Diamonds Are Forever

1971

Action / Adventure / Thriller

119
Rotten Tomatoes Critics - Certified Fresh 66%
Rotten Tomatoes Audience - Spilled 59%
IMDb Rating 6.7 10 83410

Synopsis


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December 17, 2012 at 02:04 PM

Director

Cast

Sean Connery as James Bond
Jill St. John as Tiffany Case
Sid Haig as Slumber Inc. Attendant
Bruce Glover as Mr. Wint
720p.BLU
900.12 MB
1280*720
English
NR
23.976 fps
2hr 0 min
P/S 11 / 47

Movie Reviews

Reviewed by cinemajesty 6 / 10

Bond Seven

Movie Review: "007: Diamonds Are Forever" (1971)

The return of actor Sean Connery as the character of James Bond has been most welcome after the too young-received actor George Lazenby in an otherwise stunning picture of "On Her Majesty's Secret Service" (1969). Nevertheless this seventh adaptation of Ian Fleming's fourth "007" novel from 1956 drifts under Richard Maibaum's pen too much into a comic sketch of the former beauty and elegance-striving character of Bond. Even so "Diamonds Are Forever" receives a easy-going light-entertainment-infusion by director Guy Hamilton (1922-2016), back on job for the first-time since "Goldfinger" (1964).

The production values accompanied by action, humor, technological gadgets and super-villain "Blofeld", portrayed by the third-actor-change-up in four years Charles Gray (1928-2000) puts the world in states of crisis by operating a killer satellite to blow-up submarines from space, while "007" follows a trail of a blood diamond smuggler ring from Sierrra Leone, Africa to Las Vegas, Nevada USA before an about-to-burn oil rig scenario brings Blofeld and Bond to another low-thrill confrontation as in "You Only Live Twice" from 1967.

The production budget held steady by producers Albert R. Broccoli (1909-1996) and Harry Saltzman (1915-1994) at roundabout 7.5 Million U.S. Dollar, compared to predecessor from 1969. "Diamond Are Forever" is able to succeed with the audiences, due to Sean Connery's starpower in order to double the worldwide revenues from 59 Million in season 1969/1970 to 116 Million U.S. Dollars in another winter-releasing holiday season 1971/1972.

The 2nd title song performed by singer Shirley Bassey as title sequence designed by reprising designer Maurice Binder (1925-1991) mark a highlight in the "007" movie series. Nevertheless the editorial of 120 Minutes feels inbalanced after the departure of former "007" film editor turning director Peter Hunt (1925-2002), who's participation may have resulted into finer outlined and accelerated final cut with an already fully-character-overloaded "James Bond" movie that even a charming bond girl as actress Jill St. John hardly makes any impressions beyond looks on a constant action-driven matured character of master-spy "007".

© 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC)

Reviewed by mark.waltz 4 / 10

The diamonds glisten but this isn't quite the genuine article.

With a gap of one film, Sean Connery returned to the role of James Bond for the last time (as part of the official series), and what he gets is certainly action packed, thrilling and completely entertaining, but seems to be minus the spark and the likability. He's on the case of a diamond smuggling ring run by another white cat carrying villain (Charles Gray) where there's more to the story than just diamonds. Along the way, Bond goes through a crematorium, car chases in Las Vegas and takes on two tough kicking women's gymnasts. Then, his encounters with Gray appear confusing thanks to the multiple lookalikes he has, several meeting some fascinating if gruesome demises.

Gray in drag makes Gene Hackman in "The Bird Cage" look like Marilyn Monroe, but fortunately that's just a quick blur. I wasn't crazy about the Bond girls in this entry, with an obnoxious characterization by Jill St. John and an unmemorable performance by Lana Wood. The two fast moving gymnasts may be challenging partners for Connery but I really wanted to see them get more than they ended up getting. Gray does make a fascinating bad guy, and there are some moments where you may be biting your knuckles may be sore from biting them. But many of the twists and situations are weak and unconvincing, and that makes this less likable. Still, there's another Shirley Bassey song to get the action started, indeed one of the best themes.

Reviewed by Movie_Muse_Reviews 4 / 10

Lackluster attempt to recapture "Bond" at its zenith proves nothing is forever

It feels good to have Sean Connery back, but that's about the extent of the joy to be had in "Diamonds are Forever." Producers Albert R. Broccoli and Harry Saltzman got their man, but the "James Bond" franchise got its first stinker. What starts out a fairly promising, grounded diamond-smuggling spy film flies off the handle as Bond descends upon Las Vegas and must stop another over-the-top villainous plot.

"Diamonds" was clearly intended to recreate the franchise's peak, like an early "best of" film. From Shirley Bassey's second series theme song to the return of director Guy Hamilton ("Goldfinger") and the nefarious Blofeld (now played by Charles Gray), Broccoli and Saltzman hit the reset button after "On Her Majesty's Secret Service," a move that paid financial dividends, but little else.

The story, for one, just kind of perpetually rolls forward without ever any setup, suspense or stakes aside from a few "how will Bond get out of this jam?" moments. Bond infiltrates a diamond-smuggling ring and teams up with American Tiffany Case (Jill St. John) in Amsterdam, unaware that a trail of bodies connected to diamond-smuggling lay in his wake thanks to the shifty and odd duo of Mr. Wint (Bruce Glover) and Mr. Kidd (Putter Smith). Bond and Case arrive in L.A. and Bond rendezvous with his CIA pal Felix Leiter (Norman Burton) before bringing the diamonds to a funeral home. Then Bond ends up in Vegas at a hotel called the Whyte House … anyway, this follow-the-diamonds story is not hard to keep track of but it feels like an endless goose chase with each scene assigned the sole purpose of putting the next scene in motion.

The action meant to punctuate the various plot points falls flat under Hamilton's direction in this film despite Hamilton's success in "Goldfinger." The car chases and the climactic oil rig scene take on an almost slapstick tone — and Bond's fight with two gymnasts flat- out does. And somehow, John Barry's score is missing the iconic "Bond" music at all the most opportune times. Way too much of the action is set to silence. Then there's the laughable special effects used in the end that highlight just how badly the movie has unraveled.

To be fair, "Diamonds" has its classic "Bond" touches and plenty of clever moments, gadgets and one-liners. Writer Richard Maibaum, who penned nearly every previous film, is involved yet again here to ensure that continuity. The franchise doesn't lose its mojo in "Diamonds" (if for no other reason than Connery's involvement), but these highlights are just floating adrift, unable to make themselves useful in bolstering the story.

Perhaps Connery is the greatest to ever play Bond, and the role fit him like a perfectly tailored tuxedo, but his mere presence alone and our familiarity with it doesn't carry "Diamonds are Forever." He's just kind of going along with it, not that the script gives him an alternative. Everyone involved in the film seems to assume the plot is simply a vehicle for Connery and the iconic parts of "Bond" to exist again, but they prove that not just any story is fit for 007. Unfortunately, it results in a lackluster, tacky sendoff for Connery's Bond.

~Steven C

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