Customer Reviews

Diamonds Are Forever - 2-Disc Ultimate Edition

5 star:		(5)
4 star:		(0)
3 star:		(5)
2 star:		(1)
1 star:		(0)

 

 

Sean Connery returned in the seventh Bond film after George Lazenby's one movie interlude. Of all the Connery Bond films, this one was probably the most jam-packed with goodies. Of course, the goodies may distract some from the plot line, but they sure are fun.

The basic story, with numerous distractions, is that Ernst Blofeld is using diamonds to create an ultra powerful space laser that will allow him (not that you would have guessed) to blackmail the world for more millions than anyone could count in 1971. This Bond film has numerous subplots that nearly become vignettes in themselves.

At the very beginning of the movie we have an opening scene where Connery rips the bikini top off a beautiful woman while quipping that he wants her to get something off her chest. After a flash of breast, clearly seen in slow motion on DVD, the next scene leads to Bond finding Blofeld in a secret lair. The purpose of the secret lair later turns up as one of the subplots in the movie, and partially explains why Blofeld is hard to kill (can we say doubles?). The opening scene is loaded with tongue-in-cheek remarks that become the hallmark of this film, and presage the Roger Moore tendency to do the same.

The opening credits feature Shirley Bassey of "Goldfinger" fame belting out "Diamonds Are Forever," another wonderful Bond song.

Once you get into the actual movie, the details are so numerous that to describe them all would take more space than I have available. Some highlights:

- Jill St. John is beautiful, looking really great in a bikini in this movie.
- Mr. Kidd and Mr. Wint, two hit men that normally do a good job, but struggle with Bond, are the first overtly gay men in a Bond movie.
- Thumper and Bambi; no Disney characters here, and must be seen to be believed.
- Bond's Mustang Mach I; holy shades of the early 70's.
- Gadgets, gadgets, and even more gadgets.
- Here's a trick. Starting out by tipping your car up on the right two wheels, and somehow popping it up on the left two wheels during the chase.
- Exiting from a hidden underground tunnel through a camouflaged exit that Batman would have been ecstatic to have.
- Desert chase in a moon buggy.
- Being trapped in an underground pipe and chased by an automatic welder.
- Climbing up the outside of a hotel, with walls that are angled out.

The closing scene of this movie will seem familiar. Just as in "Thunderball," we have an assault on an enemy stronghold at sea. Last time it was ships and boats attacking a heavily defended Disco Valente. This time it's helicopter gun ships assaulting an oil platform with machine guns.

The Ultimate Edition provides extremely clean picture, worth having if you are either upgrading from VHS or have the first DVD release of this movie. If you have the Special Edition, you may wish to pass this version by.

The Ultimate Edition does have some features not present in the Special Edition. There are two more deleted scenes, one of Shady Tree being killed and one of the Mustang coming from the alley in the proper direction. There is footage of the oil rig attack that was deleted. Test footage of the satellite and explosions are included. Extensive footage of the elevator fight scene forms its own feature. A 1971 BBC interview with Sean Connery is another feature. Note that the Ultimate Edition claims that all these features were never previously seen on DVD, even though four of the deleted scenes were included in the Special Edition. One of my favorite features in the Ultimate Edition is the slide show feature used for the image gallery.

As with the Special Edition, an audio commentary and two featurettes are included.

This movie is one of my personal Bond favorites. However, I like it for the science fiction gadget aspects more than being a spy movie. As a spy movie it is probably too contrived and cute, and while occasional tongue-in-cheek may relieve tension, here it becomes too omnipresent for some. I rate this movie 5 stars because it is just way too fun and has many cool gadgets for 1971. This movie is worthy of your attention and a bowl of popcorn.

Enjoy!

Connery's last Bond film for Broccoli and Saltzman is very familiar stuff. Diamonds Are Forever is one of those once popular Bond films whose reputation among the faithful seems to drop every year as OHMSS's rises. Certainly it makes for a poor follow-up and the weakest of the `Blofeld Trilogy.' Its biggest sin is the incredibly lazy pre-title sequence of Bond tracking down and disposing of one Ernst Stavro Blofeld. Aside from the lazy TV-movie look, this isn't a man hunting the murderer of his wife but someone having a bit of a laugh at work. The sequence only really makes much sense if you regard it as a sequel to You Only Live Twice that's determinedly pretending OHMSS never happened after Lazenby incurred the producers' wrath by walking out on the series.

