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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 | |
Music Department | |||
| John Barry | .... | conductor | |
| Shirley Bassey | .... | singer: title song | |
| Leslie Bricusse | .... | lyrics: title song | |
| Anthony Newley | .... | lyrics: title song | |
| Monty Norman | .... | composer: The "James Bond" theme | |
| Vic Flick | .... | musician: guitar (uncredited) | |
| Bobby Graham | .... | musician: drums (uncredited) | |
| Sidney Margo | .... | music contractor (uncredited) | |
Other crew | |||
| Albert R. Broccoli | .... | presenter | |
| Robert Brownjohn | .... | title designer | |
| Charles Russhon | .... | technical adviser | |
| Harry Saltzman | .... | presenter | |
| Constance Willis | .... | continuity girl | |
| 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) | |
| Terence Young | .... | director: pre-production (uncredited) | |
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| Thunderball | On Her Majesty's Secret Service | Dr. No | Moonraker | Die Another Day |
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First of all, I must state for the record, Sean Connery is THE James Bond. Even though the first Bond film I ever saw was "For Your Eyes Only" with Roger Moore. I was very young and very much drawn in. I have seen every one of the Bond films and without a doubt, "Goldfinger" is the finest the 007 saga has to offer.
Before I had begun an appreciation of the Connery films, i.e. before I'd seen them, a good friend and cartooning mentor, Ross Paperman, sorted me out. He helped me see how Connery's Bond was suave and sophisticated but also demonstrated a quality the other Bonds do not portray: fear. Not a panicky soil-your-pants kind of fear, mind you. But Connery's Bond actually has a few anxious, sweat-soaked-brow moments. A perfect example is when Bond is strapped to a table as Goldfinger's captive with a laser beam primed to cut him in half. 007 has to think fast. "Do you expect me to talk?" "No, Mr. Bond, I expect you to die!" A famous scene and line from Bond's most enjoyable film.
Perhaps what makes the earlier films more enjoyable is that they had fresh, innovative elements that have now become cliché and gimmicky. The new films are often stale and already covered ground and they don't even appear to be trying anymore.
But it's more than that. Even watching "Goldfinger" today, having seen all the latest in special effects and technology that Hollywood has to offer, it still is riveting and thoroughly entertaining. That is also without the added advantage of being overly nostalgic about "Goldfinger". How could I? I hadn't even been born when it first hit theaters, and it was far from my first 007 experience. The story, the characters and the fun of "Goldfinger" is timeless and if given a chance could probably rope in a whole new generation of fans. It just doesn't seem likely to happen.
Much of the satire from the Austin Powers films is directly derived from the Connery films, especially "Goldfinger" and "Dr. No", proving their lasting effect on popular culture. As well, John Barry's scores from the Connery films are finding their way into the ears of a new generation through pop music as snippets from his soundtracks are sampled by such artists as Robbie Williams, Mono and Curve, to name a few.
But if by some fluke you read this and you haven't seen "Goldfinger" yet, do yourself right and acquaint yourself with the real James Bond. You'll probably be hooked by the time you hear Shirley Bassey's voice in the famous opening theme.