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Goldfinger: Bond, Finally Bond

Last updated on: June 13, 2026 at 9:20 am   by Chase Padusniak

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Goldfinger: Bond, Finally Bond 2026-06-13T09:20:09-04:00 Chase Padusniak

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Japanese cover of a release of the Goldfinger theme.
Source: Flicker user Johan Oomen
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It’s silly for me to admit this, but it feels somehow important. I grew up on the Austin Powers films (1997-2002). While I watched some of the Pierce Brosnan and Daniel Craig Bond movies and games growing up, I’d never seen a full Sean Connery joint. That changed recently thanks to Criterion Channel’s featuring the first three such movies. Color me surprised to learn the Mike Myers movies were barely parodies.

I’d heard of Pussy Galore, though not Honey Ryder. I knew the gadgets were goofy—just not how goofy. I’d always assumed Austin Powers took James Bond and really, I don’t know, blew it up. But the main differences seem to be that Powers is ugly and garish, while Bond is handsome and suave.

All that’s to say that I enjoyed these first three adaptations of Ian Fleming’s famous novels. I didn’t, however, enjoy them all equally. Goldfinger (1964) felt like the first actual Bond film among the three, as if the other two merely presaged it. Dr. No (1962) was whacky, fun, and adventurous, though light on gadgets. Bond doesn’t even order his martini the famous way. From Russia with Love (1963) has a catchy theme song and many more explosions, but there’s no real villain’s lair. The whole thing plays like an unbelievable romance between a Soviet triple agent and an ailing 007.

Then, however, there’s Goldfinger. A portly villain with lair upon lair, everything and everyone draped in gold. His masterplan is goofy as can be. We finally get the famous laser-table scene. I was in heaven, so far as Mr. Bond is concerned, anyway. Plus, he finally orders his martini the right way.

I’m sure I’m not the first person to note this fact, that Goldfinger is perhaps the first “real” Bond movie. Indeed, I’m writing this little post because I am not. I think it’s helpful, for all the disparaging we do of the fractured culture of contemporary youth, to remember that we all grow up in our contexts, only dimly aware of what came before. The young today might get only glimpses of culture we hold dear, know some surprising things, and totally miss others (the medium is the message, after all). But that’s true for all of us—banal perhaps. But a worthy reminder.

At least, I think so.

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