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  • When it comes to Bond films I watch with trepidation, as I either really like them or absolutely hate them. Diamonds are Forever falls in the former category although I'm not totally sure why. It's like after the serious action-packed 60's they decided to just calm down and relax, this is the most chilled out and mellow Bond film there is. It has that air of coolness that only early 70's films seem to have. There is a plot of sorts but there's no rush to get there. John Barry's score is his most jazzy and laid back. You feel this was the Bond film that most inspired Tarentino. Do you think so Mr Wint, I do Mr Kidd. Connery seems to really enjoy himself playing Bond again, now surprisingly looking older than his forty years although he was still younger than Roger Moore when he played Bond for the first time the following year, the role seems to fit him even better than before. It's a cool...(7/10).
  • You don't review James Bond movies, you evaluate them, rate them according to how well they meet expectations. There are certain things one has come to expect, even demand of a Bond film and each individual effort either delivers or it doesn't. So, here are ten elements that make a Bond film a Bond film and how DIAMONDS ARE FOREVER rates on a scale of 1 to 10:

    Title: DIAMONDS ARE FOREVER: A slight perversion of the once popular ad line used to sell wedding rings, this title suggests romance, but certainly that is the last thing on the film's agenda. It's a wonderfully deceptive title. 10 points.

    Pre-Credit Teaser: Bond "kills" Blofeld, which supposedly seems to tie up major loose ends from ON HER MAJESTY'S SECRET SERVICE. But considering that when last we saw him, Blofeld was murdering James' new bride, such a confrontation should have immense power. An important turning point in the series slips past with no acknowledgment. Though the opening does serve to show that Sean Connery is back and George Lazenby has been released from Bondage. 2 points.

    Opening Credits: Maurice Binder's style of opening montage is wearing just a tad old and predictable. Pretty enough with its diamond-studded theme for 4 points, but not good enough to do justice to the:

    Theme Song: It is said that originally the film was to be a followup to GOLDFINGER, with his brother taking up where Goldfinger left off. That never came off, but certainly "Diamonds are Forever" is a perfect companion piece to the earlier theme song. It, of course, has the fabulous Shirley Bassey doing the vocals again, but it also repeats the cynicism of applying sensuous lust to material wealth. It's an anti-love song, much like "Diamonds are a Girl's Best Friend," only it doesn't hide its hard-edged avarice under a bouncy tune. It is, I think, even better than "Goldfinger," and may be the prefect James Bond song: amoral, stylish and seductive. 10 points

    "Bond, James Bond": Connery is back, a bit chunkier and a tad grayer, but apparently his extended vacation from the role of 007 paid off. Personally, I think this is his best Bond work as Sean strolls through the film with relaxed charm and a complete understanding that this film, if not the entire series, is a comedy. Bond purists tend to disregard DIAMONDS ARE FOREVER because of its flip attitude, but that is what makes it my favorite. 10 points.

    Bond Babes: Lana Wood, Natalie's sister, is on hand as the mandatory eye candy, and is all-too-disposable as Plenty O'Toole. But someone had the bright idea of making the main Bond Girl someone with a flair for comedy. Enter maturing starlet Jill St. John, the epitome of 1960's cheesy, Playboy sexuality. Whatever her limitations as an actress, St. John certainly had the knack for using her sexuality as an amusing toy and still maintain the edge that she is a lot smarter than she looks. As Tiffany Case, her intelligence seems to diminish as the film wears on (it seems the women Bond beds all end up dead or dumb), but her ability to fill a bikini remains indisputable. 9 points.

    Bond Villain: Ernst Stavro Blofeld is back again, though only his love of fluffy, white pussycats remains constant. The intense geek of Donald Peasence and the uncouth thug of Telly Savalas are replaced by Charles Gray, who opts to play the part with droll, bemused wit and -- radically -- a full head of hair. Gray never gained iconic stature as Blofeld (that would come later as the Blofeld-like narrator in THE ROCKY HORROR PICTURE SHOW), but for my money he is the best Blofeld, a villain of classy arrogance who is singularly unimpressed by Bond. 10 points.

    Bond Baddies: Ah yes, Mr. Kidd and Mr. Wint; as played by Putter Smith and Bruce Glover, they are the Chip and Dale of Bond assassins; two more gracious and well-mannered killers would be hard to find. The film has been accused of homophobia for including a pair of gay killers, but considering the sheer number of assassins to cross Bond's path, it would be more discriminatory to exclude them based on their orientation. Wint and Kidd are at once gay clichés and yet surprisingly non-stereotypical. Nonetheless, they glide (prance? skip?) through the film with cold-blooded assurance and a rather endearing affection. And if they aren't butch enough, there's always Bambi and Thumper (Lola Larson and Trina Parks) on hand to beat the tar out of James. 9 points.

    Plot: Blofeld hopes to corner the diamond market to use them on some sort of outer space laser with which he can -- again -- hold the nations of the world for ransom. Doesn't this guy ever learn? They even do the "you've killed James Bond" bit again. 5 points.

    Production values: Bond's globetrotting brings him to the glitz and pseudo-grandeur of Las Vegas in all of its tacky glory. It makes for a nicely surrealistic backdrop, appropriate for the film's self-mocking attitude -- though a major chase scene is marred by the large number of tourists standing along the route, watching the filming. 7 points.

    Bonus Points: The Bond producers' love of unorthodox casting pays off with the selection of country singer and sausage maker Jimmy Dean as the reclusive millionaire based on Howard Hughes. It is such a bizarre choice, yet Dean's country boy charm is a wonderful contrast to both Hughes' nutty behavior and to the bemused sophistication of Bond. 5 points.

    Summary: DIAMONDS ARE FOREVER is a turning point in the series; the gritty, pseudo-realism of the early films is gone in favor of slick comic book sci-fi gloss. Whatever the series loses in thrills it makes up for in fun.

    Bond-o-meter Rating: 81 points out of 100.
  • 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.
  • DAF is one of the weakest, laziest movies in the franchise.

    For a start, where is the action? Apart from a good close quarters punch up in a lift, there is hardly any. What remains is lacking in energy and played mainly for laughs. 007 beaten up by two acrobatic women - until he just holds them underwater in a swimming pool. An awful slapstick car-trashing chase in Vegas. And the big finale is anything but. We have a few of Blofled's henchmen fighting a few helicopters. Bond does almost nothing except swing Blofeld's escape pod around with a crane.

