), which it references, or questionably "spoofs". Price is good with this kind of comedy if you like complex ambiguity, because he's so dry and his "comic" characters are so closely played to his serious characters. It's a very subtle difference.

Frankie Avalon is far less subtle, but he's no worse for that, and he's primarily done lighthearted roles anyway. Avalon's scenes often veer towards slapstick. Some of the best material in that vein arrived in his special agent office, with his boss, Donald J. Penny (Fred Clark).

Even though this is a 1960s film with one foot in the comedy genre, as a Vincent Price film you wouldn't expect the climax to be an extended, madcap chase scene. It is, and it's one of the best sequences of the film. Our heroes and villains chase each other around the streets of San Francisco (with some attendant very attractive cinematography in a mini-San Francisco travelogue) in a number of increasingly absurd vehicles and scenarios.

Insofar as Dr. Goldfoot and the Bikini Machine is a James Bond spoof--and that's a prominent mode, although certainly not the only dominant one--it was obviously one of the influences on Austin Powers: International Man of Mystery (1997). But Dr. Goldfoot and the Bikini Machine is also somewhat serious about its other genres, and it satirizes gold-digging, marriages and high-profile divorces in a time where they were becoming much more commonplace in the public consciousness. Of course, it's also a great excuse to watch a dozen scantily clad, beautiful women, who even go-go dance a bit for us.

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