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As with our previous 007 article, The Bits celebrates the occasion with this retrospective featuring a Q&A with an esteemed group of James Bond authorities. The interviews were conducted separately and have been edited into a "roundtable" conversation format.
Okay, let's (alphabetically) meet the participants…
Jon Burlingame is the author of The Music of James Bond (Oxford University Press, 2012; and recently issued in paperback with an updated Skyfall chapter). He also authored Sound and Vision: 60 Years of Motion Picture Soundtracks (Watson-Guptill, 2000) and TV's Biggest Hits: The Story of Television Themes from Dragnet to Friends (Schirmer, 1996). He writes regularly for the entertainment industry trade Variety and has also been published in The Hollywood Reporter, Los Angeles Times, The New York Times, and The Washington Post. He started writing about spy music for the 1970s fanzine File Forty and has since produced seven CDs of original music from The Man from U.N.C.L.E. for the Film Score Monthly label.
Robert A. Caplen is an attorney and the author of Shaken & Stirred: The Feminism of James Bond (Xlibris, 2010). Based in Washington, DC, he practices antitrust and commercial litigation and has published numerous law review articles in leading academic journals. Shaken & Stirred: The Feminism of James Bond (which was quoted in Sir Roger Moore's memoir, Bond on Bond) is his first book. He is working on a follow-up book and can be reached via Facebook (www.Facebook.com/bondgirlbook) and Twitter (@bondgirlbook).
James Chapman is a Professor of Film Studies at the University of Leicester and is the author of Licence to Thrill: A Cultural History of the James Bond Films (Tauris, 2007). His other books include Inside the Tardis: The Worlds of Doctor Who—A Cultural History (Tauris, 2006), Saints and Avengers: British Adventure Series of the 1960s (Tauris, 2002), and (with Nicholas J. Cull) Projecting Empire: Imperialism and Popular Cinema (Tauris, 2009). Chapman is also a Council member of the International Association for Media and History and is Editor of the Historical Journal of Film, Radio and Television.
John Cork is the author (with Bruce Scivally) of James Bond: The Legacy (Abrams, 2002). He also wrote (with Maryam d'Abo) Bond Girls Are Forever: The Women of James Bond (Abrams, 2003) and (with Collin Stutz) James Bond Encyclopedia (DK, 2007). He is the president of Cloverland, a multi-media production company, producing documentaries and supplemental material for movies on DVD and Blu-ray, including material for Chariots of Fire, The Hustler, and many of the James Bond and Pink Panther titles. Cork also wrote the screenplay to The Long Walk Home (1990), starring Whoopi Goldberg and Sissy Spacek. He recently wrote and directed the feature documentary You Belong to Me: Sex, Race and Murder on the Suwannee River for producers Jude Hagin and Hillary Saltzman (daughter of original Bond producer, Harry Saltzman); the film is now touring festivals.
Bill Desowitz is the author of James Bond Unmasked (Spies, 2012); and updated for Kindle which includes a chapter on Skyfall and exclusive interview with Sam Mendes). He is the owner of Immersed in Movies, a contributor to Thompson on Hollywood at Indiewire and contributing editor of Animation Scoop at Indiewire. He has also contributed to the Los Angeles Times and USA Today.
Charles Helfenstein is the author of The Making of On Her Majesty's Secret Service (Spies, 2009) and The Making of The Living Daylights (Spies, 2012).
Mark O'Connell is a punditeer (his word) and the grandson of Bond producer Cubby Broccoli's chauffeur. With a Prelude by Barbara Broccoli and Foreword by Mark Gatiss, his book Catching Bullets: Memoirs of a Bond Fan (Splendid Books, 2012) is a gilded, unique account of growing up as a Bond fan. He is working on his second book and can be found online here.
Lee Pfeiffer is the author (with Philip Lisa) of The Incredible World of 007: An Authorized Celebration of James Bond (Citadel, 1992) and The Films of Sean Connery (Citadel, 2001), and (with Dave Worrall) The Essential Bond: The Authorized Guide to the World of 007 (Boxtree, 1998/Harper Collins, 1999). He also wrote (with Michael Lewis) The Films of Harrison Ford (Citadel, 2002) and (with Dave Worrall) The Great Fox War Movies (20th Century Fox Home Entertainment, 2006). Lee was a producer on the Goldfinger and Thunderball Special Edition LaserDisc sets and is the founder (with Dave Worrall) and Editor-in-Chief of Cinema Retro magazine, which celebrates films of the 1960s and 1970s and is "the Essential Guide to Cult and Classic Movies."
Steven Jay Rubin is the author of The James Bond Films: A Behind-the-Scenes History (Random House, 1981) and The Complete James Bond Movie Encyclopedia (McGraw-Hill, 2002). He also wrote Combat Films: American Realism, 1945-2010 (McFarland, 2011) and has written for Cinefantastique magazine.
Bruce Scivally is the author (with John Cork) of James Bond: The Legacy (Abrams, 2002). He has also written Superman on Film, Television, Radio & Broadway (McFarland, 2006), Billion Dollar Batman: A History of the Caped Crusader on Film, Radio and Television from 10¢ Comic Book to Global Icon (Henry Gray, 2011), and the forthcoming Dracula FAQ. As well, he has written and produced numerous documentaries and featurettes that have appeared as supplemental material on LaserDisc, DVD and Blu-ray Disc, including several of the Charlie Chan, James Bond, and Pink Panther releases. He teaches screenwriting, film production and cinema history and theory at The Illinois Institute of Art–Chicago and Columbia College.
And now that the participants have been introduced, might I suggest cueing up the Goldfinger soundtrack album and preparing a martini (shaken, not stirred, of course), and then enjoy this conversation with these James Bond authorities.
Michael Coate (The Digital Bits): In what way is Goldfinger worthy of celebration on its 50th anniversary?
Jon Burlingame: I have always agreed with composer John Barry that Goldfinger is the Bond film "where it all came together": the style, the song, the score. I think From Russia with Love and Goldfinger mark the high points of 60s Bond, with Goldfinger lightening the mood just a bit, finding the right balance between suspense, danger, fascinating characters and humor. Gert Frobe and Honor Blackman played worthy adversaries for Sean Connery's 007, and John Barry's bold, brassy score tied it all together. It's hard to imagine a more entertaining, satisfying 007 adventure.
Robert A. Caplen: The third film in Eon Productions' franchise, Goldfinger marked a conscious effort by Albert R. "Cubby" Broccoli and Harry Saltzman to tailor James Bond to American audiences. The first James Bond film to be classified as a box office blockbuster, Goldfinger is noteworthy for redefining cinematic success: it became the fastest-grossing film for its time. It also was groundbreaking for its special effects. Goldfinger became the first film to showcase a laser as part of the plot. And no other image has become as recognizable as Shirley Eaton's "golden girl," which offered audiences a new aesthetic for fetishizes sex objects.
There is no question that Goldfinger is deserving of celebration fifty years after its release. The film is equally entertaining today as it was in 1964, and the commentary it offers of social mores—and the portrayals of women—remains highly relevant.
James Chapman: While Goldfinger wasn't the first James Bond movie, it was the one that really marked the breakthrough for Bond as a cultural phenomenon and ensured the longevity of the series. The first two films, Dr. No and From Russia with Love, had been big hits in Britain and Europe, but Goldfinger was the first really to score big at the US box office as well. This might be attributed to the film's predominantly US setting (though a lot of the locations, including the attack on Fort Knox, were shot at Pinewood Studios in England) and the fact that the conspiracy is directed against the United States.
It was also the success of Goldfinger that kick-started the spy craze of the 1960s. There hadn't been many Bond imitations following the first two movies—the only one I can think of is the spoof Carry On Spying—but after Goldfinger the floodgates opened with the Derek Flint and Matt Helm films and The Man From U.N.C.L.E., Get Smart, I Spy and Mission: Impossible on television, not to mention the revamp of The Avengers (which began in 1961 and had starred a pre-Pussy Galore Honor Blackman) which became more fantasy-oriented with its fourth series. So it was Goldfinger that really got the whole Sixties spy/secret agent cycle under way.
John Cork: Goldfinger is always worth celebrating! It doesn't matter if it is the 3rd anniversary or the 150th. The film rocks. There are many great villains, but I would argue that there is no greater criminal villain in film than Goldfinger. Henchmen? Would anyone even want to claim that there is a better henchman than Oddjob? Nah. And it is not too much to say that no female character in cinema history had ever confounded more teachers and parents than Pussy Galore. Best car in a movie? The Aston Martin DB5, hands down. It is a brilliant, funny, sexy, clever and satisfying film on every level.
Bill Desowitz: Goldfinger was the game-changer for Bond and the first modern tent-pole. It was an instant blockbuster and influenced pop culture, spawning Bond mania and then spy mania. Everything was grander, more lavish and elevated, from the action to the humor to the greater physicality of Bond to the pacing to the self-reverential attitude of Bond. Plus there was Ken Adam's fantastical design, the greedy super villain and his deadly henchman, Oddjob; the sexy and powerful Bond girl, Pussy Galore; the stunning John Barry score and Shirley Bassey's wild title song; and the introduction of the best gadget of them all, the tricked out Aston Martin DB5. The new director, Guy Hamilton, made it more a Bond movie than a spy movie, in which we follow his POV with one obstacle course after another for Bond to get out of. This became the Bond template.