    Which brings us to another point - this is without doubt the least serious Bond movie ever. It is borderline comedy throughout, clearly influenced by the likes of The Man from UNCLE and the Batman TV show. Blofeld dresses in drag at one stage. Most of the supporting characters are comic relief. The sinister henchmen, Wint and Kidd, would stand out in any other movie due to their extreme black humour, but here they are just wasted. Jill St John's Tiffany Case is amongst the worst Bond girls, silly and helpless.

    We even see Q - in Vegas - cheating on a slot machine.

    At least Connery is back right? Wrong. He's clearly on set, but equally clearly thinking about his next round of golf. Even his delivery of 'Bond, James Bond' is awful. He isn't helped by some awful costume decisions, including a brown tweed suit, and a pink (!) tie. Connery's huge payout for this film means everything else looks cheaper than before; by the climax you have embarrassing helicopter explosions, clearly animated, that would have been superbly detailed model shots in previous (and later) movies.

    There is virtually nothing good to say about Diamonds. The film is so lacking in energy or excitement that only the plot manages to pull it along. It's a series of weird and comedic scenes that hardly feel like a Bond movie in any way, and it's hard to believe this came after On Her Majesty's Sceret Service. The film scrimps so much on the action that you are left watching a bizarre, parallel universe version of Bond where nothing remotely Bond-ish seems to happen. It feels almost like a live-action version of a Saturday morning Bond cartoon, watered down for the kids (Bond never even uses his gun).

    Two plus points; Shirey Bassey's theme tune is superbly atmospheric and mysterious. Jill St John is very sexy. That's it. Connery came back, the director of Goldfinger came back, and the result was this farce.
  • Warning: Spoilers
    The 7th official James Bond film Diamonds Are Forever does not have the reputation of being one of the better Bond epics. But I must admit for having a soft spot for Diamonds Are Forever despite the fact that in hindsight the film has missed some great opportunities.

    It was decided to ignore the events of the previous Bond film On Her Majesty's Secret Service (1969) which ended with the murder of the wife of James Bond by his nemesis Ernst Stavro Blofeld. It could have been a great revenge movie, but it's not.

    Diamonds Are Forever starts with a very short fight scene in a Japanese decor, telling us that it's starting where the 5th Bondfilm You Only Live Twice (1967) left off. At the time On Her Majesty's Secret Service was considered a failure (it wasn't) and the rumor was that the new James Bond actor George Lazenby got fired (he wasn't, he decided not to go on, much to his regret later). Ever since then, the reputation of On Her Majesty's Secret Service has surpassed Diamonds Are Forever.

    But on the plus side Diamonds Are Forever is one of most efficient Bond films made. The tone is (a little too) lightweight, it has that smoothly early seventies style and shows what Las Vegas looked like in 1970/1971. The greatest asset of course is that Sean Connery returned to the franchise after being absent in the previous film. Older and a little too out of shape, Connery is at his most relaxed in this one and even here he is still the best cinematic interpretation of the character. A James Bond who has seen and done it all. The only time Bond is really surprised in this film is when he meets Blofeld again, whom he thought he had killed in the prologue.

    Diamonds Are Forever may have discarded the revenge plot but It was a financial successful revenge for Sean Connery on the Bond producers. Connery always felt short changed by the producers but was lured back by United Artists for one more film for an enormous salary (which he donated) and benefits (including a two movie deal).

    Diamonds Are Forever is also a guilty pleasure nowadays because Bond gets to do things which today's cinematic heroes can no longer get away with: he hits women, kicks Blofeld's cat and disposes easily of two stereotypical gay men (including finishing it off with a one liner). So, unless you're easily offended, Diamonds Are Forever can also be recommended as a terrific time capsule.
  • In this 7th Bond movie, there is little of Bond's prowess in sex and violence... Connery's return to his role for a final throw is simply disappointing... Seeking a diamond smuggler, Bond has adventures in Amsterdam, in a Los Angeles crematorium, in various Las Vegas gambling parlors, and in a secret factory in Nevada desert...

    For that Bond receives an urn containing a hoard of gems; leads the police on a wild chase; drives a Moonbuggy and a tiny Mustang convertible on two side wheels; wins at the Craps table; struggles superbly with two hot-tempered vixens; rips off a woman's top bikini; substitutes a fake computer tape; tries to escape from a blazing coffin; and knocks what he thinks is the real Blofeld // For the audience, it's intended to function as a glorious reinstatement of Connery-Bond, avenging Tracy's murder...

    Jill St. John is the free agent who defies Bond's charm, but is reduced to a weak heroine, as she displays none of the class we've come to expect of a Bond girl... Nevertheless this redheaded diamond smuggler becomes the first American Bond beauty who does know how to wear a 'nice little nothing.' Jill inspires the best line in the movie...

    Charles Gray becomes the third actor to portray a wildly sophisticated Blofeld on-screen following Donald Pleasance and Telly Savalas… He succeeds as the reclusive tycoon Ernest Stavro Blofeld who creates doubles of himself to confuse Commander Bond... He hates martial music and takes no chances with his staff... His hit men are "gay and fun," Mr Kidd and Mr Wint... Putter Smith is the sadistic Mr Kidd and Bruce Glover is his sinister sidekick Mr Wint… Jimmy Dean plays the multimillionaire Willard Whyte unaware that his company is being improperly used by Blofeld for his devil scheme for world domination...He is held prisoner in his desert mansion which is protected by two female karate experts nicknamed Bambi and Thumper...

    Lana Wood becomes the glamorous society girl who meets Bond at a Las Vegas crap table… One night she barely had enough time to remove her top, and gets an undeserved but chilling sendoff...

    Desmond Llewelyn is Bond's gadget man, Q, who tries out an electromagnetic controller for his own amusement that makes an entire raw of slot machines hits jackpots...

