The cultural weight that a single film appearance in 1964 deposited on the Aston Martin DB5 has complicated its assessment as an automobile. The DB5 is a beautiful, capable, mechanically sophisticated grand tourer that would command serious collector attention based on its own merits. It is also the car that Sean Connery drove in Goldfinger, and that association has inflated its market value, attracted buyers who are purchasing cinematic mythology rather than automotive excellence, and made it difficult to discuss the car as an object rather than as an icon.

The attribution is disputed, as most famous automotive quotations are, but the sentiment is not: when the Jaguar E-Type was unveiled at the 1961 Geneva Motor Show, it produced a reaction that went beyond the standard admiration afforded to attractive new automobiles. Enzo Ferrari reportedly called it the most beautiful car ever made. The automotive press ran out of superlatives by the second paragraph. Malcolm Sayer, the Jaguar aerodynamicist who shaped the body, was working from engineering principles — the curves were functional, derived from Jaguar’s racing experience with the D-Type — and produced something that looked like it had been shaped by aesthetic ambition rather than calculation.