Charles Helfenstein: It is the perfect encapsulation of what makes James Bond so great. The film has everything you can want in a Bond film: a great teaser sequence, iconic imagery with girls painted in gold, an ambitious villain, an indestructible henchman, a tricked out car, an incredible soundtrack, and in the middle of all this is Sean Connery, playing Bond with a casual, bemused cool that personifies the old Etonian ethos of "Effortless Superiority."
Mark O'Connell: Goldfinger is most worthy of a golden celebration. It is the film that changed the Bond series and marked the point when Bond changed mainstream cinema. It is not just Sean Connery who emerges from the shadows at the beginning of the film. The modern blockbuster does too. Goldfinger marks the serendipitous moment when the 1960s finally aligned with Bond to create a cultural fusion that the series is still dominated by to this day (check out the deliberate classicism and nods to the Bond of old in Skyfall). Dr. No and From Russia with Love were still part of the tail-end of the 1950s—with a certain degree of stiff upper Britishness and hemlines. They are part of that small window I call the "Kennedy Sixties" where it looked like America would continue dominating popular culture in the way it did throughout the 1950s. But things were to change. Suddenly Britain, the Beatles, Biba and Bond were to take center stage. Goldfinger is the stylish overture to that where all these creatives suddenly conspired together (accidentally more than anything) to craft a sharp thriller of a 007 blockbuster. And after the male dominated shenanigans of the first two Bond films, Goldfinger marks a possible entry point for the women in the audience. It certainly is the moment when Bond allows the kids of the audience into its world. From Russia with Love and Dr. No are great, but arguably very cerebral cat and mouse thrillers. Goldfinger has great movement—its camerawork, music, direction, editing and story. It inhabits a very visual world (Bond on a laser table, Bond and the car, Pussy Galore's Flying Circus, the fake duck on the diving cap). These are all great for kids…and global audiences not immediately savvy with the Cold War politics.
Lee Pfeiffer: Goldfinger, more than any other Bond film, influenced the trends in pop culture during the 1960s. The previous two films, Dr. No and From Russia with Love, were sizable hits but it was with Goldfinger that the series found the formula that would define the series for decades to come. Director Guy Hamilton emphasized the tongue-in-cheek aspect of the humor moreso than the first two films had done, yet he was careful not to go "over-the-top" into slapstick. (Ironically, Hamilton would be guilty of doing just that on his three later Bond films: Diamonds Are Forever, Live and Let Die and The Man with the Golden Gun.) It was Goldfinger that primarily launched the spy craze of the mid-to-late 1960s and the introduction of the gadget-laden Aston Martin DB5 was largely responsible for this. The vehicle proved to be such a hit that Bond was still driving the car fifty years later in Skyfall. Goldfinger influenced pop culture on an international level and proved that Bond was not a provincial hero but, rather, a character that people in vastly different cultures could relate to.
Steven Jay Rubin: Goldfinger was the film that catapulted 007 from a first rate action series to a true international film phenomenon. It was so successful that it was the first movie screened in a movie theater 24 hours a day (in New York City) and probably made money faster than any film since Gone with the Wind. Creatively, it was the film that perfectly balanced Sean Connery's coolness, throwaway humor and pure sexiness with some terrifically dramatic action scenes. Although there are, arguably, better James Bond movies, Goldfinger is still the launching vehicle for the series, a film that never loses its freshness and remains the 007 adventure that is the most pure fun, without getting silly or stupid. It also features the best prop in the series—the truly ultimate driving machine—the Aston Martin DB5 with modifications.
Bruce Scivally: Goldfinger is the Bond film that really set the formula the films would follow over the next five decades: a megalomaniacal villain, exotic locations, beautiful women (usually three, including the villainess, the sacrificial lamb and the one Bond ends up with), and cutting-edge gadgetry. Dr. No didn't have any gadgets to speak of (unless you include the Geiger counter) and From Russia with Love had only the trick briefcase, but Goldfinger had the tricked-out Aston Martin, which raised the bar considerably. From this film onward, outrageous gadgetry would become an integral part of the Bond films. Goldfinger is also the film where the tone of the film was perfected, with just the right blend of humor, action and suspense; the first two Bond films leaned more towards straight-ahead spy thrillers. And for me, Goldfinger is the film where Sean Connery really came into his own and took ownership of the role, with a relaxed confidence and swagger only hinted at in the first two films.
Coate: When did you first see Goldfinger and what was your reaction?
Burlingame: It was a long time ago, so I'm not certain. I didn't see it in its initial run; I suspect it was on a double bill with another Bond film at a drive-in in the late 1960s. Everyone was talking about Bond movies and I finally got the chance to catch up with the early films in second-run exhibition.
Caplen: I first watched Goldfinger on VHS at a young age, perhaps too young to appreciate, let alone understand, the film's innuendos. I believe Goldfinger was the first James Bond film I viewed, and it piqued my interest in the franchise. I could never image then that I would be writing about Goldfinger and James Bond many years later.
Chapman: I saw it on ITV in Britain in the late 1970s. It was on a Sunday evening, I was about eight, I think, and it was a school day the next day, so I was on my best behavior all weekend to be allowed to stay up and watch it. Everyone was talking about it the next day. As kids I think we particularly liked Oddjob and his hat, and Bond's Aston Martin with his gadgets and ejector seat. A few years later when it was shown again on Christmas Day, I would have noticed the girls too!
Cork: I first saw Goldfinger on ABC on September 17, 1972. At the time, I liked James Bond, but I wasn't any kind of serious fan. I was only ten years old. While I was loving the film (despite it being cropped, cut and filled with commercials), it was a typical Sunday night. We had dinner and then most of my family went to bed as the movie ran. My uncle (who was fresh out of college) came over with a friend and made fun of the film as I was watching it. Then, just as Bond was handcuffed to the bomb in Fort Knox, the local ABC station went off the air. It was 1972, and this kind of thing happened regularly. I begged my uncle to tell me how the film ended. Very convincingly, he told me that the bomb went off in Fort Knox, and that it killed Oddjob, but turned James Bond into "a pulsating blue superhuman." I have to tell you that at age ten, it seemed like a really cool ending for the movie! When the local station came back on, Bond was on the plane flying to meet the president, and my uncle informed me that I was an idiot for believing him. The first time I saw Goldfinger uncut was when HBO played the Bonds in May/June of 1980. In the fall of 1980, I finally saw Goldfinger on the big screen at the Nuart in Los Angeles. The audience was filled with Bond fans, and it was a great experience. Robert Short, the effects man who worked on many great films, had his DB5 parked out front, and the theater put out a display of Bond memorabilia. It couldn't have been more fun.
Desowitz: I remember it well. It my introduction to Bond in '65 and I was about eight and my parents took me to the La Reina Theater in Sherman Oaks in L.A. on Ventura Blvd., and afterward we had ice cream at Wil Wright's. I remember asking if that was Bond in the scuba suit in the opening scene and when he fought Oddjob, I whispered that he should grab the electrical wire. It was a distinctive moviegoing thrill and set me on my path to becoming a lifelong fan.
Helfenstein: Unfortunately my first viewing of Goldfinger didn't quite do it justice—I first saw a butchered, pan-and-scan version of it on ABC in the late 70s. Despite those drawbacks, the film greatly impressed me—especially the tuxedo under the wetsuit, the car, Bond's fight with Oddjob…and the cornucopia of blondes.
O'Connell: I first saw Goldfinger in January 1987. It was on ITV midweek. It was not the first or even the third Bond movie I had seen but already its mark and stature in the Bond canon was known to me. Like a Greatest Hits album its key beats—the car, the song, the artwork, the gold, the music, and the henchman—were familiar way before I saw it for the first time. It is one of the Bond movies whose reputation precedes itself at every turn.
Pfeiffer: I first saw the film at age eight at the Loew's Theatre in Jersey City, New Jersey. It's a peculiarity of "Baby Boomer Generation" males that we seem to have such trivia as where we saw a movie and with whom emblazoned in our minds. Nevertheless, my dad, who had taken me to see the previous Bond film, escorted me to this one. I was blown away by it. I don't think today's movies ever have that kind of impact on audiences, who are now rather blasé about special effects and action sequences. But seeing that DB5 in action, the audience howling at the use of the gadgets and finally the "innovative" introduction of a laser beam proved to be unforgettable elements in my mind. On a more crass level, when we returned home, my dad was raving about the film to my mom and I remember him saying, "There's a woman in it named Pussy Galore!" I didn't understand why they thought this was so amusing because I equated the name with the benign Miss Kitty on Gunsmoke. Nevertheless, we all trotted back to the theater to see the film again the next night because my mom had to see it for herself. I later went again on my own—the first time I had seen a movie unaccompanied. Mr. Bond has provided many such pleasant memories to countless millions of movie fans around the globe.