    Lois Maxwell is, as always, the loving Moneypenny in emigration uniform, this time, who still is aching for a diamond ring; Bernard Lee is the imposing 'M' who assigns 007 to infiltrate the smuggling ring and find out who was stockpiling stolen diamonds; Norman Burton is the CIA agent Felix Leiter who greets Bond and asks which part of the stiff holds the gems; Joseph Fürst is the brilliant scientist Dr Metz, who thinks that Blofeld is a mankind's benefactor, and a believer in world disarmament; and Bruce Cabot is Whyte's treacherous right-hand-man...
  • MASTER PLAN: steal a lot of diamonds to fashion an orbiting super-duper laser to, guess what, blackmail the world! The pre-credits teaser functions as an epilogue to "On Her Majesty's Secret Service," with Bond hunting his arch-nemesis, Blofeld, in a quick series of scenes throughout the world. The filmmakers tried to recapture the best of "Goldfinger" in this one, using the same director and singer Bassey on the credits again. Ending up with even a pale imitation of the best Bonder is not such a bad thing, but it also points to the lack of originality besetting the series by this time. This one probably breaks the record for unusual types of killings, mostly courtesy of gay assassins Wint & Kidd, who go through a bunch of victims very quickly early on. The odd flavor and juxtaposition (detail of diamond smuggling over surreal liquidations) is an attempt to make Bond edgy & relevant now that the seventies began. The danger with all the attempts to be unusual, whether in regard to deaths or chases, is that it dips into a cutesy atmosphere a bit too far. Those fans fond of the seriousness in the previous film would probably not be amused, since it comes across as a dark parody of the usual spy stuff. That being said, Wint & Kidd, who represent the worst excesses of this film, end up as the highlights. From their very first scene in the desert, where they seem to draw inspiration from a scorpion, these two oddballs have the audience guessing on what they would do next - they are goofy, yes, but also lethal - interesting because they are somewhat original.

    Bond's mission, tracking an involved diamond smuggling operation, takes him briefly to Amsterdam, but he ends up in Las Vegas for most of the story. A subplot involves a missing billionaire, obviously patterned after Howard Hughes, who was still living as a recluse at this time. M and, especially Moneypenny, have less screen time in this one, though Q pops up in an amusing scene testing one of his gizmos on some one-armed bandits (Vegas is no match for Q). Though the scenes in Vegas itself are less exotic than those of most Bond films, the film also makes good use of the surrounding desert terrain and there are numerous grand sets, notably a huge futuristic lab building, complete with tests of a fake moon landing, as well as a house built into the rocks. There is a good auto chase on the streets of Vegas, which has the infamous 'two-wheely' by Bond thru an alley. The two weird assassins pop up every now and then; they even have their own theme score, an eerie yet playful little tune. One of them looks very strange (Smith, a jazz musician with no acting experience), while the other (actor Glover, father of Crispin Glover) looks more normal but has very strange inflections to his speech. Every time they show up, a strange tension surfaces for the viewer. Besides Wint & Kidd, other outrageous foes for Bond include Bambi & Thumper, two wild martial arts girls who nearly knock his teeth in. Their scene has a lot of energy and you won't soon forget them. The story is well-paced for the most part, with less of those slow spots that afflicted many of the later Bonders. However, a couple of deleted scenes with the Plenty character makes things a bit confusing for her character arc.

    Connery is, of course, several years older since his last Bonder, but he looks pretty much the same as he did in "You Only Live Twice." There may be a hint of grey around the edges and, in his scenes with M, it no longer comes across as 'the old man and the wiseguy kid' repartee, despite their best efforts. But Bond is still the ideal male here and it's still believable that femme fatale Tiffany falls for him by the end. She's a curious mixture of flaky girl and worldly woman, usually flippant in her approach, sort of reflecting the trivial nature of this Bonder, where nothing happening is really of grave import. That's why, when Blofeld's (him again) real plan is revealed, it's a bit out of left field; all of sudden, we see a super laser detonating missiles around the globe and everything has changed into matters of international import. Blofeld, as played by Gray, is more urbane and effeminate than the previous two versions, more attuned to a villain planning world domination, but he's also too civilized, too polite to Bond in the climactic sequence, diffusing his threatening presence. CIA liaison Leiter recalls the non-descript Leiter of "Goldfinger," as well. The climax on that oil rig sea platform in Baja is not very well done, with Blofeld's end especially disappointing (he would not return, except in the teaser of "For Your Eyes Only"). But, the epilogue is excellent. Bond, but not Connery, would return in "Live and Let Die." Bond:8 Villain:7 Femme Fatales:7 Henchmen/women:8 Leiter:6 Fights:8 Stunts/Chases:8 Gadgets:6 Auto:7 Locations:6 Pace:8 overall:7
  • The movie resulted to be Sean Connery's last appearance as Bond before he returned again in ¨Never say never again¨ by Irwin Keshner . M ( Bernard Lee )assigns an under-grade mission to Bond dealing with diamonds robbing but the events go worse . This time Bond confronts Blofeld (Charles Gray) and a strange couple , Mr Kid and Mr Wint (Bruce Glover and Putter Smith ) in a intrigue about diamonds smuggling and a final with satellite full of nuclear weapons , holding of the world to ransom . Bond is helped by a Howard Hughes type recluse (Jimmy Dean) and of course Q (Desmond Llewelyn ). And the extraordinary presence of a marvelous girl (Jill St John) and secondary appearance another Bond female ( Lana Wood, Natalie Wood's sister ) in the ordinary Casino of Las Vegas .

