Write descriptive essay about Diamonds Are Forever movie 1971, write an essay of at least 500 words on Diamonds Are Forever, 5 paragraph essay on Diamonds Are Forever, definition essay, descriptive essay, dichotomy essay.
Diamonds Are Forever
Crime, Thriller, Action, Adventure, Sci-Fi, Comedy
IMDB rating:
Guy Hamilton
Sean Connery as James Bond
Jill St. John as Tiffany Case
Charles Gray as Ernst Stavro Blofeld
Lana Wood as Plenty O'Toole
Jimmy Dean as Willard Whyte
Bruce Cabot as Albert R. 'Bert' Saxby
Putter Smith as Mr. Kidd
Bruce Glover as Mr. Wint
Norman Burton as Felix Leiter
Joseph Fürst as Dr. Metz
Desmond Llewelyn as Major Boothroyd
Leonard Barr as Shady Tree
Lois Maxwell as Miss Moneypenny
Storyline: James Bond's mission is to find out who has been smuggling diamonds, which are not re-appearing. He adopts another identity in the form of Peter Franks. He joins up with Tiffany Case, and acts as if he is smuggling the diamonds, but everyone is hungry for these diamonds. He also has to avoid Mr. Wint and Mr. Kidd, the dangerous couple who do not leave anyone in their way. Ernst Stavro Blofeld isn't out of the question. He may have changed his looks, but is he linked with the heist? And if he is, can Bond finally defeat his ultimate enemy. Written by simon
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Funny and entertaining.
This was the Bond film that introduced irony and real wit to the series, thanks to the recently deceased Tom Mankeiwicz. Connery bluffly handled the role, and never telegraphed the jokes. He had aged since his appearance in You Only Live Twice, but his no-nonsense confidence worked very well with a terrific, fast-moving story that constantly surprised and entertained. Critics, notably Pauline Kael, enjoyed the witty, sardonic script that deftly referenced the modern takes on subjects like the Funeral business and Howard Hughes's disconcerting reclusiveness. Like the best Bond movies, it took you on a tour of an exotic location, and Mankiewicz' Las Vegas was one of the best uses of a location in the Bond oeuvre. Mankiewicz kept the movie moving, while inserting memorable and funny bits of business along the way. Morton Slumber, Shady Tree, Plenty O'Toole, among others, are perfectly realized minor characters, and cast perfectly. Not to mention Jimmy Dean as Willard Whyte, who brings cornball gusto to the role. This film was a balance of humor and credibility that the series never again equaled, and after this the irony quickly curdled. Diamonds Are Forever is a great example of creative storytelling, and maybe the most fun of the Bond films.
"Oh, providing the collars and cuffs match..."
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.
In context - it's a blast!
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?
"They can stimulate and tease me."
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 (1971) Review
The first Bond movie of the 70's and you can already tell a difference in the picture as well as color. In this film we have the return of Sean Connery for one last film, which is because of hatred the viewers gave to On Her Majesty's Secret Service, staring George Lazenby. It is also because of that film that this review may get a better score than it might deserve, being the follow-up to that catastrophe. Please click the link above to read my raging review.

Anyways, I found this film to be actually pretty good, especially compared to its predecessor (I'm going to try to not keep bashing On Her Majesty's Secret Service, but I might just not be able to help myself.) I most of it, but there were still some goofy elements added to it. For example — oh, and if you haven't seen this 42 year old movie, then sorry for spoilers — when Bond steals the space/moon driving machine and the bad guys send 3 cars (who fail to catch Bond) and 3 motorcycles (who also fail) and the scene goes on for a good 5-7 minutes, it's hard to keep a straight face.

Anyways, I didn't like how the actors playing Blowfelt — I finally figured out his name but referred to him as Dr. Evil in my previous reviews — kept changing. This guy wasn't the same as the Blowfelt in You Only Live Twice but hey AT LEAST HE WAS BETTER THAN THE GUY IN ON HER MAJESTY'S SECRET SERVICE!Anyway, his performance was good and I enjoyed how he created a double of himself.

Another part of this movie that I loved was Mr. Wint and Mr. Kid. They played really good roles and I enjoyed their performance. I feel like Mr. Wint was one of those guys who would be saying something like, "Boy, this building is quite high up. It would be a shame if someone were to fall off."