Rubin: I saw Goldfinger at Christmas 1964 at the Grauman's Chinese Theater in Hollywood. It was wonderful. As a junior high school student in Los Angeles, I had read the book before I saw the movie, which was only the second time I had done that (the first was Paul Brickhill's book that became The Great Escape). Bond was a big event that year—like a Harry Potter or a Star Wars film today.
Scivally: I believe I first saw Goldfinger on television in 1972, when it first aired on ABC. I know it was the first 007 film I saw, and at that young age (I was 11), I was most impressed by the Aston Martin. I continued watching the Bond films whenever they came on television (there was no home video in those days, at least not in rural north Alabama), and when puberty kicked in I began to appreciate them for more than just the spy thrills and gadgets. Coming of age in a very remote, agrarian region, the sophisticated, world-traveling, authority-defying, sexually potent James Bond was a powerful fantasy figure. I was hooked.
Coate: Where do you think Goldfinger ranks among the James Bond movie series?
Burlingame: Certainly near, or at, the very top. If I had to choose the five best Bonds, I think Goldfinger would be either #1 or #2.
Caplen: It is very difficult to rank the James Bond films, and it depends upon what criteria are utilized. In terms of story line, success, and cinematography, Goldfinger should rank among the top films in the franchise. [In my book] I have focused upon the presentation of women in the franchise, and in that regard, Goldfinger would not receive a high rating from feminists. Regardless, and as I have written, the manner in which the Bond Girls are presented in Goldfinger reinforced an archetype that defined the cinematic franchise. In that regard, Goldfinger cannot be underestimated.
Chapman: It tends to be seen as the one that really established the Bond formula: megalomaniac criminal mastermind with a grand conspiracy; a strong, silent henchman; and the gadgets that Bond uses. The previous film, From Russia with Love, had been a more realistic spy thriller, quite old-fashioned in some ways, with its Orient Express scenes and a plot revolving around a stolen cypher machine. With Goldfinger the Bond series moved, decisively as it happens, towards techno-hardware and fantasy (e.g. the laser and Bond's car).
Looked at today the film still seems fresh and hasn't dated. Sean Connery is relaxed and commanding in the role (though there are tense moments such as the scene where he is spread-eagled before the laser beam) and the casting of the supporting parts such as Shirley Eaton as Jill Masterson and Harold Sakata as Oddjob is spot-on.
Cork: For years, I've always said you could just take the first four Bond films and put them on a loop for me. I love them, and like a true fan, I even love them for their faults. I can amuse myself by enjoying the anti-logic of Goldfinger explaining his plan to a bunch of guys he plans to kill, or even having gone to the trouble to have strange flashing lights that go on and off for no reason when poison gas is spraying the hoods' convention. One can argue that Casino Royale and Skyfall are more engaging to someone who is only now being introduced to Bond, but, I'll tell you, only Sean Connery in 1964 could pull off wearing a baby-blue terrycloth onesie and still make every woman in the audience breathe a little more deeply and every man want to be him. Goldfinger isn't only one of the most entertaining Bond films, it is one of the most important films of the Sixties, one of the most essential films ever made. Everyone with a pulse sees that movie and understands the appeal of James Bond.
Desowitz: I think it's in the top three, still the best for many. I won't argue with Connery about From Russia with Love being the best.
Helfenstein: If we are ranking the films in the series by how influential they are, then Goldfinger occupies the #1 spot without question. If one were to pick a single film to represent what is great about the James Bond series and what makes it popular, then Goldfinger would be the obvious choice. But if we are choosing a film that is artistically the best film, I would have to edge out Goldfinger just slightly and give that award to On Her Majesty's Secret Service.
O'Connell: It is not the best Bond movie (007 spends a lot of the film passively overhearing and not actively investigating) but it is the one where as I say in Catching Bullets the designer alloys of Ken Adam, John Barry, Peter Hunt, Guy Hamilton, Eon Productions and Sean Connery all come together to gilded effect. I wonder if Goldfinger had not happened in the way it did we would be privy to a continued 007 franchise now. Possibly not. The Bond phenomenon was obviously growing on the success of the first two films and the explosion of interest via Fleming's books. But it was not a phenomenon at all until Goldfinger gave enough creative and financial confidence to Eon Productions, Cubby and Harry to really go for it with the real box office game-changer: Thunderball.
Pfeiffer: Most people consider Goldfinger the best of the series, though I would argue that valid cases can be made for From Russia with Love, On Her Majesty's Secret Service, Casino Royale and Skyfall, the latter two because they so drastically and successfully reinvented the series.
Rubin: I rank Goldfinger just below the Daniel Craig Casino Royale. So that would be #2. Casino Royale is so good and Craig is such a revelation as Bond, I have to place it #1. However, since Goldfinger was the first 007 adventure I ever say, it remains my favorite. It's also my favorite script with the best lines of dialogue in the series. It also gets the biggest laugh in the series—not because it's stupid or inane, but because it's just funny. And that's the introduction to Pussy Galore.
Scivally: In my estimation, Goldfinger is still hands-down the most entertaining of all the Bond films. If I wanted to introduce someone who'd never seen a 007 film to Bond, but could only show them one film, I'd choose Goldfinger. To me, it's simply the distilled essence of Bond. However, that said, it ranks #2 on my list of personal favorite; From Russia with Love is #1, because I enjoy the cat-and-mouse game between SPECTRE and Bond, and 007 operating with almost no gadgets.
Coate: In what way was Auric Goldfinger a memorable villain?
Burlingame: He was among the best ever: truly mad, yet insane in a thoughtful, calculating way! The plot of the movie has one of the greatest twists in Bond: Goldfinger doesn't need to own the gold in Fort Knox; he just wants to blow it up so that his own stash will be worth even more! How great is that? And Gert Frobe is completely believable in this mad role.
Caplen: Goldfinger, the mastermind of Operation Grand Slam, is, in some respects, more plausible than other over-the-top villains in the franchise, namely Dr. No, Ernst Stavro Blofeld, Stromberg, and Hugo Drax. Goldfinger is, in essence, a crooked businessman: a gold smuggler whose obsession leads to him scheme a way of penetrating Fort Knox in order to radiate the American gold supply and increase the value of his own holdings. Thus, his motives are intriguing and extend beyond the prototypical lust for world domination. Goldfinger is memorable because he is essentially the first James Bond villain to out-maneuver the Americans, requiring James Bond's services to spare Fort Knox and restore order. As one scholar argued, Ian Fleming created James Bond as a vehicle through which to capture some nostalgia for the pre-World War Two supremacy of the British Empire. Defeating Goldfinger on American soil comports with that theory.
Chapman: Goldfinger has some of the best lines (e.g. "No, Mr. Bond, I expect you to die!" in response to Bond's "Do you expect me to talk?") and Gert Frobe has a commanding presence on screen. The scene where he explains how he intends to "knock off" Fort Knox works because he seems to believe it. For my money Dr. No and Goldfinger were the most memorable of the early villains. Several of the early Bonds revolved around the villain Blofeld, who became a bit of a stooge with his pet cat, but Goldfinger just seems a slightly better-realized character—by the standards of diabolical master criminals that is.
Cork: A great villain needs to get more powerful, seemingly smarter during the course of a story. The film starts with Bond busting Goldfinger as he cheats at cards, then Bond steals Goldfinger's paid companion. But Goldfinger exacts a brutal price for this. Bond then beats Goldfinger at golf, but all-too-soon Bond finds himself strapped down with a laser pointed between his legs, his car destroyed. This is the halfway point of the film. Hero and villain have traded blows almost as equals. But when we enter the laser room, it is like we have passed through the looking glass. Goldfinger isn't a rich gold smuggler, but an obsessed man who is on the verge of destabilizing the global economy. Even late in the film, when Bond points out the absurdity of trying to tote the gold out of Fort Knox, Goldfinger is one step ahead. When he discovers that Bond has been able to foil much of the plan, he whips off that overcoat and no one in the audience ever saw his escape coming. Most actors who have played Bond villains gradually allow 007 to get under their skin, to unnerve them as the story progresses. Not Gert Frobe's Goldfinger. He snaps that pencil early on, and that's it. He gets calmer and smarter as the film progresses. I love that. He is, for me, the perfect villain.
Desowitz: Goldfinger was the first freelance villain not associated with SPECTRE and is even more larger than life than Dr. No. His obsession with gold and winning at all costs is very personal.
Helfenstein: Goldfinger sticks out as a memorable villain for so many reasons. Compared to Dr. No and Grant, the two previous villains, his personality is so much bigger. While his predecessors were almost robotic, Goldfinger is having a good time because he enjoys being a villain. He toys with Bond and laughs at him. Frobe hit the sweet spot of what makes a villain great.
When I was researching my first book, I was stunned to uncover the fact that screenwriter Richard Maibaum kept trying to bring Gert Frobe back to the series so many times—not just for Thunderball, but also for On Her Majesty's Secret Service, Diamonds are Forever, and even as late as Octopussy!
O'Connell: He is pitched as this nearly gauche Toad of Toad Hall figure, the first societal duel Bond has with a villain. He is also the first Bond villain to hold that certain quality that all the great Bond villains (Scaramanga, Silva, Kananga and Largo) have and that is that he is just a bad Bond, or 007 gone wrong.
