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I'll start with a fact: most serious Bond fans HATE Diamonds Are
Forever. I used to watch it when it was on TV in the eighties (when I
was a child) and I loved it. Nowadays, I guess I can see where people
are coming from. It is a bit of an odd-one-out among the franchise.
Sean Connery returns as Bond (after the unsuccessful George Lazenby took over the titular role for a single outing). Now he's older. And it shows. Plus it doesn't really carry on from On Her Majesty's Secret Service; it feels like it's more a continuation of Connery's last Bond film, You Only Live Twice. Also, due to Lazenby's Bond not being financially profitable in American, Diamonds Are Forever is conveniently sent almost completely in the USA (including the first ever American Bond girl). Also, to add a few more pennies to the film's takings, we have plenty of product placement throughout. Therefore, Diamonds Are Forever seems to have its share of oddities before you even get to the plot.
Bond chases diamonds to America and ends up getting tangled up with his arch enemy Blofeld (again). There's not much to the story, but that doesn't matter too much as it flows along nicely. However, one criticism that was always applied to Roger Moore's Bond films was that they couldn't be taken seriously. People seem to prefer Connery's more serious outings. However, almost every line has a - naughty - double meaning to it and some of the situations do border on the comical.
Then, just when you think you're in a smutty comedy, you have two of the creepiest hit men ever seen on screen thrown in there. By today's standards, they're not too politically-correct. But whether it was then or now, they still seem to have been airdropped in from a much darker story.
Diamonds Are Forever is a mixed bag. Most serious Bond fans will hate it. I only like it because I remember it from my childhood and I never really got all the plot holes and silliness that came with it.
Don't hate it too much. It's not that bad, but it certainly is the 'odd Bond out' from Connery's time as the secret agent. You may only watch it once, but if you like Roger Moore's 'lighter' Bond, you may get some enjoyment out of this.
Diamonds are Forever is in my opinion one of the best examples of what Bond is, with sophistication and some great action like moves he glides along does Bond and with Sean Connery returning slightly older, her still knows how to stop the world's worst. A fun film that is also slightly funny at times and I felt it was strongly a kind of good film and here below is why I felt that about Diamonds Are Forever.
The story is fun and set mostly in the USA and when he is Las Vegas it works really well as Bond get's to show off his charm even more among the numerous bars and casino's there. I like the pace as it is slightly slower than Connery's previous outings but still churns out a good story and great villains all who make the film even more fun. I also loved the stunts as they are ridiculous but they also work with this film and make it much more fun and exciting to watch.
Connery is back and his job in this is a firm one albeit he is very old I this to portray the kind of Bond he is trying to show. The Bond girl is Jill St. John and she is probably the most feisty Bond girl there is and seems to object to everything Bond does in the film. I loved the villains and not Just Blofeld(Charles Gray) but also Wint and Mr Kidd who play two of the most villainous Bond villains ever and are possibly the most calm yet sadistic movie villains in any film ever.
The script and direction are average and to be fair are the same typical type of things we expect to see from Bond in his earlier showings. I loved the action sequences and well although Bond may take a slight back seat with the action he still manages to get in some great stunts and some good fight sequences that are we choreographed. One stunt you will see, I won't give it away, but it involves a car and Bond makes it do a certain thing which is well, well it must be near impossible but you will see.
The movie can be slow at times and you can even feel it is becoming stale at parts but it manages to hold up enough not too. I said before he sits back on the action and he does very much so, maybe Connery didn't want as much action as he was older but he seems to get by with little action, although I did feel it did well even without the bags of action we usually see. Another criticism would be the apparent Homophobia in where the villains are seen as a Homosexual couple and it is sometimes thought that because of there sexuality they are evil, it is never confirmed and should do little to offend.
Any Bond fan should like this as it show's off exactly what I feel Bond is known for, but also show's a more reserved Bond who studies the situation much better than in every other film. If you like a good crime spy adventure then this if or you too, it had gadgets, action and the fun criminals involved too, most should enjoy this as it can be very rewarding and fun.
I give it a 7/10 meaning a strongly a kind of good film, I felt maybe I overrated it after but hey it is a fun film and can be thoroughly enjoyed as well. When you watch just don't think about the plot and enjoy the quick snappy humour of Connery in his last Eon produced Bond role, in the truth the end of one of the best Bond's, and many consider him the best of all of them.
*** This review may contain spoilers ***
This last worthwhile Connery Bond film came out in the early '70's; it
seemed to me even then at 12 years old that there had been a change in
social attitudes some degree of innocence had been lost in the 4
years since the previous film. Whereas You Only Live Twice was the
usual daft and deft mix of humour and action in a nonsensical plot,
Diamonds Are Forever had deft action in a nonsensical and messy plot
with a touch of tired and camp cynicism.