I give Diamonds Are Forever a 7.5 out of 10 for having the return of Sean Connery, characters like Mr. Wint and Kid, and just being a fun film. Some of the lines and chases are silly, but hey, AT LEAST IT'S NOT AS BAD AS…. Well, you already know what I'm going to say.
"I'm Plenty--Plenty O'Toole." ... "Named after your father, perhaps?"
Lusty, exciting, ingenious 007 yarn--easily one of the best in the James Bond franchise. After a one-picture absence, Sean Connery eases back into action as super-agent Bond with the gait of a hip lion in this dazzling adventure set mostly in Las Vegas, featuring great locations circa 1971 and a myriad of colorful villains. Blofeld returns (this time played by a somewhat more cavalier Charles Gray); he's after some diamonds to complete a space laser beam which can be used to decimate nuclear weaponry on Earth. Connery is older but no less in command, and he's paired very smartly with Jill St. John as Tiffany Case (in a lively performance) and Lana Wood as Plenty O'Toole (delicious eye candy who is unfortunately left expendable by the editing). A wonderfully sharp screenplay, several hair-raising fights (look out for Bambi and Thumper!), and a very tight direction by Guy Hamilton make this Bond hard to top. ***1/2 from ****
Not the best Bond movie of Sean Connery
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.
James Bond frolics through Las Vegas in pursuit of Dastardly Diamond smugglers.
After more than 30 years, Las Vegas still feels the impact of this movie. The Nevada Film Office, headquartered in Las Vegas, still receives the occasional call from a visitor asking where is the hotel in which James Bond played "craps" with Plenty O'Toole? It has an amazing resiliency that has lasted for decades, and one of the most famous car stunt continuity flubs ever seen in a major motion picture -- with a stunt car going into an alley up on one angle and exiting the narrow space facing the other way! Although it was caught and covered with an "explaining" shot before general release, just exactly WHERE in that alley did James find room to flip the car over? Bravo and kudos to Sean Connery and all involved with the James Bond franchise, for creating a unique Bond installment that stands alone in much of its tongue-in-cheek humor, sarcasm, double entendre, and overall sense of fun in the Grownup Playground of the World: Las Vegas, Nevada. How impressive it is that this particular Bond movie endures and entertains viewers to such a notable degree after thirty-plus years!
Welcome to the 70's, Mr.Bond!
One of the most frequently quoted statistics concerning 'Diamonds Are Forever' is that it was outperformed in the U.K. in 1971 by the feature film version of 'On The Buses'. This is in fact untrue. 'Forever' premiered in London on 30 December; it did not go on general release until the following day when it went on to outperform every other film in Britain in 1972. But I digress; the seventh 007 epic saw a brief return to the role for Sean Connery, who'd vacated Bond's shoes for 'On Her Majesty's Secret Service' ( 1969 ), now ( rightly ) regarded as one of the all-time great Bond films, but at the time it was deemed to have been a failure. David Picker, head of United Artists, lured the recalcitrant actor back with the offer of a huge pay cheque and the promise of funding for three movies of his choice. The new decade saw a change in style for the Bond movies. The 60's ones were tongue-in-cheek but mock-serious. The only one to adopt a lighter tone was 'Goldfinger' ( 1964 ). It was to recapture that tone that producers Cubby Broccoli and Harry Saltzman brought back director Guy Hamilton. This is no more apparent than in the scene in Slumber's Funeral Parlour - 'Morton Slumber' ( the late David Bauer ) could have wandered out of an episode of 'The Avengers'. The Fleming novel had Bond going undercover ( impersonating one 'Peter Franks', whom British Intelligence have captured ) to infiltrate a gang of diamond smugglers, one of whom is the beautiful 'Tiffany Case'. Much action is centred around Las Vegas. Tom Mankiewicz and Richard Maibaum's script retained the early part of the novel, but then deviated from it with 'Ernst Stavro Blofeld' ( Charles Gray ) yet again planning to hold the world to ransom, this time with a laser-satellite ( full of diamonds ) orbiting the Earth.

Connery gives one of his best performances as Bond, certainly better than the one he gave in 'You Only Live Twice' in which he was virtually on auto-pilot throughout. No wonder audiences cheered when he once again said that famous line " My name is Bond...James Bond!". Charles Gray makes for an elegantly caddish 'Blofeld', delivering wry quips through cigarette smoke like an evil Noel Coward. Before anyone says 'Blofeld should not be British!', look at it this way - would not a man on the run from the intelligence services try to throw them off the scent in some imaginative way? Pretending to be another nationality makes perfect sense. The pre-credits sequence has Bond hunting the world for Blofeld ( presumably to get revenge for wife Tracy's death, its never made clear ). In South America, he finds him experimenting with clones. After a fight, Blofeld is sent hurtling face-first into a mud pool, but of course, it isn't really him. Maurice Binder's title sequence kicks in to the welcome return of Shirley Bassey's vocals.

