Margaret Nolan, a stage and display actress whose gold-painted physique was used as a canvas to undertaking the opening credit of the James Bond movie “Goldfinger,” and who was additionally briefly seen within the Beatles film “A Hard Day’s Night,” died on Oct. 5 at her home in Belsize Park, London. She was 76.
The trigger was most cancers, her son Oscar Deeks stated.
In a profession that was predominantly within the 1960s and ’70s, Ms. Nolan appeared in quite a few BBC tv productions and in movies together with “No Sex Please, We’re British” (1973) and “Carry On Girls” (1973).
In “A Hard Day’s Night” (1964), she had an uncredited however memorable position because the elegant younger girl seated subsequent to Paul McCartney’s grandfather at a on line casino.
But it was the opening title sequence of “Goldfinger” (1964), which was projected onto Ms. Nolan’s physique as if it have been a display, that introduced her fame.
“Squeezed into a gold leather bikini, her skin painted the same shimmering hue, the statuesque starlet Margaret Nolan (41-23-37) stood still while scenes from the just-finished James Bond movie ‘Goldfinger’ were projected onto her curves,” The New York Times reported in 2005 in regards to the movie shoot, which it additionally described as “long and meticulous.”
The film’s title sequence went on to be a featured exhibition on the Museum of Modern Art in 2012-13.
In an archived model of her official web site, Ms. Nolan described how she was “quite unexpectedly shot into the limelight” by the film when she was solely 20.
The filmmakers needed her to be the physique for the title sequence, however she agreed to do it provided that she got a task within the film. She ended up taking part in a masseuse named Dink who seems briefly with James Bond, performed by Sean Connery.
Ms. Nolan’s character in “Goldfinger” was to not be confused with the character who’s utterly painted in gold and dies of “skin suffocation.” That character, Jill Masterson, was performed by Shirley Eaton. (That scene additionally prompted false accounts that the actress had died throughout the filming on account of the paint.)
Ms. Nolan turned down a two-year contract to publicize the movie as a result of she stated she would discover it tough to stay down such consideration and needed to be taken significantly as an actress.
“As it transpired, I couldn’t ‘live it down’ anyway and to this day get regular fan mail from Bond fans!” she wrote.
Margaret Ann Nolan was born within the Hampstead space of London on Oct. 29, 1943. Her father, Jack Nolan, was a clerk within the Army, and her mom, Molly, was a psychiatric nurse. Her mom relocated the household to Waterford, Ireland, throughout World War II.
The household returned to Hampstead in 1946 and Ms. Nolan was coaching to be a instructor when she met her first husband, Tom Kempinski, who was then an actor with the National Theater.
“He convinced me that I could be an actress,” she wrote on her web site.
She gave up performing within the late 1980s to give attention to homemaking and caring for her two sons. In the early ’90s she moved to Andalusia, Spain, the place she took up drawing and portray.
Her marriage to Mr. Kempinski resulted in divorce, as did a second marriage, to Mike O’Sullivan. In addition to her son, Ms. Nolan is survived by her associate, Colin Deeks; one other son, Luke O’Sullivan; and a sister, Geraldine Ross.
She started making photomontages from a few of her earlier portraits and had her work featured in exhibitions. She additionally turned politically energetic within the Workers Revolutionary Party, a British Trotskyist group, her son Mr. Deeks stated.
She developed a ardour for permaculture, a motion that started within the mid-1970s whose identify is a portmanteau of “permanent agriculture” and “permanent culture.” At her farmhouse in Spain, Mr. Deeks stated, she lived off the grid and relied on photo voltaic power.
The director Edgar Wright stated on Twitter that Ms. Nolan performed a small position in his upcoming film “Last Night in Soho.” He described her as being in the course of a Venn diagram of “everything cool in the ’60s,” having appeared with the Beatles and in a James Bond movie.
She returned to the display for “The Power of Three” (2011), a low-budget impartial movie that she described as a feel-good comedy that reinvented the parable of center age.
In a 2012 interview with the location Playerist, she was requested if she needed to flee glamour or to embrace and use it.
“I absolutely embraced it when I was able to, when I was glamorous,” she stated. “You don’t go on embracing it — that is pathetic. It was just part of being young and beautiful.”
Alain Delaquérière contributed analysis.