Bond is enrolled by the British government to find who is cornering the world's diamond-smuggling market and put a stop to it. It's an un-engaging battle for the viewer though, Stout Bond looks for the most part uninterested in putting in the actual work for the money for which he was enticed back. There's also probably the worst scene in any of his Bond films when he's escaping from Tectronics in a Moon buggy to someone brought up on Banana Splits it's awful and almost slapstick. The portrayal of younger women purely as sex objects is even more pronounced than before although I confess I personally I preferred to look at Jill St. John than Connery throughout. On the plus side Bond's punch up with the real Franks in the lift was exciting, the car chase through Las Vegas was amusing, and Bond getting hot under the collar in the funeral parlour was chilling there's plenty to savour, although Plenty wasn't in it for long. God help us if the world's safety depended on the quality of cassette tape playback!
Overall it's not as witty or memorable as we'd grown accustomed to, but watchable probably even for a non-completist. The next film in the series continued as The Saint, but to this day I still think the unshaken and unstirred Connery would have made a better Bond in the '70's, especially if he could've lost a lot of pounds and got a better wig. Never mind, there are the 6 movies of varying excellence and consistent entertainment from 1962-1971 to revel in every few years.
A greying Connery returns for an enjoyable but only occasionally
18-carat entry, his last for the Eon Bonds. Jill St John makes a gutsy
heroine and Charles Gray the iciest and best of the Blofelds. But the
gags are overdone (and would be from now on) and the ending weak.
The producers also brought back director Guy Hamilton but the untidy screenplay doesn't allow for the polish of his earlier 'Goldfinger'. A tight shooting schedule, a contractual condition by Connery, explains the somewhat hurried look of 'Diamonds are Forever' (the drainpipe sequence, for instance, is so shoddily cut it seems assembled from discarded outtakes).
And yet all the elements of a great Bond thriller are here. A mysterious hi-tech desert installation, a hidden jungle surgery complete with bubbling sulphur-pit, a car-chase along the Las Vegas Strip (that admittedly seemed more daring then than now), a world-threatening plot, a wonderfully tense confrontation between 007 and two Blofelds in a stainless steel penthouse. Unfortunately, that's really the last interesting sequence in the film.
Despite the introduction of the laser-satellite, it loses what narrative verve it has and the subsequent events aren't charged with enough urgency. The final set-piece battle is a disappointment; a converted oil rig of the Californian coast hardly provides for a very spectacular climax or a memorable interior set to focus the action on. In fact, the satellite control-room must be about the least inspired set that designer Ken Adams has ever come up with. And some of the explosion effects are glaringly poor.
What a pity. Because John Barry comes up with yet another distinctively superb score, memorably the harsh discordant sax for the desert sequences that also acts as the recurring musical leit motif for the murderous gay couple Mr Wint and Mr Kidd, as well as that clamorous, piercing piece with piccolos that accompanies the fight scenes. And cinematographer Ted Moore well captures the neon-hard local colour and the arid starkness of the hinterland, noticeably in the very high angle shot of Bond's red Ford trailing Metz' minibus out of Las Vegas into the desert.
The real pleasure of the film is Connery, though. If the trim figure that began nine years earlier has gone, along with the muscle-tone, he's more relaxed and assured than ever in in a role that by now fits him like a glove, despite a five-year absence.
The role is his, absolutely, and he knows it.
*** This review may contain spoilers ***
This film was released after the George Lazenby's disaster "His
Majesty's Secret Service" which seemed to prove that you needed at
least a good actor to play Bond. Sean Connery got lots of extra money
to come back for one more round, but less physical strain than most of
the earlier efforts.
With the recent death of 82 year old Jimmy Dean (Willard Whyte), we must be reminded that Sean Connery is 80, Jill St John looks plenty cheeky in this one is 70, and Lana Wood is 64 as I write this. When you watch this movie, it doesn't seem possible. Still this is a good film to watch. This is a very rare movie role for Dean, as most of his work was recording (Big Bad John) & TV's The Jimmy Dean Show. Dean's character is kind of a ruse looking to be the bad guy.
This film features all the regulars from the series for Connery's last trip with them. Then there are things like a bit part for Leonard Barr, & the first apparently gay bad guys trying to do in Bond. Then besides the 2 hot main Bond women, we have Bambi & Thumper, a couple of exercises for Connery.
