Goldfinger

Goldfinger

Directed by: Guy Hamilton

Friday, August 31 - Thursday, September 6, 2012

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High-definition digital (DCP) projection

“Of all the Bonds, GOLDFINGER is the best, and can stand as a surrogate for the others. If it is not a great film, it is a great entertainment, and contains all the elements of the Bond formula that would work again and again. It’s also interesting as the link between the more modest first two Bonds and the later big-budget extravaganzas; after this one, producers Albert “Cubby” Broccoli and Harry Saltzman could be certain that 007 was good for the long run.

“At 111 minutes, GOLDFINGER ties with DR. NOas the shortest of the James Bond films, and yet it probably contains more durable images than any other title in the series: the young woman killed by being coated with gold paint; the steel-rimmed bowler of the mute Korean assassin Odd Job (Harold Sakata); the Aston-Martin tricked out with deadly gimmicks and an ejector seat; Bond’s sexy karate match with Pussy Galore (Honor Blackman); the villain Goldfinger with his gold-plated Rolls-Royce, and of course the laser beam pointed at that portion of Bond’s lower anatomy that he most required if he were to continue as hero of the series.

“The Broccoli-Saltzman formula found its lasting form in the making of GOLDFINGER. The outline was emerging in the first two films, and here it is complete. First, the title sequence, establishing Bond as a sex hound while linking him with a stunt sequence or a spectacular death. Then the summons by M, head of British Secret Service, and the briefing on a villain obsessed by global domination. The flirtation with Moneypenny. The demonstration by Q of new gimmicks invented especially for his next case. Then the introduction of the villain, his murderous and bizarre sidekick, and his female assistant/accomplice/mistress. Bond’s discovery of the nature of the villain’s evil scheme. Bond’s capture and the certainty of death. Bond’s seduction of the villain’s woman. And so on, leading always to a final scene in which Bond is about to enjoy his victory reward: the sensuous fruits of his latest conquest.” – Roger Ebert

110 Minutes
UK, 1964




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