Pfeiffer: Auric Goldfinger is one of cinema's most enduring and classic villains, thanks in no small part to the brilliance of casting Gert Frobe in what would become his signature role. Frobe not only fit the bill physically, he was an accomplished actor, as well. What many people don't know is that he barely spoke a word of English. He spoke his dialogue phonetically and British actor Michael Collins dubbed him in the final cut.
Rubin: Auric Goldfinger is still the best villain in the series because he's simultaneously larger than life, but still a real believable person. Like Bond, he never becomes a caricature and he has some truly chilling moments—particularly when he's about to fry 007's privates with a laser beam, or lecture a bunch of doomed henchmen on his scheme, or getting 007 to understand the true nature of his plan. He also plays a wicked game of golf, cheating as usual.
Scivally: As embodied by Gert Frobe and voiced by Michael Collins, Goldfinger was the quintessence of Bond villainy: physically imposing, charming, calculating, ruthless and quite mad. And he had some of the best dialogue of any Bond villain, including his priceless response to Bond's "Do you expect me to talk?"—"No, Mr. Bond, I expect you to DIE!"
Coate: In what way was Pussy Galore a memorable Bond Girl?
Burlingame: Honor Blackman could not improve on this performance. Tough yet tender, beautiful, resourceful, yet vulnerable at the right moments. Maybe one of the two or three best Bond women.
Caplen: I have written extensively about Pussy Galore in my book, Shaken & Stirred: The Feminism of James Bond. Honor Blackman's portrayal of this unique character is exceptional. I believe that Pussy Galore is one of the most important Bond Girl characters in what I have termed the Golden Era of the Bond Girl. On the surface, Pussy Galore seems imbued with attributes that would brand her a modern-day feminist. But all that glitters is not gold. I argue that Pussy Galore represents something very different: she actually reinforces a much more traditional archetype addressing women's appropriate role in society. Pussy Galore is therefore both groundbreaking and reactionary, and no discussion of the Bond Girl evolution can be complete without considering her contributions to the development of the Bond Girl archetype I believe the James Bond franchise developed and continues to refine today.
Chapman: Well, there's her name for one thing! She was the first of the girls—at least the first of the main girls—who was more than just eye candy but could give Bond as good as she got in return. In the book she's a lesbian, and her conversion to heterosexuality to help Bond out isn't very plausible. In the film, though, the lesbianism is downplayed—it's hinted at but not overtly. And, of course, the characterization was influenced by the casting of Honor Blackman, who brought the association of her role as Cathy Gale in The Avengers. The scene where Pussy shows off her judo prowess seems to have been written specifically for Honor Blackman.
Cork: Two words: "pussy galore." I mean, come on. That's a name that makes the right people smile and everyone else's mouths go dry. But Pussy Galore is also the right character at just the right moment in history. Homosexuality was just wiggling its toe into popular culture. Some Like It Hot was five years earlier, and The Children's Hour came out in 1961, but both those films play only with the existence of homosexuality without really indulging in it as anything attractive. In Britain, there were a slew of films dealing with male homosexuality: The Victim (a very good, but depressing film with Dirk Bogarde), and, of course, the two Oscar Wilde films (that both played such strange roles in Bond history). From Russia with Love had a very unattractive lesbian with Rosa Klebb, which was more of the standard portrayal in popular culture.
Pussy Galore in Goldfinger was different. Her lesbianism (never explicitly mentioned, but clear to adult viewers) is accompanied by confidence, not self-loathing. It is not portrayed so much as a perversion, but rather a sexually legitimate lifestyle. Viewers are attracted to Pussy Galore, even before she comes over to Bond's side. She is strong, attractive, alluring and such a refreshing change from the way women were often portrayed in escapist films of the day. Of course, we can wince now at the rather distasteful "rape conversion therapy" that Bond employs to win her over. And younger audiences do roll their eyes, shake their heads and groan when the forced kiss turns into a warm embrace. But the same thing can be said of Rhett Butler carrying Scarlet O'Hara up the stairs in Gone with the Wind, and John Wayne's Sean Thornton in The Quiet Man pulling Mary Kate into the doorway, twisting her arm up behind her and kissing her. But Pussy Galore in so many ways is a remarkable character. She is a sexually liberated, confident lesbian and audiences loved her. That just didn't happen in mainstream movies before 1964.
Part of the great success of the character came from a brilliant idea that the filmmakers had (and I can't tell you if it was one of the screenwriters or Guy Hamilton or someone else), but they took their cue for Pussy Galore from a real person: Barbara "Joe" Carstairs. Carstairs used her family fortune to race boats and later bought a private island in the Bahamas and went "back to nature." Because the filmmakers had a model they could use beyond the character in the novel, and because there was a great actress in the role (Honor Blackman), the character came to life in ways that might have otherwise been squandered. In her own way, Pussy Galore feels real on some level. Blackman had strength and a swagger in the role that convinced us that she could be the leader of a real flying circus. She was just butch enough and just sexy enough to be something that moviegoers had never encountered.
Desowitz: Pussy Galore is memorable because of the name and getting it by the censors, the fact that she's a lesbian and resists Bond at first, and is able to share Judo flips with him, and because Bond has to work so hard to seduce her.
Helfenstein: Besides her suggestive name, Pussy Galore is memorable for her homosexuality, greatly toned down in the film compared to the book. Bond's "conversion" of her would probably not play well with today's audiences. That scene aside, what makes her so memorable is that she is Bond's equal. While the two previous girls, Honey and Tanya, were essentially innocents caught up in Bond's world, Pussy is an operator in the criminal underworld and even has her own team. Her decision to switch sides saves the day.
Actress wise, Blackman shows off her physical skills learned during her time during The Avengers, and was different in the fact that she was older than Connery. That older female to younger male casting age difference has only happened one other time in the series, when they chose Rigg, also an Avengers veteran, for On Her Majesty's Secret Service.
O'Connell: Honor Blackman's Galore is memorable for being the first Bond girl that stands up to Bond. And she was doing it way before the series felt it had to appease any naïve notions of sexism.
Pfeiffer: Although the character of Pussy Galore was watered down for the film version (she's an overt lesbian in the novel), the character still broke new ground in terms of female empowerment—even if she does fall under Bond's spell after one kiss. Here was a tough, kick-ass woman who was adept at defending herself and who is every bit as resourceful as Bond or Goldfinger. There are veiled hints about her sexuality (all of her pilots are gorgeous females and she initially tells Bond she is "immune" to his charm), but in retrospect, this was a rather unique female hero to bring to cinema screens in 1964. As with Gert Frobe, so much of the credit must go to the actor, in this case Honor Blackman, who was letter-perfect in the role.
Rubin: Pussy Galore is memorable because she's so sexy and cool and has the greatest name ever invented for a fictional character in the history of writing. Honor Blackman has made her a true legend in the series.
Scivally: Pussy Galore was the first "Bond woman" who seemed to be almost his equal: intelligent, self-assured, capable, an ace at judo and "a damned good pilot." She wasn't just a wilting damsel waiting to be rescued; she gave as good as she got.
Coate: What is the legacy of Goldfinger?
Burlingame: I am especially fond of the Goldfinger score as quintessential, top-of-the-line John Barry. After making a hit of the James Bond Theme on Dr. No and crafting a suspenseful, effective score for From Russia with Love, Broccoli and Saltzman gave Barry the opportunity to write both song and score on Goldfinger and Barry didn't disappoint. From the thrilling opening song (with those diabolical Bricusse & Newley lyrics) belted by Shirley Bassey to the intricacies of his orchestral score, including the brilliant Dawn Raid on Fort Knox variations on the theme, John Barry helped to define the sound of Bond—and indeed, create a new subgenre of film music in his combination of pop, jazz and symphonic music—for all time with this score. I hope that, in all the celebrations of Goldfinger, that accomplishment is not forgotten.
Caplen: Goldfinger opened the American market to James Bond. That fact, by itself, is perhaps Goldfinger's true legacy. The James Bond franchise would not be as successful today had Goldfinger not had such an important impact upon American audiences. Goldfinger also presented to the world one of Ian Fleming's greatest "name as sex" jokes, beginning a long legacy that will always be associated with the James Bond franchise and has been parodied by others (such as the Austin Powers trilogy) ever since.
Chapman: It's still a classic Bond movie—classic both in the sense of being a favorite with fans and being a representative example of the style and format of the films. I think that when most boys (and men!) fantasize about being Bond, it's the Bond of Goldfinger—whether for the Aston Martin, the Anthony Sinclair three-piece suit, or simply the opportunity to dally with girls called Pussy.
