Diamonds Are Forever (1971)

Director:

Guy Hamilton

Writers:

Richard Maibaum (screenplay) and
Tom Mankiewicz (screenplay)

Release Date:

17 December 1971 (USA)

Genre:

Action | Adventure | Sci-Fi | Thriller

Tagline:

"Diamonds Are Forever"...forever...forever...forever...

Plot:

A diamond smuggling investigation leads James Bond to Las Vegas, where he uncovers an extortion plot headed by his nemesis, Ernst Stavro Blofeld.

Plot Keywords:

Diamond | Smuggling | James Bond | British | Casino Owner

Awards:

Nominated for Oscar. Another 1 win & 1 nomination

US TV Schedule:

Fri. Nov. 27

3:30 PM

SYFY

Cast

Sean Connery	...	James Bond
Jill St. John	...	Tiffany Case
Charles Gray	...	Ernst Stavro Blofeld
Lana Wood	...	Plenty O'Toole
Jimmy Dean	...	Willard Whyte
Bruce Cabot	...	Saxby
Putter Smith	...	Mr. Kidd
Bruce Glover	...	Mr. Wint
Norman Burton	...	Felix Leiter
Joseph Fürst	...	Dr. Metz (as Joseph Furst)
Bernard Lee	...	M
Desmond Llewelyn	...	Q
Leonard Barr	...	Shady Tree
Lois Maxwell	...	Miss Moneypenny
Margaret Lacey	...	Mrs. Whistler

Also Known As:

Ian Fleming's Diamonds Are Forever (UK) (complete title) (USA) (complete title)

Runtime:

120 min

Country:

UK

Language:

English | German

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Certification:

Canada:PG (Manitoba/Ontario) | Iceland:12 | Canada:A (Nova Scotia) | Canada:G (Quebec) | West Germany:16 (nf) | South Korea:15 | Brazil:12 | New Zealand:PG | UK:PG (tv rating) | Argentina:13 | Australia:M | Finland:K-16 | Norway:15 | Norway:16 (1971) | Peru:14 | Spain:T | Sweden:15 | UK:PG (video rating) (1987) | USA:GP (original rating) | USA:PG (re-rating) (1994) | UK:A (original rating) (passed with cuts)

Filming Locations:

3rd Floor, Reguliersgracht 36, Amsterdam, Noord-Holland, Netherlands

Company:

Eon Productions

Trivia:

Bulky blond henchman Peter Franks (Joe Robinson) is one of the many series reincarnations of the "Red Grant" (Robert Shaw) character from From Russia with Love (1963), along with Hans in You Only Live Twice (1967); Erich Kriegler in For Your Eyes Only (1981); Venz in A View to a Kill (1985); Necros in The Living Daylights (1987); and Stamper in Tomorrow Never Dies (1997). Robinson taught Sean Connery judo for You Only Live Twice (1967), and accidentally pulled off Connery's hairpiece during one take of the elevator fight.

Goofs:

Continuity: The helicopter that blows up in the desert is originally green. As it turns away, it turns red.

Quotes:

[first lines]
James Bond: [tossing chinese man around] Where is he? I shan't ask you politely next time. Where is Blofeld?
Chinese Man: Ca-Ca-Cairo.

Movie Connections:

Featured in Happy Anniversary 007: 25 Years of James Bond (1987) (TV)

Soundtrack:

DIAMONDS ARE FOREVER

"Oh, providing the collars and cuffs match..."

Diamonds Are Forever is often described as a Roger Moore film starring Sean Connery, but it goes even farther than that. Whereas Moore ushered in ironic/silly codings, Diamonds contains the most overtly camp humour the series ever indulged in. The film also contains the most amount of nudity, and arguably the rudest jokes of the franchise. The title quote is Connery's quip to a girl with ever-changing wigs, while later we get the immortal "I'm afraid you've caught me with more than my hands up."

There's the sense of the odd, or uneasy, about this one all the way through. From the theme title (and what a great song!) precipitated by a cat's cry to the homosexual henchmen Mr.Wynt and Mr. Kidd. Their unnerving air is not the result of their gay, slightly homophobic, portrayal, but in Putter Smith's performance as Kidd. Not a trained actor, but an accomplished jazz bassist, this off-kilter playing creates an unconscious, unsettling atmosphere.

It's this juxtaposition which compels throughout. Like seeing Britain's top espionage agent doing the childhood "snogging with yourself" routine then smashing a man's head through a window just seconds later. It's a superficially lightweight film, but with a nasty, almost bitter undercurrent. Connery's obvious resistance to the role actually serves it well here, given that this is the first post-wife Bond movie. Bernard Lee plays an unusually terse M to complement this abrasive 007. Such a starch display cuts through the smug underpinnings of the character and makes the cheesy one-liners more palatable. He looks older than in any of his other Bond films - Never Say Never Again included – but this also fits his anguished, bereaved state. In line with this most misogynistic of Bond pictures, Jill St. John's character development passes from intelligent, through to devious and down into simpering bimbo.

Incidental music is a bit disattached, and often feels like it belongs to another film. It works against, rather than with, the picture it's there to support. Yet although not quite the best of the series, this and the following Live and Let Die are the most distinctive in look, feel and style. They're light, pacy, poppish takes on the format, full of comicbook verve and wit. Guy Hamilton's direction is also very good; making the most of the LA location with use of expansive aerial shots.

The plot seems fairly complex, though maybe that's because it's underdeveloped and submerged beneath slightly irrelevant setpieces. I had to smile at the line "Get him off that machine, that isn't a toy" as Sean boards the moonbuggy. I remember after the film it became one, a primary-coloured Dinky version with a spinning radar. Brings back memories, that.

Blofeld, who has now taken up cloning and cross-dressing, is played here by Charles Gray. Although at the time it was four years before he would become the criminologist in The Rocky Horror Picture Show, the two are now inseparable, in my mind at least. As if this wasn't enough high camp to go round, there's also Connery being demolished by Bambi and Thumper, a couple of sadistic female gymnasts.

If something about this quirky, offbeat Bond (and some sources list it as the seventh least successful in terms of gross) doesn't quite gel, then it greatly improves on repeat viewings.