Blofeld (Charles Gray in this one) has taken over millionaire Willard Whytes empire by kidnapping him & then using a voice mocking tool to run his empire. He sets up some new parts of the Empire involved in stealing Diamonds which he places into a satellite to put into orbit. This is where he is using solar energy to heat up the glass to create a super weapon energy beam with a purpose of destroying parts of the earth.
This film has quite a bit of old Las Vegas in it, & there is a touch of nostalgia here as the good guys & bad guys seem well defined. The big clue to a lot of this has to do with cheap cologne. This film's added humor along with Connery is welcome relief after the previous film & actually paves the road well to lead into Roger Moore's more humorous Bond films to follow.
Film begins well, showing us Connery's return to the role (after
bailing out after You Only Live Twice in late 1966/ early '67) as Bond
tracks down and seemingly kills Blofeld. A perfectly done title
sequence goes quite well with a great title song, before we get down to
business: an initially literal adaptation of Fleming's novel, as Wint
and Kidd smuggle diamonds out of Africa, after brutally killing the
courier, and the deliverer. Bond, none too enthused about being
assigned to what he calls "a relatively simple smuggling matter," is
sent to intercept the next link, a professional smuggler called Peter
Franks, in Amsterdam. Bond, after rendezvousing with yet another
smuggler (gorgeous Jill St. John) ends up beating Franks' ass in
close-quarters-combat in a lift, in another highlight of this movie.
Unfortunately, after the exciting and well done first forty minutes, leading this Bond fan to think I'm about to watch potentially one of the best Bonds, the screenplay degenerates into a seemingly never-ending series of gags and pratfalls and silly vignettes. Jill St. John and Lana Wood are both gorgeous, but Jill loses interest halfway through the movie and becomes a bumbling nitwit, and Lana Wood has only a cameo, played strictly for laughs. Throw in a Bullitt-inspired car chase through the Las Vegas Strip, a faked moon landing, a Howard Hughes clone Willard Whyte, and some type of diamond powered space laser(?) and that makes up the majority of the second half.
Bond, after violently fending off the attacks of several armed guards in the pre-title sequence, and the aforementioned fight in the lift, basically has his ass handed to him by a pair of female gymnasts, in what will forever be remembered as one of the dumbest and most inane scenes in any Bond film.
Charles Grey is a wonderful actor, and I do wish they had used more of him in the Bond series, but he was a terrible Blofeld, too nice of a guy to be an international terrorist set on killing Bond, and they've turned Blofeld into a cross dressing terrorist with a cat fetish? Connery's weight was obviously up and down during filming; as he is briefed by M., it looks like he needed a crowbar to fit into his suit. Likewise, by the poolside, with the body floating in it. Those thick, bushy grey sideburns only made Connery look older. Indeed, he turned 40 years old during filming, but he looked closer to 60.
The ending is anticlimactic; the fight in the lift was more exciting.
Overall, the film is enjoyable for its first third, then in a surreal way for its final two thirds, but I wish they had followed the plot of Ian Fleming's original novel more closely. That would have made the film consistently good. Or at least, not as uneven as it is now. Filming wrapped in September 1971, and it was released to cinemas in December of 1971; its rushed post production undoubtedly contributed to its randomness.
*** This review may contain spoilers ***
This comment contains possible spoiler. This if one of my favorite bond movies. First off it has the best bond, Connery. Second, Jill St. John is the sexiest bond girl in any of the films. The reason for this is that she is not only beautiful but, unlike many of the early bond girls she is smart, funny and an equal to James. This was not done again till much later in the series. The plot is not the greatest of the bond movies nor is the worst. The only other bond movie I liked better is Goldfinger. The movie centers around stolen diamonds and Las Vegas. If u are familiar with Las Vegas u will probably recognize the sequence in Circus Circus. This movie also has one of the best title songs. If u enjoyed this one, Moonraker is a similar movie. 7/10
Discounting 'Never Say Never Again' (which isn't an official Bond film,
just a poor remake of Thunderball) this Connery's 2nd official swan
song, and probably my least favourite of the Connery outings. On his
image alone it is clear why they axed Connery after 'You only Live
Twice' to bring in George Lazenby; but after he was not given a warm
reception by the fans, Connery is back for one last time; and his age
is definitely showing.
Other than his appearance though, he still has that special something that proved he was the best choice in the first place, and Diamonds Are Forever isn't a bad film, it's merely lacking the solidity and intrigue of the previous films.
There's still plenty of good action, an interesting plot, the quite stunning Jill St. John and some wonderful scenery.
