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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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?
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'.
Not one of the best - too camp / Americanised / chilled out for me
This bond film is bar far not one of the best, I can' decide if its one of the worst there are a couple of more modern ones that I think are worse, but this film was just not British enough, I think it was made a little too much for the American audience. Not enough action, this is probably the most relaxed and laid back bond / film there ever was. There is a storyline but it seems like it takes forever to develop and it makes the movie appear slow to get going. I should say it was good to see Sean Connery back in the role of Bond after his 1 movie hiatus and this outing I most say does seem to fit better than previous ones. But for some reason I can't fathom he looks older (he was 40 when he made it) Roger Moore looks younger when he played Bond in the film after this one, but was actually older.

Its OK take it or leave it - your choice.
Connery's sly goodbye
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.
"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 ****
The Weirdest of All The Bond Films - but ages well
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.............
Not the best, But a very good Bond film that deserves more credit
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


2. The Living Daylights (1987)

3. The Spy Who Loved Me (1977)


5.Diamonds Are FOREVER (1971)

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.
"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.
An Highly Inadequate Finale to the Sean Connery era.
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.
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