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|Index||259 reviews in total|
*** This review may contain spoilers ***
This is the strangest Bond film of all, and as such, probably has the most polarized reviews. People either hate or love this one. Personally, I've always liked it. I think detractors get caught up on too many superficial things, like the few moments of juvenile humor, and don't appreciate this film for what it is: a very stylish, moody and weird romp. They also incorrectly assume that, because Sean Connery was coming back one time only for a fantastic sum of money, that his heart wasn't in it. In fact, as real critics have often said, he gives his best and most relaxed performance as Bond since Goldfinger. Logic would tell you that he wanted to go out in style, especially since he was so wooden his last time out in You Only Live Twice. It's not his fault the lines written didn't conjure up the seriousness of From Russia With Love. This film is vastly different from what preceded it, so some didn't like the change. But they're the ones missing out, because there are many memorable scenes and characters. This movie is not about action and gadgets, but about the surreal interaction between the characters. One has to go no further than the opening pipeline sequence to see that. Furthermore, the dialogue is terrific, and one has to watch the movie over and over to grasp all the ingenious lines. "Providing the collars and cuffs match" and I'm afraid you caught me with more than my hands up" are some of the best phrases ever uttered in a bond film. The characters themselves were equally fascinating. Wint & Kidd set the pace for the strange goings-on and are a refreshing break from all the strong-armed assassins (Jaws, Odd-Job) that seem to appear in the majority of bond films. Anyway, you don't see Mike Myers lampooning them in his Austin Powers series. And if you want realism, the fight with Peter Franks ranks right up there. A chunky and older Jill St. John is much more believable as a worldly feme-fatale than the parade of twenty-somethings we're typically presented with (Denise Richards, Tonya Roberts, etc...). And where is it written that the main Bond villain has to be someone as two-fisted as Bond? Charles Grey's Blofeld fits right in with the craziness, and at least he seems intellectually capable of taking on Bond and the world, as opposed to Donald Pleasance's spoiled-brat and Telly Savalas' New York gangster Blofelds. And for once, we can see where the protagonist's resources came from! (I won't go into details, because it would have to contain spoilers). Sure the action on the oil rig at the end is somewhat disappointing, but that's not what this film is about. The scene aboard the QEII at the very end ("Mouton Rothschild is a claret")is more emblematic of the mood the film makers were trying to convey. In conclusion, if you don't watch this movie expecting a Bond action extravaganza, but concentrate on the characters and dialogue, you'll thoroughly enjoy it.
Yes he was new, yes there were a few mistakes in the movie but he was a wonderful actor as well as a sweet person that I had the pleasure of meeting during the filming of this movie, I think he got better with time, me and my sister were both extras in this movie "Diamonds are Forever" we are easy to spot, in the Las Vegas scene, Circus Circus Casino, you'll see us 2 African American kids just happy to be there. I was thrilled to death to find that 38 yrs later this movie is still a favorite. It will always be mine. I think as far as the time when the movie was filmed, the scenes were great as well as the actors, if I had to do it over again, I would.
*** This review may contain spoilers ***
This is undoubtedly the Bond film I enjoy least. Although the film boasts
some cracking lines, Connery is simply going through the motions and picking
up a paycheck at the end. Four years after his last one and his age is
showing, too. (Spoilers ahead.) The whole screenplay is completely
uninvolving, and no explanation is given for why Blofeld suddenly has hair
and is not in a wheelchair. The film's kitch, camp quality can be put down
to the prevailing flavour of the era, the beginning of the Seventies, and to
its credit there's some wonderfully periodic interior design to be
witnessed, but a Las Vegas setting cheapens just about any film, including
When I was younger I found Mr Wint and Mr Kidd rather creepy, I think due to the appalling hairstyle and moustache on Mr Kidd. Their portrayal is more than a little homophobic, too; I don't know any gays who go around in public spraying themselves extravagantly with perfume like Mr Wint did, and the way he seemed to enjoy having his arms rammed up his groin before being chucked into the sea by Bond speaks volumes of the prejudices of the time. Better by far are Bambi and Thumper and the scene with them in it is probably my favourite, together with the wonderful fight scene with the real Mr Franks in the Amsterdam lift. Otherwise, Diamonds Are Forever is a dated, grainy, messy stinker of a film, and by the time the climax on the oil rig takes place the film has lost me, as I sit with glazed-eyes in front of the screen deciding what to have for dinner.
Sean Connery looks older here in his last Eon/Bond film than in his later Never Say Never Again. Diamonds... marks the end of one era of James Bond, and the beginning of another. No, not the switch from Connery to Moore, but any semblance of hard-edged Fleming-style "reality" - Bond is now Spiderman the Secret Agent, never without a one-liner or a handy gadget. Connery downplays everything with the aura of a man collecting a big paycheck (see Trivia). Ms.'s St. John and Wood wander around in poor-fitting underwear most of the time. Charles Gray is an adequate Blofeld: more urbane than Pleasance and Savalas, but lacking the physical presence of the later and his Fleming-pictured equivalent (he also favors cigarette holders, over Savalas' hand-held favorites). The only saving grace is the dialogue: the bad guys get the best one-liners, and Wint & Kidd's homosexual killers are a hoot.