'Forever' features Bond's first gay characters ( not counting 'Rosa Klebb' ) in the shape of killers 'Mr.Kidd' ( Putter Smith ) and 'Mr.Wint' ( Bruce Glover ), while 'Tiffany' ( the stunning Jill St.John ) is far more brash than previous Bond girls. Lana Wood shines briefly as the ill-fated 'Plenty O'Toole'. Those who dismiss the Roger Moore era for its wacky humour need to realise that the trend towards self parody in fact began here. The action sequences are a mixed bag; the fight in the lift between Bond and Peter Franks ( Joe Robinson ) is one of the very best to grace a 007 film, ditto the bruising encounter with 'Bambi' ( Lola Larson ) and 'Thumper' ( Trina Parks ), the moon buggy chase and Les Vegas car chase stunning ( remember Bond's car being driven on two wheels? ), but best of all is the scene where Bond ascends the Whyte House to break into reclusive millionaire Willard Whyte ( Jimmy Dean )'s sumptuous apartment. Some gorgeous sets by Ken Adam here. John Barry's score is one of his best ( my favourite track is '007 & Counting', heard as Blofeld's satellite goes about the globe causing havoc ). On the down side, the final helicopter assault on Blofeld's oil rig headquarters is flat and uninspired, like something out of a made-for-television film.

'Forever' is far from being classic Bond, but manages to be watchable and has some wonderful moments; for instance, when 'Felix Leiter' ( Normann Burton ) asks Bond where on Franks' corpse the diamonds have been hidden, he gets the reply: "Alimentary, Dr.Leiter!". It silenced critics who had claimed that Bond was washed-up and set the standard for the Moore 007 movies to follow. Connery would play the role only one more time, in 1983's 'Never Say Never Again'.
Formula Stretching Time
It's my favorite Bond movie, but ask me to defend it objectively and I struggle. Yes, "Diamonds Are Forever" is weak in plot, continuity, character motivation, and overall depth. Yet it's an awful lot of fun.

When we first meet Sean Connery, back as Bond after a four-year absence, he's kicking the tar out of assorted people trying to locate Blofeld (Charles Gray). Once that's out of the way, he is called upon to help infiltrate a diamond-smuggling ring. Bond may think it's the sort of job that's beneath him, but he will find strong reason for seeing it through.

It was the first Bond movie not made in the 1960s, and the culture shock is there from the start and continues all the way through. Long sideburns, Peckinpah-like blood splats, an old lady who teaches children religion but keeps a hollowed-out Bible for smuggling stolen goods. Blofeld is seen walking around in drag. His two main henchmen, Wint and Kidd, are not only apparently gay, but seem to have a snarkily aloof attitude about their jobs. The "Clubland" atmosphere of Ian Fleming seems well behind us now.

"You've just killed James Bond", the lead female Tiffany Case (Jill St. John) cries.

Not quite, but it's not the Bond you came to expect from earlier films.

What works for me in this movie are three things. First is the music, particularly the wonderfully jaded title song, the best of any in the Bond series even if it was never a commercial hit; as well as the eerie flute-like theme that follows Wint and Kidd's appearances. Second, the clever off-kilter sensibility that successfully reworks the Bond model for a new age. Third, the humor, of satirical quips and the ever-reliable double-entendres we expect from 007.

"Why are we staying in the bridal suite of the Whyte House?"

"In order to form a more perfect union."

It's not a perfect film. At times, it's not even a very good one. Throughout the picture Bond gets into various scrapes he weasels out of with discomfiting ease. In fact, except for a harrowing elevator fight near the beginning of the film, there's not an instance where Bond is severely pressed.

This is fine given Connery doesn't seem to be pressing much himself, He's just having fun and thus is in tune with the picture around him. Guy Hamilton, the director, never took his Bond movies too seriously, though he liked action-packed set-pieces, and thus a lot of goofy moments in "Diamonds Are Forever" skirt past with minimal fuss. I enjoy how the film sends itself up. Even Bond's way of approaching the villain's lair is played for a smile. Why sneak in when you can just parachute down inside a giant bubble?

For some, maybe many, the problem with "Diamonds Are Forever" is the same as its virtue to me: It never takes itself seriously. The producers are stretching the formula, taking some chances, and tweaking some cherished notions of what Bond films are about. Not all of it works, but it's a fun ride I enjoy taking.
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