Cork: I think the biggest legacy of Goldfinger is very different than most folks would imagine. If you look at the top-grossing films of the 20s, 30s, 40s and 50s, there are very few that one could categorize as part of a franchise. There were franchises, but they were Tarzan, Frankenstein, Francis the Talking Mule and Ma and Pa Kettle films. These films made lots of money, but the following entries were generally B-movie fare—filler for the masses that were not nearly as important to a studio as an "event film" based on an "important" best-selling novel. Bond changed that. The Bond films became the first "tent-pole" films—movies that could virtually be guaranteed blockbuster status just because of the presence of the main character. The folks who grew up on Bond are running studios now. Look at the films the studios bank on in recent years: Harry Potter, Iron Man, Spider-Man, Batman, Transformers (and, yes, Star Wars and Indiana Jones). Huge budgets…no expense spared…but they are selling an endless stream of films, not just one film. Even the failures of recent years like The Lone Ranger and John Carter were attempts to create a franchise. And franchises are where the money comes from. The studios know that they can sell Transformers packages on iTunes or to Netflix or Amazon or in endless rotation on cable networks for decades to come, just as has happened with the Bond packages. And Goldfinger, more than any other single film, is the movie that proved a series could be made like A-films and do the box office of A-films, even out-grossing the films that came before in the series. Every time another big-budget tent-pole franchise film comes out and makes a fortune, I think that those filmmakers should give a tip of the hat to Goldfinger.
Desowitz: The legacy is clear enough with the audience cheering at the DB5's appearance in Skyfall for the 50th anniversary and then how its destruction elicited the biggest emotional response from Bond in the entire film. Goldfinger made Bond and the franchise a pop culture phenomenon and it was a fitting tribute.
Helfenstein: I think the legacy of Goldfinger is that it moved the series from the smaller-scale, cold war thriller to the wide open grander scale of agent vs super villain. While Terence Young's two films set the template for Bond's elegance and panache, Guy Hamilton updated that recipe with a stronger dose of the fantastic, and a larger dose of humor.
When Alfred Hitchcock saw the film, he only had one comment to the director. It wasn't about the glorious Ken Adam sets, the incredible car, or the blaring soundtrack—he complemented Hamilton on the little old lady that waddles out of the checkpoint with a machine gun.
Bond screenwriter Tom Mankiewicz stated that the instant Connery pressed the red eject button on the Aston Martin, the series changed forever. Anything was possible from then on. Years later the producers would try to transfer some of Goldfinger's cool to Brosnan and Craig by giving them the Goldfinger Aston Martin, and in Skyfall Craig's Bond even threatens to deploy the ejector seat with that famous red button, 48 years after the gadget debuted.
Half a century later, Goldfinger's influence still resonates both in and outside the James Bond series.
O'Connell: The fact that a film known only as Bond 24 is in pre-production. That is its legacy. Goldfinger sealed the deal. It raised Bond onscreen from just being a literary adaptation of a successful run of books to being a franchise at the pinnacle of contemporary music and film scoring, film editing, production design, and marketing. I don't think the Bond series was a franchise until Goldfinger fired up the enthusiasm of Eon Productions and the world and melted the box office norms by creating a delicious, sexy, dangerous, sadistically sketched narrative and production template for 007. It is not the only template for Bond, but it is the one that the series has been guided by ever since.
Pfeiffer: The legacy of Goldfinger is illustrated by the fact you are still writing about the film fifty years later. It has a timeless quality and presents a moment in time when the Sixties were still kind of fun, at least in more privileged parts of the world. The dissention of the protest movements, high profile assassinations and the heightening of Cold War tensions would all threaten to make Bond look like a relic at least for a period of years. However, Goldfinger represents master filmmaking craftsmanship, from the performances to every aspect of the production. It's also the last time Sean Connery appeared to be having a genuinely good time playing 007.
Rubin: One hundred years from now, film aficionados will still admire the film for its pure adrenaline rush, its colorful locations and set pieces, witty script, wonderful performances by a great cast and a perfect musical score by John Barry. I believe Goldfinger defined movie cool in the 60s, on a par with the Steve McQueen film Bullitt. Put those two films together and you see all that was cool in the era. Interestingly, Connery and McQueen, born the same year, had similar career trajectories—at least initially, although Sean has had the far more lengthy career.
Scivally: The success of Goldfinger propelled 007 into the popular consciousness, making Bond one of the three most memorable B's of the 1960s (the other two being the Beatles and Batman). Its success also set off a slew of imitators both in cinemas and on television, sparking the mid-1960s spy craze, and set the style for a series that continues to evolve and attract a massive audience five decades later. It truly was a film with a Midas touch.
Coate: Thank you, everyone, for participating and for sharing your thoughts on Goldfinger.
The James Bond roundtable discussion will return in Remembering Thunderball on its 50th Anniversary.
- Michael Coate

subset: commoncrawl


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ADVENTUROUS HOLIDAY'S CYCLING IN SRI LANKACycling and mountain biking In Sri Lanka is an excellent way to get pleasure and glimpse of all the nook and corner in small Teardrop Island. Our two wheel tours not to be paddling tours. Our Green foot cycling tours allow you to do great cycling and covering cultural heritage sits, mountains, valleys, tropical rain forest, inland lakes, reservoirs, paddy, Rubber plantation, and the magnificent hill country past tea estates and gushing waterfalls.
Furthermore learning and experience authentic culture and impending to a unique way of life and it dates backs to 2500 years. . They may then welcome you with a warm smile and a cool drink as you catch your breath. You may have challenge network of main roads and innumerable country roads, gravel paths, foot paths, cart tracks, dirt tracks and estate tracks can be added in your experience.
• Lie on the pristine beach of Kalpitiya
• Venture off on an adventurous wildlife safari into Wilpattu National Park
• Packed your briefcase with unforgettable memorise of Rajanganaya village
• Find the Hidden treasures at kaludiya Pokuna
• Visit Dambulla cave temple
• experience Sri Lanka's rich historical and cultural past with a visit to the Sigiriya rock fortress built by renegade King Kashyapa in the 5th century AD
• Visit the monument in Polonnaruwa which dates back to 5th century AD
• Visit Temple of tooth relic
• Escape to East Cost
• Meet Indigenous people in Sri Lanka
• Glimpse the vicinity Of Ella
• Observe herds of wild elephants roaming freely at Udawalawe and orphaned baby
elephants as they feed at the elephant transit home in the park
• Trekking at Sinharaja UNESCO world heritage site
Arrival - Kalpitiya
151kms and approximately 03 - 04 hours journey please note that visits, sightseeing and stops are not considered calculating the duration
• We are at your service on arrival at the recently refurbished Modern and State of the art International Airport. Representative from Cycling escape Sri Lanka will meet & assist you at the airport. And transfer to Kalpitiya.
• Check in to Hotel.
• After a long journey leisure and relax at Kalpitiya.
• In the evening, enjoy some cocktails with you dedicated guide at the hotel as you get to know everyone else on the tour, followed by a wonderful dinner.
Cycling distance - Approx.10kms (Surrounding Kalpitiya)
Time – Approx. 5 - 6 hours
Grading – Soft
• Tastes your first day Sri Lankan Food at your Hotel and meet your dedicated local guide in the lobby for a short briefing on the tour program. • Start your cycle holiday with us.
• visit fish market and highlights surrounding Kalpitiya.
• Evening relax at the beach or your hotel.
• Overnight stay at the Kalpitiya.
Placed 150km north of the capital, Colombo, Kalpitiya is a peninsular that separates the Puttalam lagoon from the Indian Ocean and is a marine sanctuary with a diversity of habitats ranging from bar reef, flat coastal plains, saltpans, mangroves swamps, salt marshes and vast sand dune beaches. The potential of natural resources spread in both lagoon area and coastal area have opened huge potential for the tourism industry. Hence, thousands of tourists annually visit this area to join the water based activities including kite surfing, whale watching, dolphin watching, snorkelling, deep sea fishing, and diving etc. The other excursions are Alankuda Beach, Wilpattu National Park, Talawila Church and Puttalam Lagoon. Simply, Kalpitiya area is an ideal destination to feel the bliss of nature and experience the thrill and adventure staying amidst of the Indian Ocean and Puttalam Lagoon.
Kalpitiya - Wilpattu
Cycling distance - Approx. 60kms (From Kalpitiya to Wilpattu road) you will be transported a further 54kms to Wilpattu via vehicle.
Time – Approx. 5 - 6 hours
Grading – Soft and Moderate
• Following a delicious breakfast at your hotel and you will be transferred to Wilpattu National park, Wilpattu National Park is largest national park in Sri Lanka.
• Evening Safari at Wilpattu National Park.
• Overnight stay at the Wilpattu.
Wilpattu National Park, one of the largest and oldest wild life sanctuary in Sri Lanka span an area of no less than 131,693 with altitude ranging between the sea-level and 152 meters. The unique feature of this park is the existence of "Willus" (Natural Lakes) - Natural, sand-rimmed water basins or depressions that fill with rainwater, Located in the Northwest coast lowland dry zone of Sri Lanka. while the period of drought is only during the months of May to early September, the main rainy season is during September to December with the heavy downpours of north eastern monsoon; inter monsoon season visits the park March and April. Wilpattu is among the top national parks world renowned for its Leopard and Sloth bears population. Countless species of birds can be found and the park plays host to numerous winter migrants from November to March, while menacing crocodiles top the list of reptiles.
The park renowned for its history, The Mahavansa records that in 543 BC Prince Vijaya landed at Tambapanni now known as Kudrimalai Point (Horse Point) married Kuweni and founded the Sinhala nation.