    The film contains spectacular fights , action packed , car chases , apocalyptic and overwhelming scenarios along with the typically glossy ingredients series but Sean Connery looks a little bit boring ,in fact is his Bond last film , before his surprising return . It is held together by fine acting and above all, and overwhelming level of tongue-in-cheek . Sean Connery as James Bond is cool , he has coldness and toughness , typical characters of the famous personage , but also earns in irony , suavity and smoothness . The interesting screenplay based on Ian Fleming's novel is written by Richard Maibaum and the recently deceased Tom Mankiewicz. The action is very good , the cinematography by Ted Moore is magnificent , the sets decent , but the real clincher is the fact that Bond is once more performed by a hero with the right stuff . The struggles were carefully choreographed by very accomplished athletes as a pair gorgeous killer karate female bodyguards and performed like a dance routine requiring each participant to hit their mark at the correct time . The picture is produced by habituals Harry Saltzman and Albert R. Broccoli filmed on location in Amsterdam , Netherland , Los Angeles ,Nevada and Pinewood Studios ,London,England. The atmosphere is faithful to the actual location but the interiors on a set at Pinewood Studios. Appropriate and wonderful -as usual- musical score by John Barry .Main title song is catching and marvelously performed by Shirley Bassey . The motion picture is well directed by Guy Hamilton who also directed ¨Live and let die¨, ¨the man with the golden gun¨ with Roger Moore and the best Bond : ¨Goldfinger ¨also with Sean Connery . Indispensable and essential watching for James Bond fans .
  • Warning: Spoilers
    Sean Connery's last go-round in the initial James Bond series is a quirky entry that I find one of the most enjoyable. It keeps all of the trappings and recurrent characters we had come to expect in a 007 film but adds a few novel twists which keep things from becoming stale. Connery's co-star and female lead this time is Jill St. John and forgive me while I drool on my keyboard a moment. The term 'drop dead gorgeous' must have been invented for her and maybe even specifically for this movie. Casual nudity in mainstream cinema was not yet commonplace, but some of Ms. St. John's 'costumes' come about as close as is possible. As Bond aptly puts it shortly after meeting her character, Tiffany Case, "that's a nice little nothing you're almost wearing." Bond has a number of great one-liners in 'Diamonds Are Forever,' and Connery delivers them in a breezy, laid-back performance. The diamonds in question are to be used on a satellite to focus a laser beam that will destroy nuclear weapons, allowing SPECTRE to blackmail various governments. Yeah, that old plot again. But it's just enough to hang a number of funny and exciting scenes on, starting in Holland and ending up in Las Vegas. Maybe the oddest aspect of 'Diamonds Are Forever' is the inclusion of two openly and sometimes outlandishly gay characters, Mr. Wint and Mr. Kidd. They are operatives/assassins in the employ of SPECTRE and appear at crucial times throughout the film... always together. The plot sometimes veers off into extreme silliness (it's hard to recall a chase scene sillier than the one with Bond in the moon-buggy) and the special effects range from believable to incredibly cheesy (the shot of Chinese missiles being destroyed and a flaming Chinese soldier crossing the screen has to be seen to be believed) which, along with the above-mentioned aspects, seem to indicate the series was heading in a more comedic direction just as Connery was making his exit. Whether this was an improvement is debatable, but Connery was, and is, the definitive Bond and 'Diamonds Are Forever' stands as one of the best 007 films.
  • Warning: Spoilers
    I remember seeing this film years and years ago and always had in my mind the image of a body disappearing into bubbling mud ( gold mashed potato ). This film on first viewing appearts bizarre and weird but actually grows on you after several viewings. It has many weird facets - not least the background music you hear playing on the very first shots of the Willard Whyte Towers ( I wonder what the building really was - presumably some office block in Las Vegas ), weird also the two homosexual killers who are in fact very frightening in their modus operandi, thank God they got their just desserts on the boat at the end - I was waiting for that one. And there's old "No-neck" Charles Gray with his superb upper class english accent (like me !) who plays a weird villain, not credible all the time but nevertheless amusing. And there's those two weird Girls Thumber and Bambi who prance around like monkeys at WW's summer house ! And there's Willard Whyte himself, God, what a strange accent he has, sound's like a 1970's cowboy. It seems incredible he has been locked up for five years in a flat and never managed to escape. When I compare this film to the rubbish they put into Goldeneye and The world in not enough, I actually found it better than I thought on first viewing. Also the plot is a bit complicated and rather disarms on first viewing. But having watched the film four times, I now find the action sequences very good, especially the shoot out on the oil-rig at the end. Bond's female companion JSJ is absolutely gorgeous and seems to have aged well like good wine ( on the dvd there is an interview with her today ). So all in all I think the film will age well and gain value in time to come whereas when it came out, it was probably considered rather Obsure. True, Connery's performance itself is less good than in previous Bonds, but the rest makes up for this. Note also the superb theme song by Shirley Bassey and the graphically beautiful opening credits which are amongst the best of all the Bond Films.............
  • In 1967 Sean Connery quits the role of James Bond. Panic! Producers replace him with Australian born George Lazenby, who makes "On Her Majesty Secret Service". This film does reasonably well at the box office, but not as well as the previous episodes... Furthermore, a big part of the audiences and many critics savage Lazenby's performance, rather pale compared to Connery's Bond portrait. "OHMSS" has been revalued since, but at the time of the release it's perceived like a disappointment.

    In '71 producers hire American actor John Gavin for "Diamonds are forever" (DAF), but at the very last minute Sean Connery decides to come back to the role for one time only...

    The film is a kind of remake of "Goldfinger" -there is Sean, of course; director Guy Hamilton; Shirley Bassey sings the theme; the story takes place in America; here too we have glamorous elements (diamonds instead of gold).

    The movie is funny, Sean looks amused and quite relaxed in traveling between Amsterdam and Las Vegas to investigate about a diamond illegal traffic.

    Nevertheless it's the "worst" of his Bonds... It's his less interesting outing as 007. When we think about him as Bond we think about the episodes of the Sixties, when the series was at its beginning. "Diamonds" has not the classical atmosphere of "Goldfinger" and "Thunderball" -the rhythm of DAF is not constant, there are also too many jokes, and a more American humor of the movie spoils the "Britishness" of 007. The first part of the film is boring, the second half has more action -although the final battle scene is not very well done.

    Sean is Sean, but here he looks older than his age -curiously he looks fitter and more charming in "Never say never again", an "unofficial" Bond done 12 years later! By the way his presence in this film saves the show completely and a good entertainment is guaranteed.
  • After the relative commercial failure of On Her Majesty's Secret Service, and the subsequent departure of the unlamented George Lazenby, the Bond producers were desperate to lure Sean Connery back for just one more outing as James Bond. Connery was reluctant, but the huge sum he was offered to come back was too good to resist, and Diamonds are Forever thus became his last official Bond film. Sadly it is a thoroughly unworthy exit, for DAF is an inane, flabby film that suffers from lazy scripting and an excess of camp humour, reducing Bond to the level of self-parody.

    It seems that the aim of this film was to rekindle the spirit of Goldfinger, after audiences did not take kindly to the relatively serious OHMSS. Not only did Connery return, but so did Goldfinger director Guy Hamilton and other crew members who had worked on that film; even Shirley Bassey was back to sing the theme tune, which is one of the few good things about DAF. However, it lacks either the wit or elegance of Goldfinger, relying instead on a succession of bad puns and tedious chase sequences, including a particularly stupid one which sees Bond being pursued across the desert while driving a moon buggy. The decision to set most of the film in Las Vegas does not help matters, for it is a very un-Bond like place which just serves to make the film feel even more cheap and tacky.

    The casting is a mixed bag. Connery never gave a bad performance as OO7, but he is at his most detached and uninterested here, going through the motions but never looking as if he is doing it for anything other than the money. Even though he was only 40 when he made it, he also looks rather old in this film, which does not help credibility. Charles Gray is OK as Blofeld, but plays it far too camp and never seems the slightest bit menacing, which is not a good idea if you are playing Bond's arch-enemy. Jill St John's Tiffany Case is a spirited Bond girl, but unaccountably she becomes more and more stupid as the film goes on, and never becomes as strong a character as she should have been. Wint and Kidd, Blofeld's homosexual henchmen, provide quite good comic value, even though they are outrageous gay stereotypes; nevertheless, their antics seem very out of place in a Bond film, being more suited to Are You Being Served. As for Jimmy Dean's Willard Whyte, I found him to be one of the most irritating characters in any Bond film, though thankfully he does not get much screen time.