I'm an old man of 58 who saw this when it first came out. I think I
remember thinking it was OK. I watched it and other Bond film again
because I could see them in HD. I'm sort of amazed at how weak and lazy
this film was, just a fraction of the creativity of the first four Bond
films (Dr. No, Goldfinger, From Russia With Love and Thunderball). When
I say "fraction," I mean about a tenth as good. In those earlier films,
you could have some success jumping into fantasy land and imagining
being part of the action and suspense, so to speak. In this film, you'd
fall asleep even trying! Connery had gain so much weight and looked so
old that he is unbelievable as a carrier of "00" designation.
All I can say is, gee, I wish I could have make as much money in my life as Connery did here and give almost nothing to customer to earn it.
Finally, I liked seeing Jill St. John in high def, actually my main reason to watch this. She is extremely attractive here. She's about 68 years now. I wonder if she is still a "10" for that age category.
This part 7 to the James Bond series and it is better then all the ones that came before it. There are better ones that came after this one like Live and let die. The man with the golden gun is also better. The spy who loved is also better. Still this is a great movie. Sean Connery is great as James Bond. Charles Gray is one of the scariest Bond villains. This is great movie. See it. M.o.o.n.r.a.k.e.r is better. For your eyes only is better. O.c.t.o.p.u.s.s.y is better. A view to a kill is better. Living daylight is better. License to kill is better. Golden eye is better. Tomorrow never dies is better. The world is not enough is better. Die another day is better. But still a great movie. This is Sean Connery's beast. See it. See all the James Bond movies.
A real disaster of a flick that clearly reflects the uncertainty and disarray surrounding the franchise at the time. With George Lazenby out of the picture and a small cavalcade of fill-ins dropping off for one reason or another, EON pressed the panic button and brought Sean Connery out of mothballs for a swan song. It's a mistake from the very start. Not only does Connery look unreasonably old for the part, he badly overplays his confidence and worldliness, often coming off as desperate and smarmy. The screen is crowded with gaudy sideshow characters, including a trashy, ditsy leading lady and two villainous hit men who seem far more concerned with excessively elaborate setups than actually doing away with anybody. Even longtime nemesis Blofeld, who may have been the sole beacon of excellence in the equally-forgettable You Only Live Twice, is ruined by an awful recasting, horrendous new personality quirks and a master plan that makes no sense whatsoever. But that's par for the course, really, as the plot at large is peppered with so many dumb jokes and absurd asides that just keeping up with this swerving, goofball storyline is a challenge worthy of MI-6. There's a good car chase midway through the second act (which loses some steam thanks to a similar pursuit, just a few minutes earlier, involving a freaking moon rover) and a few of the gags are so mind-blowingly stupid that I couldn't help but laugh, but otherwise this is a completely insignificant chapter in the character's long, speckled history. Unless you're a dedicated completist, keep your distance.
Having revisited the final canonical Sean Connery 007 film, DIAMONDS
ARE FOREVER, I have to admit that I was wrong. I don't necessarily hate
this movie, and I don't believe it's the worst Connery 007 movie in the
series. That said, it's still an incredibly weak entry and a low note
for Sean Connery's end to his official series run. After George Lazenby
and ON HER MAJESTY'S SECRET SERVICE didn't perform as well as the
studio had hoped (though it was still a success), their mission became
to replicate the massive success of GOLDFINGER through any means
necessary. All the signs are there: Sean Connery in the title role,
Shirley Bassey performing the main theme, James Bond returning to
America to unravel a complex bit of villainy, and a more toned down
film that discards a lot (but not all) of the over-the-top elements of
the previous films. The result is a tonally dull and overly complex
that, while mildly entertaining at times, is pretty unmemorable.
Following the events of the previous film, 007 concludes his worldwide
manhunt for SPECTRE leader Ernst Stavro Blofeld when he confronts him
and apparently kills him in a plastic surgery facility. From there, he
is called in to investigate a diamond smuggling ring out of South
Africa in which the diamonds have never resurfaced. When people in the
smuggling chain start turning up dead, Bond finds a point of contact in
Tiffany Case (Jill St. John) and poses as a smuggler to infiltrate the
In a sense, it was good to have Connery back in the title role. But any good will the movie has from that is soon dissolved once we get into the movie itself. From the very beginning, I felt we were off on the wrong foot when it's revealed that Charles Gray has stepped into the shoes of iconic villain Blofeld. I don't have anything against Gray (though the only other time I've seen him on film was as the short-lived MI6 contact Henderson in YOU ONLY LIVE TWICE) but he doesn't fit the Blofeld mold. The series had gone through a few Blofelds at this point and I'd always wished they'd chosen one actor (preferably Donald Pleasance) and run with him. So, a new Blofeld and it's Charles Gray. It didn't work for me but it could've been forgiven if the rest of the movie wasn't so flawed. Let's move on to Mr. Wint and Mr. Kidd. Bizarre as they were, my major complaint with them had to be the fact that Putter Smith (Mr. Kidd) can't act. This is because he's not an actor. It shows. His line delivery is awkward and lifeless, and it ruins any potential creepiness coming from Bruce Glover's Mr. Wint. Let's shift to some positive casting: the Bond women in this movie are some of the hottest. Jill St. John and Lana Wood are both gorgeous and, while Plenty O'Toole (Wood) is sort of annoying, Tiffany Case (St. John) could be considered one of the stronger Bond women of the earlier films. She's tough and independent, even if she doesn't know her associates well enough to know if she should truly trust them.