Wilpattu - Hatthikuchchi - Rajanganaya - Wilpattu
Cycling distance - Approx.60kms (From Wilpattu- Rajanganaya)
Time – Approx. 7 - 8 hours journey Please note that visits, sightseeing and stops are not include the time duration.
Grading – Soft
• After your breakfast Cycling to Rajanganaya Farm Village and Tank.
• Visit Hatthikuchchi Ancient Temple Complex.
• Experience Paddy, Chena, and many agree related locations and you can work with them.
• You can lake fishing with local people and using their traditional fishing rod.
• Taste local food with the village people.
• Catamaran ride with the village fisherman.
• Optional, you can taste fish BBQ. Village people teach you how to make a fish BBQ as a Sri Lankan way.
• Optional Evening ''Pedura'' folk songs program and rational dancing experience.
• Heading back to Anuradhapura for your stay place.
The untouched of glorious village area is located boundary of North central province, 190 km away from Colombo. This countryside compressed with immensity of activities. Ideal location to discover world renowned ancient city of Anuradhapura, Kala Oya Tank , massive Rajanganaya Tank, Wilpattu National Park, Sri Lanka largest national park. Hatthikuchchi, Largest ancient rock resemble complex and vast of agro activities.
The diversity of the natural environment and local communities offers impressive experience for your holiday. Green foot travels recognized these destinations and build up with Rajanganaya communities. Our main target is develop responsible tourism and generate better income for local people and also conserve environment. Majority of the people in this area engage in agricultural or related activities such as paddy, vegetable, fruit, Chena cultivation, dairy farming as main sources of live hoods. Small holding cultivation is the main source of income for many households in which not only men and women but also children get involved in farming and related activities. They are the people with traditional knowledge and practices of traditional healing methods, folk music and dances handed down from generation to generation, greenish paddy field and also succulent fruits, delicious vegetable, dry soon climate and landscapes, multi culture and multi ethnicity, mouth-watering cuisines and talented and skilful village communities with courteous disposition will make exclusive holiday for you.
A un-earth and rich ancient temple complex Hatthikuchchi, Hatthikuchchi and Rajanganaya Ruins located North central province. One of these inscriptions indicates the oldest name of thee place as "Hatthikuchchi" in this large rock figure of an elephant's head after which the name was given. The premise is 300 acres in extent within are architecture structure like the "Phoyageya" the temple of the relics, the circular structure and the pond plus 38 caves. The proud of the history dates back to 1st century BC.
It is believed that King Sirisangabo who was living in this forest after renouncing the Crown, in around 244 AD, cut his own head and offered it to a villager, to be handed over to the ruling King Gotabhaya at that time as the King had ordered to bring the head of Sirisangabo to him fearing Sirisangabo would overthrow him become King again. There are monuments to represent his tomb at this temple area.
Wilpattu - Dambulla
Cycling distance - Approx. 60kms (From Kalpitiya to Wilpattu road) you will be transported a further 50kms to Dambulla via vehicle.
Time – Approx. 5 - 6 hours journey Please note that visits, sightseeing and stops are not include the time duration.
Grading – Soft and Moderate
• Following a delicious breakfast at your hotel and you will be transferred to Dambulla through surrounding by beautiful paddy field and a hospitable community.
• Evening visit Dambulla Cave Temple.
• Optional cycling surrounding Dambulla and buy some fresh vegetable with your local guide for evening cookery demonstration.
• Overnight stay at the Dambulla.
The Buddhist Monastery at Dambulla, The ancient Jambukola Vihara, is best known for its temple and its growth cycle of well-preserved eight –century rock and wall painting. Sinhalese people call it as ' Dambulu Gala' (Dambulla Rock) and the Temple is called as the ' Rangiri Dambulu Viharaya' (Golden Rock Dambulla Temple). It is situated about 79 Km from Kandy. The Dambulla Rock Temple had first been constructed during the reign of King Vattagamini Abhaya (103 BC and 89-77 BC). The Sinhalese often calls him as King Walagamba.
During a South Indian invasion the king had to abandon his Anuradhapura Kingdom. For 12 years, King Walagamba was in hiding and had frequented these caves for his safety. After regaining the kingdom of Anuradhapura and becoming the King, to show his gratefulness for his safe place, he converted those caves into Buddhist Temples by constructing walled partitions under the rock overhang, which spans the entire area as a single large cave.
Dambulla - Kaludiya Pokuna - Dambulla
Cycling distance - Approx.35kms
Time – Approx. 7 - 8 hours journey Please note that visits, sightseeing and stops are not include the time duration
Grading – Soft
• After your breakfast Cycling to Kaludiya Pokuna ancient place via bank of Kandalama Tank.
• En route visit Sri Lankan largest vegetable market.
• Buy some fresh vegetable and fruit for evening cookery demonstration.
• Evening you will cook your vegetable and fruit according to local recipe with your master chef.
• Tastes your foods.
• End up your busy day overnight stay at Dambulla.
Kaludiya Pokuna
Kandalama Kaludiya Pokuna located in Dambulla; it dates back to the period, 853 – 857 A.D., during the reign of King Sena the 2nd. The sacred precincts of this ancient site served as a meditating center for the Buddhist monks who resided there. The approach to this ancient historical site is very pleasant, winding its way through paddy fields and vegetable cultivations – typical rural Sri Lanka, which gives way to beautiful stands of tall, dry monsoon forest. You even find peacocks crossing the road at your free.
Kaludiya Pokuna lies at the base of a long rocky ridge on the northern periphery of the Knuckles range. As a result, the forest is more intermediate in character than dry zone. It is also home to a wide variety of birds and butterflies, as it is at the junction of different climatic zones with some species being at an extremity of their range. Clearly, it is an exciting place for birders and butterfly watchers. The archaeological site at Kaludiya Pokuna has a few ruins including a stupa, and it is very obvious to the visitor that this ancient site screams of neglect. You can found two ancient rock inscriptions – one was hardly legible as letters were almost washed away by the ravages of rain, but the second was mercifully protected by the overhanging rock.
Dambulla - Polonnaruwa
Cycling distance - Approx. 60kms (From Dambulla to Polonnaruwa)
Time – Approx. 5 - 6 hours
Grading – Soft and Moderate
• Following a delicious breakfast at your hotel and you will be transferred to Polonnaruwa Ancient City.
• En route visit Sigiriya Rock Fortress.
• Optional Hiriwadunna village tour, Elephant back ride and bullock card ride.
• Optional do an evening safari at Kaudulla National Park.
• Overnight stay at the Polonnaruwa.
Sigiriya is one of Asia's major archaeological sites, Sigiriya represent a distinctive concentration of fifth –century urban planning, architecture, gardening, engineering, hydraulics, and art, centred on a massive rock rising 200 meters above the surrounding plain Surgery, located in the Matale district near to Dambulla. It can be reached through along Colombo-Habarana highway. Sigiriya location is one of the considerable natural beauty and historical interest. An area of settlement is lying between the cultural triangle of Anuradhapura, Polonnaruwa, Kandy. The Sigiriya plan still retains much of its forest, cover, and many of its present village settlements and man-made village reservoirs date back to the first millennium B.C.
Polonnaruwa, The medieval capital of Sri Lanka from the eleventh to the end of the first quarter of the thirteenth century A.D. is situated in the dry zone of the North-central province. During the first millennium A.D, when Sri Lanka's capital Anuradhapura, was flourishing, Polonnaruwa served as a fortified outpost (Kadavurunuwara) where the Sinhala garrisons camped during period Anuradhapura. Polonnaruwa was a strategic location because of Mahaweli River.
The principle groups of monuments rising up the city of Polonnaruwa. Visitors are staring from the southern entrance to the site and progressing to north. Potgul Vehera monastery, The citadel and place complex, The quadrangle, Manik Vehera monastery complex, Alahanaparivena, artefacts and. inscription, Galvihara, The North Temple, Thawhindhu Temple, The garden of Polonnaruwa.
Polonnaruwa - Pasikuda
Cycling distance - Approx. 60kms (From Polonnaruwa to Pasikuda) you will be transported a further 15kms to Pasikuda via vehicle.
Time – Approx. 5 - 6 hours journey Please note that visits, sightseeing and stops are not include the time duration.
Grading – Soft and Moderate
• Following a delicious breakfast at your hotel and you will be transferred to Pasikuda beach. Soft sandy beach will be kissed your feet.
• Optional we can organize special ''Tuk'' ''Tuk'' rally to Pasikuda.
• Optional catamaran ride in Parakrama Lake.
• Overnight stay at Pasikuda.
Once a much sought- after hideaway, the last few years have seen an increase in visitors and some development. Close by, has a fine bay with clear waters, which opened to the north. An offshore reef shelters sandy beaches and keep the water, clam and clear. It is located in the eastern coast of Sri Lanka, 18 km away from Trincomalee. Pasikuda beach, recognized as one of safest beaches in Sri Lanka is very famous among the travellers who travel around the Sri Lanka. White sand, shallow waters, coral reefs and palm trees make Pasikuda and Kalkudah beaches idyllic places to spend the day on the seaside. Pasikuda Bay's shallow waters offer a perfectly safe environment for learning how to swim and therefore a popular bathing spot for families with children. There are also possibilities to snorkel, to fish and have some boat rides around and this place is windsurfers and water skies delight.