    There are some good points in the film, including an effective fight between Bond and Peter Franks in Amsterdam, and a memorable scene in which OO7 has to grapple with two striking young women called Bambi and Thumper. In general, however, DAF feels tired, trying to compensate for the lack of a decent script with its childish humour and endless stunts. It is all a long way away from the classic Connery Bonds of the early 60s, and indeed DAF is much closer in tone to the jokey Roger Moore films that would follow it during the rest of the 70s, although most of those have more going for them than this film. All in all, DAF is more of a feeble exercise in camp comedy than a stylish spy thriller, a sad way for Connery to leave the part that had made him a star. Of all the Bond films, probably only Moonraker is worse.
  • Tweekums28 August 2011
    Warning: Spoilers
    After George Lazenby's single outing as James Bond Sean Connery is back again. Some people think this is one of the worst Bond films; I wouldn't go that far but it is certainly a lot more frivolous then previous instalments; there was always the occasional one liner but here they come thick and fast. In the pre-credit sequence. Bond tracks down and apparently kills Blofeld, who is now played by Charles Gray. With that case wrapped up he is set to work investigating diamonds being smuggled out of South Africa. His sent to Amsterdam where he poses as a known smuggler to get the diamonds of one Tiffany Chase. In order to find out who is organising the smuggling he then takes them to Los Angeles where he is met and taken to Las Vegas. Here he learns that they aren't being smuggled for financial reasons but to be used in a satellite based weapon… will he be able to prevent it being used against Washington DC?

    As said before this is less serious then the previous films; I don't think it is bad though; in fact I've always rather enjoyed it. Charles Gray does a good job as arch-villain Blofeld but Putter Smith and Bruce Glover steal the show as Mr. Kidd and Mr. Wint; a pair of creepy killers who have a 'witty' line for every occasion. Jill St John does a fine job as Tiffany Case but the other 'Bond Girl' in this film, Lana Wood, who plays the appropriately named Plenty O'Toole, is rather under-used. The story is good enough although there are one or two plot holes… for example Tiffany checks fingerprints to identify Bond as the smuggler but has no photograph of the real smuggler. As one would expect from a Bond film there are plenty of stunts, action and explosions. Over all I'd recommend this to other Bond fans even though it isn't a classic.
  • Warning: Spoilers
    I found the recently released 3-DVD set of Connery as Bond movies at my local public library, and this is one of them.

    It starts off with a glimpse of workers in diamond mines and the way some theft and smuggling comes about. Then in a broader issue, large quantities of diamonds are disappearing.

    Sean Connery (age 40), back as James Bond, is sent in to investigate. That takes him to the casinos of Las Vegas. The main Bond girl is Jill St. John (age 30) as Tiffany Case. The nemesis is Charles Gray as Blofeld, and we find out he hatched a plan to take control of a commercial satellite launch with a laser, and using the diamonds as a way to make the lasers many times more powerful, enough so that it can destroy from space. Washington becomes threatened.

    The final action takes them to a Baha California offshore oil platform, where Blofeld has established a base of operations for the threat.

    Looking back at this movie made almost 45 years ago it is somewhat "cheesy" by today's standard. But I never expect a James Bond movie to be any more than that, "cheesy" action and "cheesy" fights. The entertainment is to see how many novel situations the writers can imagine Bond getting into, always in suit and tie, and the novel ways they have him getting out of trouble. Often it would be easy to eliminate James Bond and solve the issue of him on the trail, but James Bond never gets killed!

    I enjoyed it, I was entertained. It was fun seeing a young Lana Wood as Plenty O'Toole, she was gorgeous at 24, but her scenes were cut short in editing. It was also fun seeing Jimmy Dean as Willard Whyte, owner of the "Whyte House" in Las Vegas and the wealthy industrialist responsible for the satellite laser technology.
  • Warning: Spoilers
    The sixties, peace, love, psychedelia and the peak of Bond mania, passed into history. The Beatles split up, Jim Morrison flat-lined in a bathtub and Vietnam was napalming the American dream to ashes in a controversial conflict that was fast starting to look like an epic fail.

    The Bond movies had been spoofed, ripped-off, imitated to near death and creatively dismissed by many critics. Lazenby had jumped ship, convinced that Bond was "old hat" and had no future other than a rattling decline into celluloid oblivion. This smacks of the same type of miscalculation made by the Decca A&R exec who turned down signing The Beatles because "guitar bands are on the way out." New American cinema was starting to turn out some of the greatest genre defining movies ever made. The world was going all glam, glitter and shock-rock - Alice Cooper, Slade, New York Dolls, Sweet, David Bowie.

    And the original Bond returns in a glitzy, camp, sci-fi extravaganza, that still manages to be the fourth highest grossing film in the US of it's year. Ahead of Dirty Harry, Carnal Knowledge, A Clockwork Orange, Klute, The Last Picture Show and Bedknobs and Broomsticks. No indicator of quality, but certainly of a sustained popularity.

    DAF is a slyer, more-knowing, self-deprecating artifact of it's time than most give it credit for. In it's sweep, it satirises the absurdity of Howard Hughes and his eccentric reclusivity, the global obsession over the lunar landings (and accompanying conspiracy theory surrounding beliefs of their fakeness), the conquest of space, and pokes fun at the mecca of arbitrary gambling-addicts and those dazzled by the air-headed neon facade of sleazy, hollow glamour.

    Beneath the veneer of such glamour, death lurks, dispensed by two gay contract killers in the pay of a criminal cross-dressing mastermind with a penchant for white cats and impersonating a reclusive kidnapped multi-millionaire industrialist. And making doubles of himself - for some reason. Are we beginning to grasp it's charm yet? There are so many continuity, plot and logic errors in DAF, that sooner or later one might suspect they are deliberate. Connery coasts through, nonchalant and laid-back and still irrefutably BOND. DAF, it's fair to say, lost the plot, in the tipsy haze of a high-tech Rat Pack hangover. But, as a kid I loved it unconditionally, and I still think it's a blast today. OK, it may not have aged as well as some of it's counterparts from the sixties and seventies, but at the time and in the climate it was released, the escapism it provided and the way in which it integrated/resonated with the mood and flavour of that time and climate, made it stellar entertainment. There's something about it's inherent sincerity and lack of forced, contrived, self-conscious cynicism that appeals.