Oh, one more bit of bad casting: Jimmy Dean, country star/sausage guru, as business mogul Willard Whyte. Yup.
Now, I am happy that the movie attempted to tone down a lot of the over-the-top campiness of some of the more recent fare. No orbital space capsule hijackings, no phony rear projection bobsled chases, etc. The bulk of this movie handles itself with some class. Until the moon buggy chase. At one point, Bond is escaping from an industrial complex where they're filming some sort of moon landing and Bond commandeers the goofiest looking moon buggy you'll ever see, drives it through a wall, and goes bouncing off through the Nevada desert pursued by guards on strange little motor tricycles with balloon tires. As Bond careens around the desert a medium speeds, cars and motor tricycles go barreling out of control and launch off sand dunes by the guards who've apparently never operated a motor vehicle. I'm sorry, but this sequence (when combined with Wint and Kidd mostly Kidd) ruins any credibility the movie hoped to maintain. It doesn't do the movie any favors that the plot comes across as way more complex than necessary. Around the midpoint of the film, I totally lose track of who has the diamonds and where they're going and I don't regain my bearings until Bond busts into Whyte's top-floor penthouse.
DIAMONDS ARE FORVER isn't the worst 007 film but it's far from one of the best. It's decent entertainment at times but there's nothing here (aside from the moon buggy chase) that remained with me after the final credits rolled when I first saw the movie years ago. The entire final act, with an assault on an oil rig, is a dud. I'd completely forgotten all about it until I rewatched the film again not long ago. As the seventh film in the series, it gives the impression that the series began to lose some steam and the 007 hit machine might not be as invulnerable as it once seemed.
*** This review may contain spoilers ***
This is the last of the Bond films to feature SPECTRE and the second to
last one to feature Blofeld as the main enemy. Connery returns for this
film, because apparently they made an offer that he could not refuse,
but this is the last official Bond film that he appears in, and the
franchise is then taken up by Roger Moore with a multitude of new
opponents. Connery does take the role better in this film than in the
previous appearance, but maybe it is because he knew that it would be
his last one, and that they already had some options in the winds.
The film opens immediately after On Her Majesty's Secret Service, where Bond is hunting Blofeld after the murder of his wife, shortly after they were married. He finally catches up with Blofeld, but it was disappointing that the bald headed guy that had appeared in the last two movies had been replaced with a grey haired guy. The suggestion is that Blofeld has had plastic surgery to change his appearance, however it is clear that Bond does recognise him. Personally I was disappointed that they had changed Blofeld's character, and the movie definitely loses points for that.
However, this is still one of my favourites, and most memorable, films. The bulk of the action takes place in Las Vegas where Bond is on the trail of a diamond smuggling cartel. It seems that Spectre has pretty much been defeated, and this is Blofeld's last attempt at world domination. However, we do not realise that Blofeld is actually involved until most of the way through the movie, as the organisation is some shadowy group that appears to be connected with the mob.
Two of the main antagonists are interesting, yet they are also incredibly brutal. In the book they were the antagonists, and Blofeld seemed to have been added simply as an after thought. I guess it is good that after this film they could no longer use SPECTRE because they were then forced to look for new and other antagonists to send Bond up against.
*** This review may contain spoilers ***
Diamonds Are Forever may not be the most memorable or all around best
entry of the series indeed, the general consensus seems to be that it
is one of the worst but it does deliver most of the things I look for
in a Bond film; good fights and car chases, witty dialogue, attractive
women, and, most of all, a couple of hours of sheer entertainment.
Things start off wonderfully with a pre-credit sequence, where James Bond hunts down the archrival Blofeld, presumably for revenge from the previous film, that really sets the tone of the film; incredibly cheesy but lots of fun. After that we get a plot about diamond smuggling and some kind of evil scheme including nuclear warfare and world domination that is as difficult to follow as it is to care for, but it does provide a good playfield for Bond. Most notably, there is a great fight scene in an elevator, and a sensational car chase through Las Vegas.
This was Sean Connery's last film as James Bond (save the somewhat unofficial Never Say Never Again), which might explain why he looks a bit uninspired. Nevertheless, an uninspired Connery is still better than most actors, at least in this role. With very few gadgets and virtually no screen time for Q and Moneypenny, he has to carry the film a lot on his own, and still does a good job with that.
There are still some complaints to be made about Diamonds Are Forever. It features the usual dull climax at the villain's base with lots of explosions and an alarming countdown, and the henchmen Mr. Kidd and Mr. Wint are awfully weird and misplaced. It is unsure who they are working for or what they are doing, and the homosexual subtext is strangely out of place. However, most of the weak points can easily be forgiven when you have so much fun along the way.
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