In the speculative sports drama Goldengirl, (released in theaters on June 15, 1979), the world of professional athletics is pushed into the realm of science fiction. Goldine Serafin (Susan Anton), a statuesque and talented runner, has been groomed since childhood by her adoptive father, Dr. Serafin (Curt Jürgens), to become the greatest track star in history.
However, Goldine is not merely a product of hard work; she is a biological experiment.
Through a combination of rigorous psychological conditioning and controversial growth hormones, she has been engineered to dominate the upcoming 1980 Moscow Olympics.
The plot follows the massive commercial machinery that builds around her, led by Jack Dryden (James Coburn), an opportunistic marketing expert hired to sell her image to corporate sponsors for millions before she even steps onto the track.
As the Olympics approach, the pressure on Goldine becomes immense.
She is surrounded by a team of handlers and experts, including sportscaster Steve Esselton (Robert Culp), the shadowy Valenti (Harry Guardino), and the calculating Stenberg (Michael Lerner).
Goldine begins to buckle under the physical and mental strain of her artificial enhancement.
The narrative explores the ethics of human engineering as Goldine struggles to reclaim her humanity from a syndicate that views her solely as a lucrative “product.”
The film culminates in the high-tension atmosphere of the Olympic stadium, where the true cost of Goldine’s “perfection” is finally revealed.
Leslie Caron, Nicolas Coster and John Newcombe round out the cast.
Susan Anton in Goldengirl (Photo/Embassy Pictures)
Reception for Goldengirl
Goldengirl grossed $1.4 million at the box office.
Legacy
The legacy of Goldengirl is rooted in its strikingly prescient look at the intersection of commercialism, biotechnology, and professional sports.
Released in 1979, the film arrived just as the world was beginning to grapple with the realities of performance-enhancing drugs and the hyper-commodification of Olympic athletes.
It served as a massive breakout vehicle for Anton, whose athletic physicality and screen presence made the concept of a “super-athlete” believable to audiences of the era.
It is remembered by cult cinema fans as a unique genre hybrid—part sports drama, part cautionary sci-fi—that dared to question the morality behind the quest for the gold medal long before the scandals of the following decades made its plot feel like a reality.