    There are some crackling one-liners and dialogue, a ferociously brutal unarmed combat episode in a lift, an eye-melting pink tie, bizarre vehicle chases and the most unconvincing toupee a leading actor ever wore up to that point. It had a bizarre life of it's own.

    Oh, did I mention Connery was back as Bond? I'd pay the price of admission for that fact alone. Wouldn't you?
  • Sean Connery made it clear during the filming of "You Only Live Twice" that he was sick of playing James Bond. After four years, 1.25 million dollars, an agreement to receive one-eighth of the film's gross profit, and a commitment to finance two additional projects of his choice, Connery returned for another spin as the world's deadliest government agent. Sadly, the man who electrified the world for six years returned for a problematic movie that at best is a disappointment and at worst a large black stain on his legacy.

    Many of the problems that drown "Diamonds Are Forever" show up in the opening minutes. It begins where "On Her Majesty's Secret Service" ends. Bond is on the revenge trail following the murder of his wife. Connery's face remains hidden to raise anticipation, but when it finally appears, my reaction is shock.

    At one time he looked like the handsome, debonair ladies man he is supposed to be, but at 41, Connery has outlived the part. He has more wrinkles, his eyes have darkened with age, he is getting fatter, and his hair is grayer. I once watched a clip online of a scene where he is standing next to Q, played by Desmond Llewelyn, who was 56 years old with white hair. I initially mistook him for one of Q's assistants.

    "From Russia with Love" displayed Connery at his best. In every possible way, he made the part his own with an authority neither he nor the five actors following him have since been able to equal. This time he was just doing it for the money, and it shows. In "Goldfinger," he said "Bond, James Bond" with focus and cool. Here, it is delivered with unexpressive staccato. When he is ordered to put up his hands, he moves them to the side like a man bored with being bored.

    Diamond smuggling out of South Africa has risen over the past two years. Since no smuggled stones have reached the market, the British government fears somebody may be accumulating them in preparation for a market dump. A string of recent murders in South Africa leads them to fear that operations are being shut down, leaving them little time to bust the smugglers. James Bond is sent undercover as smuggler Peter Franks. His mission takes him to the casinos of Las Vegas, where he discovers the involvement of his old enemy, Ernst Stavro Blofeld (Charles Gray).

    Gray is another problem evident from the beginning. Blofeld is supposed to be bald, but even if Gray was bald he would not remotely look or sound the part. In "From Russia with Love," Blofeld seemed like a god. Gray is not imposing, and seeing the mighty Blofeld dressing as a transvestite is the worst insult in the series. For the ignominious title of worst Bond villain, Gray loses to Stephen Berkoff from "Octopussy," but barely.

    When Bond finally discovers Blofeld, how does he react? He indulges in polite conversation. The movie forgets that Bond is speaking to the man who callously murdered his wife, and that Blofeld is addressing the man who broke his neck.

    Another huge minus is the general lack of excitement. It has a good start with an intense elevator fight between Bond and the real Peter Franks. If you see this film, which I strongly discourage, savor that fight, because "Diamonds" becomes pretty anemic afterwards. The remainder lacks intrinsic interest or excitement. Aside from a slick nighttime street chase, the little action that is left looks fake and slow. When Bond is faced with trouble, what does he do? He runs, preferably in a phony moon machine. From start to finish, he does not fire a single bullet. Adding insult is the cheap climax. Six years earlier, this franchise won a visual effects Oscar. Now they are reduced to creating nuclear explosions that look like puffs of smoke. Connery's salary supposedly slashed the special effects budget even though the franchise made over a 400 million dollar profit since "Goldfinger." Two musicians are cast in supporting roles. Imagine "Quantum of Solace" casting Garth Brooks and Wynton Marsalis. Ironically, it is country singer Jimmy Dean who brings the most convincing act to the table. Jill St. John and Lana Wood are wasted as the bimbo and harlot, respectively. Mr. Wint (Bruce Glover) and Mr. Kidd (Putter Smith) are the gay hit men who don't know each other's first names, and the best I can say about them is that they die entertainingly.

    "Diamonds Are Forever" marked the beginning of sad decade for Agent 007. Were it not for "The Spy Who Loved Me," the series likely would have died. A movie with shoddy writing, substandard acting, misplaced atmosphere and bad characters cannot succeed. Diamonds slowly decay into other forms of carbon, so they are not truly forever. Neither is Sean Connery.
  • Well well, this one has really elicited some polarised opinion! Connery returned here for three principal reasons. Despite the box-office success of ON HER MAJESTY'S SECRET SERVICE, Lazenby's post-production antics and monetary demands cost him a job. US actor John Gavin (mercifully) declined the role in this film and thirdly public demand and an offer he couldn't refuse (something to do with truck-loads of cash), induced Connery so slap on the old hairpiece once more! Looking visibly older, though not in any way detrimental to the role, Sean revels in what obviously (to him) was his swansong as 007. Almost a complete turnaround in style from his established mega-serious British Agent in his previous five outings, Bond is having FUN! Virtually a total send up of the entire franchise to date, Bond veritably dribbles double entendres unloading on the audience probably the rudest and funniest dialog of the series. Pick of the flick? "I'm Plenty O'Toole" to which Bond quips, "Named after your father are you?"

    The plot is more or less made up as they went along and is just plain incidental to the Movie. Campy beyond belief, even to the extent of having a pair of confrontingly homosexual killers who bumble their way to annihilation at the film's conclusion. Most Bond purists choked on their martinis with the release of DIAMONDS ARE FOREVER. The way to enjoy this one is to let it flow....don't compare it! Have no expectations and let Connery entertain you. One right out of the bag here. If you want it to fit a pre-conceived mould, you're in for a major disappointment. For God's sake how seriously could you take a Bond film starring singer Jimmy Dean, not to mention a couple of beefed up exquisitely proportioned female minders called Bambi and Thumper?

    One of the Bonds that has improved with age AND multiple viewings. RIP James!
  • Many people are apparently put off by this Bond film. Sure, Sean Connery is older, you see Blofeld (this time with a head of hair) and the series seemed a tad out of place in 1971, when the anti-war movement was running strong.

    This movie is not Goldfinger, despite the presence of Guy Hamilton at the helm and Shirley Bassey as the singer of the title theme. What this movie is is a stylish romp that seems to bear some nod to the Batman TV series in terms of style. In some other respects, this movie plays almost like an Anglicized version of "The FBI," or like "The Persuaders."

