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Soundtrack Review (Written by Adam Farrington-Williams):
Goldfinger Soundtrack After John Barry's successful venture with From Russia With Love, Bond producers Albert R Broccoli and Harry Saltzman decided to once again hire the youthful composer and Mister Barry certainly didn't disappoint. Goldfinger posses an even grander sound than his previous effort, with even more brass.

Like the film itself, the music is incredibly iconic, with probably the most identifiable title theme in all of Bondian history. Shirley Bassey, of course, lends her talents on this title track, which then Barry uses as the template for the rest of his score, as he so often did with masterful ease.

It is important to put into context the importance of this score in relation to the film. There are so many classic moments in the movie, but let's not overlook the essentiality of the score to create many of these. Yes, there's the dialogue, outlandish characters and so fourth, but there are a few fantastic instances in the film that really spring to mind that all involve music as a centre-piece.

  1. The pre-title sequence, where Bond infiltrates a gangster's lair with a bird attached to his snorkel.
  2. When Bond introduces himself to Jill in Miami, as the Bond theme plays triumphantly in the background.
  3. During the famed laser-table sequence, where Bond and Goldfinger exchange quips
  4. As Goldfinger's jet tumbles out of the sky, with Bond and Pussy at the wheel, Barry's brass and string sections create almost a tension of their own.

Goldfinger is quite a diverse score. At times it's frenetic and big, whilst at others Barry maintains a reservedness very much similar to From Russia With Love. “Dawn Raid On Fort Knox” is a superbly constructed piece of film music that ebbs and flows, and exemplifies these tones as it cuts between big and small sounds.

The score is an interesting case study in terms of John Barry's Bond scoring career. From Russia With Love was the film that produced the formula for all that followed, yet Barry always managed to create a sound that was unique to each film. Having said that, there are moments of what would be become a Thunderball-sound, yet it doesn't quite stray into as darker depths as the former.

Ultimately, John Barry delivers another smashing score that is at times forgotten in the midst of its famed title theme.

Best themes of the score:
Here are a number of hand-picked cues from the score, which are favourites of mine.
Track List:

Track 1 – Goldfinger: Main Theme
Track 2 - Into Miami
Track 3 – Alpine Drive - Auric's Factory
Track 4 – Oddjob's Pressing
                 Engagement
Track 5 – Bond Back In Action Again
Track 6 – Teasing The Korean
Track 7 – Gassing The Gangsters
Track 8 – Goldfinger (Instrumental
                 Version)
Track 9 – Dawn Raid on Fort Knox
Track 10 – The Arrival Of The Bomb
                 And Count Down
Track 11 - Death Of Goldfinger - End
                 Titles
Track 12 - Golden Girl
Track 13 - Death Of Tilly
Track 14 - The Laser Beam
Track 15 - Pussy Galore's Flying Circus

Track 2 - “Into Miami” Written by John Barry (0.57)
At only 57 seconds, this one's a shorty, but a beautie. In this short space of time, Barry manages to convey the fun and playfullness of Miami, which is soon to be interrupted by news of Bond's next assignment. An Aurice Goldfinger.

My rating: ****/*****

Track 3 - Alpine Drive/Auric's Factory” Written by John Barry (4.27)
One of my favourite moments in the film is when Bond first reconnoiters Goldfinger's Swiss establishment. When darkness falls the music brings a new tension, as Bond makes his way expertly in and out of the shadows. Another very much reserved cue and like much of the score incorporates the main title theme.

My rating: *****/*****

Track 5 - “Bond Back In Action Again” Written by John Barry (2.31)
Bond is certainly around when you hear the famed James Bond theme playing gloriously, as the gun barrel opens on Goldfinger and Sean Connery skips past a guard and into the villain's lair. At times it jumps tempos, after a more reserved start following the gun barrel. Probably my favourite cue in Goldfinger and possibly the entire Barry era.

My rating: *****/*****

Track 14 - “Laser Beam” Written by John Barry (2.54)
Barry could not have written a more suitable passage of music, for a scene in which anticipation is high and tension slowly grows. As the title suggests this is the piece played during the glorified “Do you expect me to talk?” scene between Bond and Goldfinger. One is almost exhausted after listening to it.

My rating: *****/*****

Goldfinger Soundtrack
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