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Diamonds Are Forever (1971) 6.7
A diamond smuggling investigation leads James Bond to Las Vegas, where he uncovers an extortion plot headed by his nemesis, Ernst Stavro Blofeld. Director:Guy Hamilton |
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Cast
| Cast overview, first billed only: | |||
| Sean Connery | ... | ||
| Jill St. John | ... | ||
| Charles Gray | ... | ||
| Lana Wood | ... | ||
 |
Jimmy Dean | ... | |
| Bruce Cabot | ... | ||
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Putter Smith | ... | |
| Bruce Glover | ... | ||
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Norman Burton | ... | |
|
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Joseph Fürst | ... |
Dr Metz
(as Joseph Furst)
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| Bernard Lee | ... | ||
| Desmond Llewelyn | ... | ||
|
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Leonard Barr | ... | |
| Lois Maxwell | ... | ||
|
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Margaret Lacey | ... | |
Edit
Plot Summary
|
Plot Synopsis
Storyline
James Bond's mission is to find out who has been smuggling diamonds, which are not re-appearing. He adopts another identity in the form of Peter Franks. He joins up with Tiffany Case, and acts as if he is smuggling the diamonds, but everyone is hungry for these diamonds. He also has to avoid Mr. Wint and Mr. Kidd, the dangerous couple who does not leave anyone in their way. Ernst Stavro Blofeld isn't out of the question. He may have changed his looks, but is he linked with the heist? And if he is, can Bond finally defeat his ultimate enemy. Written by simon
Taglines:
Bond is back...with a vengeance [British advance double crown poster ; Style D] See more »Parents Guide:
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Details
Country:
UKRelease Date:
17 December 1971 (USA) See more »Also Known As:
Ian Fleming's Diamonds Are Forever See more »Box Office
Budget:
$7,200,000 (estimated)Gross:
$43,800,000 (USA)Company Credits
Show detailed
company contact information
on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
MonoColor:
Color (Technicolor)Aspect Ratio:
2.35 : 1
Edit
James Bond: [tossing Japanese man around] Where is he? I shan't ask you politely next time. Where is Blofeld?
Japanese man: Ca-Ca-Cairo.
See more »
Music by John Barry
Lyrics by Don Black
Title song sung by Shirley Bassey
See more »
Did You Know?
Trivia
The line about "La Rochefoucauld" was another hot-button dispute between Albert R. Broccoli and Tom Mankiewicz. In the end, it was kept in because Mankiewicz convinced Guy Hamilton to shoot the scene in a way that Cubby had no choice but to let it stay. When the film opened in France, Mankiewicz pointed out that that line got a huge laugh, to which Cubby retorted that France was their least profitable market. Tom Mankiewicz was only allowed to work on the next movie Live and Let Die on condition that La Rochefoucauld never be mentioned in a script again. See more »Goofs
Obvious stunt double for Thumper as she dives into the pool. See more »Quotes
[first lines]James Bond: [tossing Japanese man around] Where is he? I shan't ask you politely next time. Where is Blofeld?
Japanese man: Ca-Ca-Cairo.
See more »
Crazy Credits
THE END of DIAMONDS ARE FOREVER James Bond will return in LIVE AND LET DIE See more »Soundtracks
"Diamonds Are Forever"Music by John Barry
Lyrics by Don Black
Title song sung by Shirley Bassey
See more »
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.