    And that is not at all bad!

    The original femme fatale of the 1966 Batman series, Jill St. John, is the female lead here, and is fun to watch. She shows a lot of spirit in the role. Charles Grey is fun to watch as Blofeld, because he brings a real wit to the role. The dialogue is definitely sophisticated, and it is a very stylish production that I think holds up well. And Lana Wood does a fine job here, too! (Oh, and I met her in Detroit in May 2009; sweet lady!!)

    This movie is also more daring in terms of sex than any other Bond: The public display of affection the thugs Wint and Kidd show, as well as the topless scene of Lana Wood's character.

    Gadgets don't seem to dominate this outing. It's no 1960s Connery film (the lead actor's older), nor a 1970s Moore outing (more serious). This movie is sandwiched between the two eras, and it rightly should be taken on its own terms. Which means, I think it is one of the most enjoyable Bond films made--a sophisticated, stylish romp. It is, in my view, a most enjoyable Bond (and my personal favourite)!
  • josephpturner12 February 2009
    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.
  • Warning: Spoilers
    I consider this one of the three greatest Connery/Bond films. The other two would be Goldfinger and You Only Live Twice. The story, the action, the villains and the ladies, all are terrific. John Barry's soundtrack is superb. He certainly captured the Las Vegas ambiance. My favorite things about the movie would be the villains. Blofeld, Peter Franks, Mr. Wint, Mr. Kidd. Memorable. The humor - nice! For years I used to only be familiar with the version that was seen on ABC, thus heavily edited and not shown in the 2:35 format. When I finally saw the unedited version in its theatrical format, it blew me away. Especially the elevator sequence. It is unwatchable in the 1:33 format. Too bad the sequence was deleted regarding what led up to Plenty's fate. It would have made sense in the film. Enjoyable anytime!
  • With Diamonds are Forever as its starting point, the Bond series takes its first steps towards a revolution. Although Cubby Broccoli had yet to introduce the style , technique and humour that the Bond movies employed to define the 70's Action/Adventure movies,didn't untill The Spy Who Loved me [1977], the blueprints to all the greatest 70's Bond movies are very evident and apparent with Diamonds are Forever. From the very start of the fantastic pre-credits sequence in wich Bond hunts down Blofeld, presumably to avenge his wifes death [On Her Majesty's Secret Service, 1969], the claim is made that this is going to be lighter and more fun than anything on a Bond movie since Goldfinger [1964]. This is thanks to three important factors, Guy Hamilton who directed Goldfinger is back to direct his first Bond movie since the 1964 classic. With him Hamilton brings along alot of comic book orientated ideas and a wondefuly imaginative and humourous writer in Tom Manciewicz. Manciewicz is youthful and more American in his ways of writing and this gives Diamonds a fresh and polished feel to characters and action sequences. Sadly the script for Diamonds is one of the less involving and suspenseful of the series but no less enjoyable. The third factor in Diamonds success is the return of Sean Connery. Relaxed and re-energised after his hiatus from On Her Majesty's Secret Service, Connery looks to be enjoying himself, and this seems to be an inspiration to the rest of the cast and the overall look of the movie. In truth, Diamonds Are Forever is one of the most enjoyable and original of the entire Bond series.

    It would have been nice perhaps that in the wake of On Her Majesty's Secret Service, George Lazenby and OHMSS's Director Peter Hunt had returned to do a follow up revenge story in wich Bond avenges Tersa [Diana Rigg] who was shot in the final moments of OHMSS. Sadly this wasn't to be. In its place we have the next best thing. Connery is back, the action is more fast and lighter, the sets are bigger and the characters are larger than life. Central to the success of the well written characters is the way in wich they are played, and Diamonds comes up with a killer cast. Charles Gray who was fantastic as a support in You Only Live Twice turns on the charm as a very subdued and eerie Blofeld. Perhaps working against Gray is the fact that the ghost of Telly Savalas, the best of the Blofelds echoes through the movie. Gray however is very comanding and humourous in the movie and it is refreshing to see a different look and style to the character. Equally impressive is Jill St John as Tiffany Case. St John comes over like Lucy from Charles Schultz Peanuts cartoons and in most movies this would seem out of place but gives Diamonds the humourous edge it needs. As efficient as St John is Lana Wood as Plenty O Toole. Wood is beautiful for the part and has a very apealing charm. Manciewicz provides Connery with one of the all time great Bond one-liners in conversation with Wood "Hi Im Plenty, Plenty O Toole" exclaims wood "After your father Perhaps" inquires Connery. Were as most Bonds give us one hench men, Diamonds gives us two, and homesexual ones at that. Mr Wint and Mr Kidd as portrayed by Bruce Glover and Putter Smith respectively are two of the most original creations of the action movie genre. The come across as some sort of Stoned Laurel and Hardy and again add to the humour and are vicious and nasty creations underneath the fun. Finally there is Jimmy Dean the Country music superstar who turns up here as the Howard Hughes clone Willard Whyte. Dean seems at first out of place in a Bond movie but eventually grows upon you as the humour escelates. Like most Bond movies there is at least one performance that doesn't work : Norman Burton as Felix Leiter. Burton has none of the style and charm Rick Van Nutter had in the role or the appeal that David Hedison would go on to have in future Bond movies. Burton is with out a doubt the worst of all the Leiters.

    Add to all this the wondeful backdrop of Las Vegas. Vegas contains one of the most flashy glamorous settings for a Bond movie, and it is easy to believe what is going on there. Ken Adams sets are again a joy to marvel at, particularly Blofelds fortress at the movies climax and individual creations like the Moonbuggy, an ugly creation intentionally so. Guy Hamilton gets the direction right with the action sequences, and Connery once again in control of things throws himself enthusiastically into the role of Bond, more humour from Connery than we have ever seen before, and the action sequences once agin pack the punch. Diamonds however contains quite a few mistakes wich at times is distracting, the one obvious mistake is the sequence in the car chase in Vegas wich see's Bond and Plenty in a red sports car through a narrow alley, in order to fit in the car tilts to one side on its left wheels and an insert shot shows it tilting to its right side. Anyone who has ever tried that knows it is impossible! Mistakes come and go but with the pace so energetic you hardly notice. To support the energetic pace is John Barry's whirling and absorbing themes, a few notches down from them of OHMSS, But still efficient and mesmerising, and there is the traditional theme song, another classic sung with amazing skill by Shirley Bassey {Goldfinger].