Pasikuda - Mahiyanganaya
Cycling distance - Approx. 60kms (From Pasikuda to Mahiyanganaya) you will be transported a further 53kms to Mahiyanganaya via vehicle.
Time – Approx. 5 - 6 hours journey Please note that visits, sightseeing and stops are not include the time duration.
Grading – Soft and Moderate
• Following a delicious breakfast at your hotel and you will be transferred to Mahiyanganaya, explore indigenous tribes in Sri Lanka.
• Optional visit traditional dance.
• Overnight stay at Mahiyanganaya.
Mahiyanganaya (Dambana)
Find a Sri Lankan indigenous people the best place is Dambana. Veddas are an indigenous people of Sri Lanka, an island in the Indian Ocean. They, amongst other self-identified native communities such as Coast Veddas and Anuradhapura Veddas, are accorded indigenous status but if you need to encounter Vedda people and their life style Dambana is the place .Just 05km far off the A26. Dambana comprises four sub villages, but you'll inevitably be brought to Kotabakina, where there are 10 traditional style Vedda homes with thatched roofs and mud floors.
Veddas were originally hunter-gatherers. They used bows and arrows to hunt game, and also gathered wild plants and honey. Many Veddas also farm, frequently using slash and burn or swidden cultivation, which is called "Chena" in Sri Lanka. East Coast Veddas also practice fishing. Veddas are famously known for their rich meat diet. The current leader of the Wanniyala-Aetto community is Uru Warige Wanniya .Another group, often termed East Coast Veddas, is found in coastal areas of the Eastern Province, between Batticaloa and Trincomalee. These Veddas have adopted Tamil as their mother tongue.
Mahiyanganaya - Ella
Cycling distance - Approx. 60kms (From Mahiyanganaya to Ella) you will be transported a further 17kms to Dambulla via vehicle.
Time – Approx. 4 - 5 hours
Grading – Moderate and hard
• Following a delicious breakfast at your hotel and you will be transferred to Ella.
• Visit Ella highlights of your vehicle.
• Overnight stay at Ella. Surrounded by chilly misty mountain.
A full of mists and breath-taking scenery of Ella gap is one of a wonder of nature. This tiny isolated hill town lies just 8 km away from Bandarawela. Ella if offering plenty of recreational activities and great pleases for nature lovers. When you standing on Ella gap you will feel seem like edge Ella rock. Of world and all the beauty of nature surrounded you. There have a perfect climate for your dreaming holiday.
Fancy climbing the peaks that are dotted around Ella, then make sure and don't miss trekking, hiking, Cycling, tea experience, bird watching and caving opportunities around stunning scenery. Ella with its perfect climate soothes your mind and makes your day to day anxieties feel a world away. Some of fantastic places you could have seen, those are Ravana Ella Falls, Little Adam's Peak and Bambaragala Peak. Sita cave, Diyalunma water Falls. Lipton seat, Bogoda Bridge.
Cycling distance - Approx. 30kms
Time – Approx. 5 - 6 hours
Grading – Moderate and hard
• Following a delicious breakfast at your hotel and you will be cycling surrounding Ella.
• Evening tea trail.
• Overnight stay at Ella. Surrounded by chilly misty mountain.
Cycling tour to Ravana Waterfall, Ravana Cave And Ella Gap
Cycle to the majestic Rawana Ella It is located near the village of Udunuwara. This will take about half an hour. Then on to Rawana Cave, 1,370 meters above sea level - about a 15 minute ride. You will have to climb approx. 700 steps to reach the cave. Phew. The cave is connected to many tunnels believed to have been made by Rawana himself. It is believed to be one of several places where Rawana hid a lovely Indian Princess Site after abducting her. Recently a 20,000 year old skull was discovered in the cave. Then just a short cycle to Ella gap – a deep 3,000 ft. valley which frames an incredible view reach as far as Yala National Park. On a really clear day the lighthouse at Hambantota can be seen – yes, that's the ocean way over there.
Ella - Udawalawe
Cycling distance - Approx. 60kms (From Ella to Udawalawe) you will be transported a further 32kms to Udawalawe via vehicle.
Time – Approx. 5- 6 hours
Grading – Moderate and hard
• After your breakfast at your hotel and you will be cycling to Udawalawe.
• Visit Elephant Transit Home at Udawalawe.
• Optional do an evening safari at Udawalawe National Park.
• BBQ dinner at the camp site with bonfire.
• Overnight stay at Udawalawe.
Udawalawe National Park
Udawalawe National Park is undoubtedly the best place to see wild Asian Elephants throughout the year. Udawalawe National Park is unique in terms of consistency in numbers of elephants roaming the park. It has no a seasonal variation in herds of elephants. The reserve covers 30, 821 hectares of land. The park established on 30 June 1972. Park is Located165 km kilometres away from Colombo. Species recorded from the park include 94 plants, 12 amphibians, 21 fish, 33 reptiles, 184 birds, and 43 mammals. Additionally 135 species of butterflies are among the invertebrates found in Udawalawe.
The main attraction of the park are Water Buffalo, Wild boar, Spotted Deer, Samber Deer, Jackal, Black-naped hare, bandicoots, mongooses, foxes, the endemic Toque Macaque and Gray Langers. If you are lucky Sighting Leopard and other smaller cats like Fishing cat & Jungle cat can be seen. The endemic species of bird called Red Faced Malkoha has its favorite habitat in the 195 square km parkland.
Late evening also affords the photographic opportunities in the backdrop of loveliest sunsets.
Elephant Transit Home at Udawalawe National Park
Elephant is largest and an endangered spices in the world. Their survival and natural habits is threatened by various human activities. Recently human elephant conflict in increasing. Due to this case many elephants constantly being killed in the forest and number of baby elephants become orphaned or abandoned. The Udawalawe Elephant Transfer Home is an Elephant orphanage located within the Udawalawe National Park. Established in 1995 by the Department of wildlife Conservation, it is home to over 40 orphaned elephants. The orphaned calves and juveniles of the park are brought into the orphanage and raised with necessary care until such time as they could be released to their habitat. Once they are released to the park, currently 31 destitute baby elephants are being looked after by the DWC. the Park authorities take upon themselves to keep constant track of the beasts till they get used to the new life in the wild. As at the year 2008, no less than sixty-five elephants had been released to the jungle.
Udawalawe - Sinharaja
Cycling distance - Approx. 60kms (From Udawalawe to Sinharaja) you will be transported a further 17kms to Sinharaja via vehicle.
Time – Approx. 5- 6 hours journey Please note that visits, sightseeing and stops are not include the time duration.
Grading – Moderate and hard
• After your breakfast at your hotel and you will be cycling Sinharaja.
• Trekking at Sinharaja World Heritage Site.
• Overnight stay at Sinharaja.
Sinharaja Rain Forest
Sinharaja is the world heritage virgin Rain forest in Sri Lanka. The Location of the Sinharaja Rain forest is in the south Western part of the island and spanning an area of 18900 acres. Sinharaja Forest reserve is also home to over 50% of Sri Lanka's endemic species of mammals and butterflies, as well as many kinds of insects, reptiles and rare amphibians. This lowland evergreen rain forest is steeped in deep legend. The word "Sinharaja" Name became as lion (Sinha) King (Raja) and according to famous folklore The Sinhala people origin from a princess and the lion king who once lived in the forest. Sinharaja is consisting in large proportion of the fauna and flora in this forest is endemic to the country. Some species are endemic to the Sinharaja Forest itself. Specially birds.
Sinharaja hosts to 95% endemic birds in Sri Lanka. Over 147 species have been recorded. This variety of species is possible because of the availability of specific habitats that range from 300 to 1500 meters. There are many endemic birds such as Ceylon Lorikeet, Layard's Parakeet, Ceylon Jungle Fowl, Spur Fowl , Ceylon White-headed Starling , Ceylon Wood Pigeon, Grey Hornbill, Spotted-wing Thrush ,Rufous Babbler, Brown- capped Babbler, Ashy-headed Laughing Thrush , Ceylon Blue Magpie , White Headed Starling , Green-billed Coucal , Red-faced Malkoha, Ceylon Hill Mynah or Grackle and Legge's Flower pecker are some of the endemic birds found at Sinharaja.
The other large mammals that are found in Sinharaja are the, Somber, Fishing Cat, Rusty Spotted Cat, Barking Deer, Mouse Deer, Jackal and Wild Boar.
Sinharaja - Colombo Airport
119kms and approximately 03 - 04 hours journey please note that visits, sightseeing and stops are not including the time duration.
• After your breakfast on the last day, you will be taken from the hotel to the Bandaranaike International Airport for your flight back home along with unforgettable memories and numerous stories to relate to your friends and family.


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2017 17 SEAT LEON 1.4 TSI FR TECHNOLOGY DSG 5d AUTO 148 BHP5 door Only 16,300 miles! Finished in Nevada white, Sat Nav, DAB,Apple play, touch screen, park assist, alloys, £20 RFL, REDUCED TO £12,995
- 16300 Miles
- Petrol
- Semi Auto
- TBC CO² (g/km)
- £TBC 12m Tax
- £TBC 6m Tax
- 57.7 Avg. MPG
- Group 19 Ins.