Despite Eon Productions ongoing 'Spin Control' to downplay the impact, the
failure of ON HER MAJESTY'S SECRET SERVICE was a crushing blow for
Albert Broccoli and Harry Saltzman. Despite Richard Maibaum's literate
script (the last to truly 'follow' a Fleming novel), first-time director
Peter Hunt's remarkable 'vision', and a performance by novice actor George
Lazenby that wasn't nearly as bad as some reviewers at the time would
OHMSS was spurned by many Bond fans, and had some critics proclaiming
Was Killed, but Bond Is Dead".
While American actor John Gavin had already signed on to make DIAMONDS ARE FOREVER (George Lazenby's inflated ego had gotten the better of him, and he'd managed to get himself 'fired'), Broccoli decided that the franchise needed a major overhaul. Gavin was dropped, Peter Hunt was dropped, and Richard Maibaum's revenge-driven Bond script was rewritten by Tom Mankiewicz into a light-hearted, witty spoof of the earlier 007 films, ignoring his wife's death, and concentrating on gadgets, sex, and superhuman heroics. Veteran director Guy Hamilton, who had guided GOLDFINGER, everyone's favorite Bond movie, was brought back to direct the project...and Broccoli, bowing to pressure from the 007 audience, approached Sean Connery to take the role, one more time.
Connery, who had already made four films since his last Bond outing, YOU ONLY LIVE TWICE, hated Broccoli (feeling the producer had 'robbed' him of his share of the profits for the first two Bond films), and loved the leverage he now possessed. When asked about the size of his paycheck to resume the role, he joked, "I always wanted to own a golf course and a bank...I already own a golf course..." He also stipulated a hefty fee for each day the production ran over schedule (Lest he seem TOO greedy, much of his salary went to Scottish charities). As a final insult, the actor refused to get into shape for filming, appearing paunchier and grayer than ever (making Broccoli so irate that when he hired Roger Moore for the follow-up, LIVE AND LET DIE, he ordered him, immediately, to "lose weight and get a haircut!")
Broccoli's instincts proved correct, as the comedy-oriented DIAMONDS ARE FOREVER would become one of 1971's biggest hits. Connery tossed off one-liners with ease, Jill St. John 'channeled' Lucille Ball in her performance as klutzy 'Tiffany Case', and Charles Gray would be sexually ambiguous rather than threatening as Ernst Stavro Blofeld. (His two henchmen would be gay, as well, and so caricatured that the homosexual community would protest the film). Loaded with car chases, fistfights, explosions, and gadgets, Bond 'purists' were appalled by the end product, but a successful new 'formula' had been created, one that would serve Roger Moore very well during his long tenure as 007.
And Sean Connery could buy his bank...
What more can I say about this film? For one,it is based on Ian Fleming's
classic novels featuring British Secret Service Agent James
Secondly,when this film was released in 1971,it would mark the final bow for actor Sean Connery as the suave secret agent-James Bond. And this was Connery's final performance as Bond is considered by some the best out of the series,which is second to other Bond classics but it holds its own brilliantly and the action is non-stop.......It has the plot of some stolen diamonds being used by a villain to take over the world and to used them as a laser beam set to control Earth,but it has.........
1. Bond in a Moon Buggy chase sequence in the middle of the desert.
2. Bond with a sex-kitten goddess-Jill St. John.
3. Bond up against his old arch nemesis-Ernest Blofeld of SPECTRE.
4. A chase scene through the streets of Las Vegas in a Mustang Mach V.
5. His encounters with two amazons-Bambi and Thumper.
6. Two Homosexual assassins set out to kill our beloved hero.
7. A funeral sequence where Bond is almost in constant peril where he is in a coffin about to be buried alive!
8. The scene by the oil rig out at sea where Bond must stop Blofeld in taking over the world where seconds rely on the fate of the world.
9. The addition of actor Jimmy Dean as a eccentric millionaire,yes that Jimmy Dean-the country singer and king of the country sausage empire.Oh yeah,lets not forget all of those incredible gadgets and electrifying stunts and feats of derring-do by James Bond.
10. The brilliant theme score by no other than the great John Barry and the theme song sung by the great Shirley Bassey.
However,Sean Connery would reprise the role of James Bond again...... 12 years later in "Never Say Never Again"-(1983). However,the next James Bond will mark the exit of Sean Connery and by entering a new actor in the role---Roger Moore for the next installment of the 007 series.
"Diamonds Are Forever" was really the best of the series with Sean Connery,but the best out of the Sean Connery era were....... "Doctor No"-(1962) "From Russia With Love"-(1963) "Goldfinger"-(1964) "You Only Live Twice"-(1967) THE WORST: "Thunderball"-(1965).
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