Goldfinger

But Prince Philip was photographed with Blackman at a charity dance, and the caption "Pussy and the Prince" was sent out to the press. When there was no outcry, the producers decided to keep the character's original name.

Richard Maibaum softened the lesbian character of Pussy Galore and made her not so immune to Bond's sexual advances.

Honor Blackman (Pussy Galore) said: "There were elements of the lesbian character I would have liked to try out."

She said of Connery: "A lovely boy. He was really quite beautiful... a dish."

"I Like Pussy" buttons were distributed around Hollywood.

"Pussy Galore" also became a write-in candidate for a campus beauty contest at Berkley.

Director Guy Hamilton: "We were booked to open at the Radio City Music Hall -- or somewhere -- on December 15, and we were still shooting in Fort Knox on about November 9. And the producers were completely indifferent to the fact that the picture wasn't cut. What we did, the editor took the front end and I took the tail end -- and I'm not a bad editor -- and we met halfway. That was the idea. We never did meet so there's this reel of rough cut in the middle."

Everybody tried to attach themselves to the Bond craze. Even TV food commercials featured "James Bread from Bond" and "Goldnoodle."

Painting Shirley Eaton gold for her death scene as Jill Masterson required four separate paint jobs of two and a half hours each - studio doctors wouldn't allow her to be covered any longer. She said the painter "must've been a happily married man, because he was as impersonal about it as painting a barn."

Shirley Eaton's cockney accent was dubbed over by lawyer Nikki van der Zyl.

Roger Moore: "Some years ago when I was playing 'The Saint', I appeared with Jimmy Tarbuck at the London Palladium. He asked me if I was friends with Sean Connery who was then playing Bond and Patrick McGoohan who was Danger Man (Secret Agent Man in the U.S.) on television. I said that I was. He then asked whether 'The Saint' and 'Danger Man' and Bond ever went out for an evening together. I said that we did. Then Tarbuck asked, 'And Pussy Galore?' To which I replied, "Well, we don't go looking for it."

There were three passing references to the FBI in the film, and the agency took note. An internal FBI memo to Cartha "Deke" DeLoach, one of Herbert Hoover's top assistants (and later deputy director of the FBI), dated January 1st 1964, noted that Ian Fleming's spy stories "are generally filled with beautiful women presenting themselves to (Bond) in scanty attire." Another confidential memo said: "The type of book written by Ian Fleming is certainly not the type where we would want any mention of the FBI or portrayal of FBI agents, no matter how favourable they might look in the movie." It explained that "Fleming's stories generally center around sex and bizarre situations, and certainly are not the type with which we should want to be associated." Evidently fearful that DeLoach and/or Hoover lived in a hopelessly sheltered environment, the writer of one memo felt it necessary to explain the facts of Fleming's life: "Our files reflect that Ian Fleming is a writer of paperback novels concerning spy stories in which his fictional character, James Bond, is the star," the memo states. The government officials even checked into the background of the man who was adapting 'Goldfinger' for the silver screen, Richard Maibaum, and reported: "Bureau files contain no record regarding Maibaum". One of the 'Goldfinger' memos conceded that an FBI source "was unaware of any FBI portrayal in the movie." Nevertheless, the memo writer recommended that "in the event the Bureau is contacted for permission to portray an FBI agent in the movie, it should be flatly declined. " Hoover scribbled "I concur" at the bottom of the memo.