    Diamonds are Forever isn't all plain sailing. The plot of the movie is quite difficult at first to get stuck into, and as the characters a quite fresh and original it is difficult to appreciate them at first but they grow on you with time. The script as with You Only Live Twice has Bond struggling to grasp a space weapon from the hands of Blofeld, wich seems like an old song sung over. Thanks to Tom Manciewicz's fresh and enjoyable screenplay nothing seems tired, and Guy Hamilton milks everything he can from Comic Book/Pop Art humour and action. Manciewicz would later employ as simmilar writing style into Live and Let Die [1973] Superman:The Movie [1978] and Superman II [1980], but it is with Diamonds that he learned his trade. It is quite sad to see Sean Connery in his last official and EON Bond movie. But at least he went out with a bang and not a whimper. Over the years he BECAME Jmaes Bond and if it wasn't for the likes of Roger Moore and Pierce Brosnan the series may have ended with him. Connery is fantastic in Diamonds are Forever, wich is a very enjoyable and well made movie, and a great start for Bond in the 1970's.

    You know what they say Sean, Never Say Never Again.
  • Warning: Spoilers
    For many people James Bond is Sean Connery but that doesn`t mean a Bond film is an instant classic because Connery is in it . DIAMONDS ARE FOREVER is barely watchable enough , just think how bad it could have been without Big Sean

    ***** SPOILERS ******

    What I hate about this film is there is no internal continuity with OHMSS . Blofeld killed Bond`s wife in the previous movie and it starts with Bond on the revenge trail where Bond apparently kills Blofeld in the pre title sequence , but as the film continues and it`s revealed Blofeld isn`t really dead all that`s gone before is quickly forgotten about as if it never happened in the first place . If they were going to ignore all this then why couldn`t the producers just kill off Blofeld and introduce another meglomanaic villain . Like wise Charles Gray`s performance is totally unconvincing , can you imagine Donald Plesance from YOU ONLY LIVE TWICE appearing in drag smoking a cigarette from a holder in an entirely camp manner ?

    The production values are also very poor . The script resembles one of the latter Moore films where lots of things may happen but serves to disguise the fact that there is nothing happening plot wise . Are Blofeld`s henchman SPECTRE ? If so it`s never mentioned on screen and I found their garish uniforms of pale blue jumpsuits and red helmets both irritating and laughable . Jill St John plays one of the most forgettable Bond girls and director Guy Hamilton has a real bad off day especially during the action climax featuring the superimposed explosions of helicopters

    There are a couple of good points about DIAMONDS ARE FOREVER which stop it from being a contender for worst Bond film . There is the welcome return of Connery in the lead and I couldn`t help but enjoy the inclusion of a couple of gay hitmen , the scene where one of them is dispatched with a bomb between his legs still brings a wry smile to my face though Bond`s wise crack after this causes me to groan out loud
  • This film is excellent. The comedy (which has been the culprit for its discredit) is excellent. This is the first Bond to be uncensored totally. This came out 3 years after the MPAA created the rating system which allow for greater creative control to films.

    Diamonds Are Forever was the first Bond Film to take it seriously (On Her Majesty's Secret Service, did do this, although few films did in the late 1960's, Planet Of The Apes was Rated G, the sequels went up to PG, which was M at the time).

    The only thing I don't like about this film is that it should be a revenge film (See my comment on On Her Majesty's Secret Service (1969)and watch it). The end of On Her Majesty's Secret Service clearly shows that Bond should want vengeance, I would if I were in that situation. I think that may have also helped it gain more success, although its did make $44,000,000 upon release, at todays standard thats $180,000,000. It went on to make $116,000,000 worldwide, today thats $480,000,000. Of all the films thats the 4th most profitable.

    Its evident although a great film, sort of a cult classic, On Her Majesty's Secret Service (1969) jinxed this production. Its evident they wanted to avoid failure, by removing all evidence of it. By forgetting its finale. Also the return of Sean Connery, not only a addition that would help people for OHMSS, to this film, but also an insult to George Lazenby, who wasn't fired. Lazenby was certainly not better than Connery, but his departure was mistake and a failure. Diamonds Are Forever although to many a failure, is a very good film. But it also helped to make the forgotten Bond film On Her Majesty's Secret Service (1969). In my mind if Diamonds Are Forever failed OHMSS will be remembered, final failure standout. I don't think anyone will forgot how awful BATMAN & ROBIN (1998) was. Although of course now OHMSS wouldn't be a failure. But this film also represented change a change that started after You Only Live Twice and would stop after Live And Let Die (1973) and wouldn't occur again until The Living Daylights (1987), although technically happen early in Sean Connery's second comeback Never Say Never Again (1983). Anyway this film is excellent Connery's #3 and Stands at #5

    1. THUNDERBALL (1965)

    2. The Living Daylights (1987)

    3. The Spy Who Loved Me (1977)

    4.GOLDFINGER (1964)

    5.Diamonds Are FOREVER (1971)
  • pmtelefon17 February 2019
    I've always liked "Diamonds Are Forever". Over the years I've grown to like it so much that I now rank it among the best of the James Bond movies. It's so much fun. It hits all of the Bond buttons. The story, villains, music, humor, action and stunts are all great. It also has maybe the best collection of Bond girls ever. Tiffany Case and Plenty O'Toole are both through the roof.
  • Sean Connery returns and kills Blofeld in the first 10 minutes. Then he's put onto the case of missing South African diamonds. He assumes the identity of diamond smuggler Peter Franks. But his investigation leads him to Las Vegas and an unexpected nemesis.

    This is probably one of the weaker Bond movie. It is just not exotic to be stuck in Vegas for so long. It's the difference between real locations and Hollywood sets. Vegas could be fun, but it's not exotic. Although, it is interesting to see the old style Vegas before the modern built-up.

    The best new names have to be Bambi and Thumper. They are amazingly hot bodyguards. And then we got sexy Jill St. John firing her gun in a bikini. No matter what happens, a Bond movie will usually have great Bond girls.

    There is more sly humor than ever before. There are the sarcastic killer pair Mr Kidd and Mr Wint with their dead pan humor. The sexual innuendos are thicker than ever. There is a bad Roger Moore quality to this Bond movie. Only Moore knows how to do it with a nudge and a wink. The moon rover chase is one of the stupidest thing ever. And there isn't anything superior in any of the designs either. A tiny oil platform isn't that impressive for an evil hideout.
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