Now, I am confused whether Midas Touch is a blessing or a curse, for this touch is something we all felt and are overwhelmed by it.
Hamilton is on a whole new level. He sees what this character is and how to portray it on screen to its best. And with finesse like his, the content subverts the flaws or inadequacies of the plotline and embraces the super-ness of the characters in this sketchy world. Finally, after two long chapters, the finest quality of this franchise, i.e. its antagonist, is magnified to an almost parallel role in this chapter. And carrying the title and the fear of his name, the snidy villain to Connery is perpetually playing a long tennis game with him.
An ace for an ace and a set for a set, if Sean Connery has gadgets in his pocket, Gert Frobe has a contingency plan in his mind, to every reply he has a counter argument that desimmates Connery’s view for a whole act. Even in its last act, he never, mind you, never for a split second accepts his lose, at its most vulnerable point, he throws an equally challenging punch to our Martini-consumer host. One of the primary reason how the sense of urgency is kept alive throughout this two hours of journey, is the bluffs of Connery and Frobe’s that are called out up front.
And with almost an entire film, Connery spending under Frobe’s shade, his cloaking or more accurately stripping of the revisited character has made to be “out of touch”, in fact, he doesn’t even get to say his name, “Bond, James..”. The director Guy Hamilton brings less verbal sparrings in the script this time, which to be frankly seems like of barely twenty pages. Relying completely upon complex and witty physical sequences like an escape from a prison to stalling while shaving, these quiet moments on screen haunts us for the rest of the film, with not a monsterous face but a Goldfinger.