Aside from a couple sweeping statements of the main theme, there’s “Alpine Drive”, a more subdued version of Goldfinger’s theme, and “Pussy Galore’s Flying Circus”, which starts off gorgeously, but also gets into some ridiculously sexy trumpet music (only fitting since Pussy Galore is such a ridiculously sexualized name). There is little of the romantic writing that John Barry would later be known for. Even the James Bond theme, showcased this time in “Bond Back in Action Again”, is woven into the title song and thus is woven into the film’s theme in most of its appearances. The lyrics don’t have much variation, but the tune and Bassey’s singing voice more than make up for this. This big, brassy number serves as a fanfare for the titular villain. Outside of the James Bond theme, most of the motifs are just variations of the same tune derived from “Goldfinger”. Finalizing the formula for these soundtracks, the main song was played during the opening credits.
John Barry returned and established himself as the primary Bond composer. I think, for all the great elements it has, the film is a bit overrated thanks to a heavy dosage of Bond villain stupidity, but its score surely isn’t. There was an intriguing plot involving a theft of the gold vaults at Fort Knox, the hat-throwing henchman Oddjob, and the popular, bombastic theme song sung by Shirley Bassey.
#Goldfinger superman instrumental movie
James Bond already had two films, but 1964’s Goldfinger is what turned him into both a pop culture icon and ensured a still ongoing movie series.
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