- 16300 Miles
- Petrol
- Semi Auto
- TBC CO² (g/km)
- £TBC 12m Tax
- £TBC 6m Tax
- 57.7 Avg. MPG
- Group 19 Ins.
Vehicle Information
- Features
- Description
- Finance
- Gallery
Vehicle Summary
- Body styleHatchback
- Engine size1395cc
- Engine capacity1.4 L
- Fuel typePetrol
- Number of doors5
- Number of seats5
- TransmissionSemi Auto
- CO2 emissions115 g/km
- Insurance group19
Performance & Economy
- Fuel consumption (urban)48.7 mpg
- Fuel consumption (extra urban)64.2 mpg
- Fuel consumption (combined)57.7 mpg
- 0 - 60 mph8.0 seconds
- Top speed134.0 mph
- Cylinders4
- Engine power148 bhp
- Engine torque184 lbs/ft
- Height1444mm
- Height inclusive of roof railsmm
- Length4281mm
- Wheelbase2634mm
- Width1816mm
- Width including mirrorsmm
Interior / Exterior
- 2 USB ports
- 2 USB sockets in rear
- 2 X SD card slot
- Auxiliary input socket
- Bluetooth audio streaming
- DAB Digital radio
- Radio/CD + MP3
- Steering wheel mounted audio/phone controls
- 12v power point in centre console
- 3 height adjustable rear headrests
- 60/40 split folding rear seat
- Active head restraints
- Additional heating and ventilation outlet in rear of centre console
- Boot net
- Driver seat height adjust
- Driver seat lumbar adjustment
- Dual zone climate control
- Dust/pollen filter
- Front adjustable head restraints
- Front armrest with storage box
- Front cupholders x 2
- Front seatback pockets
- Front sports seats
- Front/rear floor mats
- Height/reach adjust steering wheel
- Illuminated door sills
- Illuminated rear centre console
- Instrument lighting with brightness control
- Leather handbrake
- Luggage tie-down hooks
- Passenger seat height adjuster
- Passenger seat lumbar adjust
- Perforated leather steering wheel with red stitching + gear knob
- Rear top tether child seat ISOFIX attachment
- Steering wheel gearshift paddles
- Storage boxes under front seats
- Space saver spare wheel
- Aluminium front door sills
- Black grille with chrome surround
- Body coloured door handles
- Body coloured bumpers
- Body coloured door mirrors
- Dark tinted rear windows
- Electric adjustable/heated/folding door mirrors
- Electric front/rear windows with one touch/anti pinch
- Electric headlamp adjustment
- High gloss black finish B and C pillars
- LED daytime running lights
- LED front fog lights
- LED Headlights
- LED indicators in door mirrors
- LED number plate light
- LED tail lights
- Rear wash/wipe
- Reverse activated kerb-view adjustment on passenger's door mirror
- Twin exhaust pipes
- Chrome interior trim
ComfortNo features available.
Safety / Other
- Adaptive cruise control
- 'Lights On' warning buzzer
- 8" touch screen
- Bluetooth Handsfree Phone Connection
- Low fuel warning light
- Outside temperature gauge
- Rear parking sensors
- Remote fuel flap release
- SEAT Drive profile
- SEAT logo boot release
- Volumetric alarm with back up horn
- Service interval indicator
- Trip computer
- Voice control system
- 3 point rear seatbelts x3
- ABS + traction control
- Active pedestrian safety system
- Child proof door locks
- Collision mitigation braking system
- Curtain airbags
- Driver/Front Passenger airbags
- Drivers knee airbag
- Electronic parking brake with auto hold
- Front assist including city emergency braking
- Front seatbelt pretensioners
- Front Seatbelt warning
- Front side airbags
- Hill hold control
- Passenger airbag deactivation system
- Tyre pressure monitoring system
- 2 folding remote keys with window open/close function
- Engine immobiliser
- Locking wheel bolts
- Remote central locking + deadlocks
- Navigation system pack high - Leon
- Driving assistance Pack - Leon
- XDS electronic differential lock
Over £1,800 WORTH OF Factory Fitted Extras
- Adaptive cruise control£155
- Space saver spare wheel£115
- Driving assistance Pack - Leon£590
- Navigation system pack high - Leon£970
- Total value of factory fitted extras£1,830
This vehicle has been sold.
Every effort has been made to ensure the accuracy of the above information but errors may occur. Please check with a salesperson.
- Registered: 2017
- Mileage: 16300 miles
- Engine Size: 1.4 L
- Fuel Type: PetrolGearbox: Semi AutoBody Style: HatchbackColour: WhiteOwners: 2
This vehicle has been sold.
Sought after Powerful petrol engine- producing 150 bhp! With under 16,300 miles!!!!REDUCED TO £12995 FANTASTIC VALUE.Sat Nav- DAB Digital Radio, Satelite Navigation, front and rear parking sensors, finished in Nevada White, One Owner, Full Seat Service History, only £20 Per Year Road Tax Model, Immaculate Condition Inside & Out, 1 owners, Metallic Paint, 17in Dynamic Alloy Wheels (225/45 R17 Tyres) with Locking Wheel Bolts, Nevada White Metallic, Alarm (Perimeter and Interior Monitoring) with Back-Up Horn, Bluetooth Hands-Free System, Techny Black Cloth, Cruise Control, Privacy Glass, Dual Zone Climate Control, Dual-Zone Climate Control with Dust and Pollen Filter, Electric Front and Rear Windows (One Touch with Anti-Squeeze), FM/AM Radio and Bluetooth Audio Streaming, Hill Hold Control, Rear Parking Sensors, Start/Stop System, Tinted Windows and Dark Tinted Rear Windows, Tyre Pressure Monitoring System, Voice Control, Technology Pack, - Competitive Finance Options Available .Autotechnics have been trading for 28 years and are an award winning garage for customer service and a 5 star rated Which Trusted Trader.
For more information on any of the vehicles please call Ross on 07971283895. Also, we can offer competitive finance with quick decisions. Click the finance tab for further finance information.
Every effort has been made to ensure the accuracy of the above information but errors may occur. Please check with a salesperson.
The following documents are available for this vehicle:


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2 comments:
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Public Records
- AnonymousJuly 20, 2010 at 6:31 AM
Welcome to Maywood, MexicoReplyDelete
by Roger Hedgecock
Boasting a population that is 97% Hispanic, more than half foreign born, and 40% illegal, the Los Angeles County, Calif., incorporated city of Maywood has achieved the Reconquista goal. It is now as lawless and chaotic as any place in Mexico. Maywood is a warning to every city and town in America.
The Maywood City Council announced this week that after years of radical policies, corruption and scandal, the city was broke and all city employees would be laid off and essential city services contracted out to neighboring cities or to L.A. County government.
How did this happen? Until recently, Maywood was the model for "brown power" politics.
Maywood was the first California city with an elected Hispanic City Council, one of the first "sanctuary" cities for illegal aliens, the first city to pass a resolution calling for a boycott of Arizona after that state passed a law to enforce federal immigration laws, the first California city to order its police department not to enforce state laws requiring drivers to have licenses to drive, the first American city to call on Congress to grant amnesty to all illegals.


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My Search For Welcome: Guest Writer- Jamie Lennon
December 7, 2009
My name is Jamie Lennon, and like Beth I am a volunteer with Lutheran Immigration and Refugee Service until August 2010, and like Beth I am not a native of Baltimore. In fact I am not even a native of this country. I am from Wales in the United Kingdom and I have come to the States to enroll in the Lutheran Volunteer Corps. A program that offers individuals the chance to live out their commitment to social justice by partnering them with an organization whose mission lends itself to that cause.
Lutheran Immigration and Refugee Service certainly does that. Refugees and immigrants are some of the most vulnerable persons in our societies and are all too often the first up against the wall when times get tough. Lutheran Immigration and Refugee Service proactively calls for fair treatment of all migrants by promoting greater awareness of migration issues; advocating for humane laws and polices and by offering many much needed services such as our Refugee Works program which is committed to helping refugees achieve economic self-sufficiency. My role within LIRS allows me to promote social justice by engaging with individuals and organizations to promote greater awareness of immigration issues and get more people involved in immigration ministry and advocacy.
As a migrant myself I have discovered some very sincere welcomes since arriving in the United States. From the people I work with, to those I live with to the many, many people I interact with on a daily basis. I have also met many fellow migrants from places far and wide. One thing I have discovered in my search of welcome is that the most welcoming among the people I have met have been those who have lived that similar journey, namely the migrants that live among us. I believe that this is in part due to their experiences and their wish to relate to others who have similar stories to share.
Living in a different country and indeed a different Culture has allowed me to better relate with the experiences of the people we, at Lutheran Immigration and Refugee Service serve, having shared an element of their story. I have been fortunate enough to be blessed with many angels of welcome and this has deepened my resolve to offer the same welcome to all persons. Croeso!


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