Set in 1960 London, where a soon to retire caretaker convinces a glass-ceiling constrained American executive to help him steal a handful of diamonds from their employer, the London Diamond Corporation.
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London, 1960. Laura Quinn is the lone female executive at London Diamond Corporation. She is frustrated as her talents are rarely acknowledged and her less-experienced male co-workers are promoted ahead of her. She is shocked, but intrigued, when the mild-mannered night janitor, Mr. Hobbs, approaches her with a daring but simple plan to steal a handful of diamonds from the vault. Laura agrees to help, but she is soon in over her head. And it is not long before insurance investigator Mr. Finch has his eyes on her. Written by
Although the design of the chair (aluminum group designed by Charles and Ray Eames) in L. Quinn's office dates back to 1958, the base (antler) is incorrectly the modern and not the original one. See more »
How'd you do it, Mr. Hobbs? How did you get them out?
[ignoring her question]
Do you know what the hardest substance in the world is?
[ignoring his reply]
And who's really behind this?
A Diamond. You rub it with a cloth, it lets off a charge. You put in water, it comes up dry. It's only enemy is another diamond.
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Set in London in 1960, the aptly named "Flawless" features Demi Moore as Laura Quinn, the first woman to become senior negotiator at Lon Di, the world's premier diamond firm. However, Quinn has pretty much hit the glass ceiling career-wise with the company, and when she discovers that she is about to be let go from the firm, she agrees to join forces with the night janitor (Michael Caine) in his plan to rob the vault of a thermos-full of uncut diamonds.
"Flawless" is a good old-fashioned caper tale done with an abundance of wit, intelligence and style and just enough twists and turns in the plot to keep the audience on its toes throughout. Moore and Caine make a perfect team as the duo plotting the heist, while director Michael Radford generates enough suspense for a dozen average thrillers. The script by Edward Anderson even manages to squeeze in some points about early '60's feminism and South African apartheid along the way.
Definitely worth seeing.
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