Once you can get over the massive shift in tone from the previous film, or the fact that the film rarely makes much of an effort in its determination to part you from your money, it's still moderately entertaining in its very undemanding way. But there's no disguising the fact that after the first half the film becomes increasingly reliant on Connery's starpower, leaving a shoddy patchwork of half-hearted setpieces and weak puns as the filmmakers imaginations dry up. Unfortunately Connery walks through it all with the satisfied laziness of a man who knows he's being paid too much and is on triple-overtime while Guy Hamilton directs like a man determined to finish on the dot of 6:00pm come hell or high water rather than lose those restaurant reservations. It's particularly telling that when Bond trips slightly when walking with M after the title sequence they didn't even reshoot the scene - too much of the film has a "Nah, that'll do" feel to it.

It's also one where the rejected motive for the film's diamond smuggling - to stockpile enough to perpetually blackmail all the diamond companies with the threat of flooding and destabilizing the market - is rather more promising than the giant space laser-weapon that they opt for instead. It's not helped by the distinctly unthreatening villains, who take camp to new lows. Despite having a few good quips, by turning Charles Gray's Blofeld into a virtual standup comedian it's hard to take him seriously long before he turns up in drag, while the film's pair of camp killers, Wint and Kidd, are an even more unmenacing pair, played purely for cheap laughs. The sight of Putter Smith shuffling towards the camera with a pair of burning kebabs in the post-plot murder attempt that became a regular feature of Moore's outings and which here looks seemingly tagged on as if an afterthought, certainly qualifies as one of the series lowpoints. Still, there are a few nice moments like the opening smuggling montage or the fight in the elevator, John Barry delivers a nice score and there are a couple of nice Ken Adams designs - particularly the Slumber Chapel of Rest, designed like a stained-glass diamond. Connery's worst Bond film is still better than Moore's worst, but you really need to dial your expectations down low for this one.

The two-disc Ultimate edition boasts a fairly modest upgrade in extras from the previous release - a 1971 BBC interview with Connery, a featurette on the elevator fight, a few alternate and expanded angle scenes, some test footage and an additional couple of deleted scenes.

Yes, I know he was back one last time in "Never Say Never", but that was not one of the syndicated films. At best it was a poor remake of "Thunderball"

"Diamonds are Forever" I have to say has a love/hate relationship for me. I love Connery in the role of Bond. For me, he was the only real Bond. But I also found the movie frivolous and empty. For those who have bothered to read the novels, this is one of the better stories. But the screenwriters and producers sure gummed it up.

Earlier films had villains who were vile. This Blofeld (same guy who played Henderson in "You Only Live Twice") is just laughable. Wint and Kidd in the book were terrifying shadows of revenge. Those in the movie were just pathetic, punstering queers.

The Bond series was always known for special equipment, but here they went overboard (as they did with later Roger Moore stories). It's also somewhat unrealistic for the office staff (Moneypenny and Q) to be on location with Bond when MI6 is supposed to have an entire agent network at it's disposal. It was almost like 'the office takes a holiday' theme.

It's a small wonder when most affectionadoes are asked, "what is your favorite Bond film"; the answer in general is "From Russia With Love", "Goldfinger" or "Thunderball". The magic was right in those films and why the producers want to mess with a winning formula is beyond me. Some say that this film was a spoof of the earlier more serious films. I think, let the spoofs (Matt Helm, Derek Flint) do their thing, and keep Bond doing his.

There were some good parts to the flick ... Bond's fight with Franks, Bond mountaineering outside the Whyte House and .... I guess that's it. The plot is the same old tired 'hold the world for ransom' type thing which is so overdone that it's tiring.

The music of John Barry is a plus as is the title song by Shirley Bassey. The rest of the movie needs an enema.

*** Recommended with reservations for Connery fans.

~ pjm ~

When I first saw DIAMONDS ARE FOREVER I left the theatre slightly shaken and definitely stirred. That was in December 1971. I remember getting the soundtrack album for Christmas and that was about the only thing I thought was good about this film, but even that wasn't much consolation for my unsettling reaction to this Bond movie. Something about DIAMONDS ARE FOREVER was very wrong.

As I had sat watching the film I kept thinking why is this film going out of its way to be funny? Why were all the villains acting so hokey? It was as if I walked into a Matt Helm movie. Looking back, it was if the filmmakers were making a parody of their own series.

The first six Bond films were played straight. If there was any comedy it was never diverting or done at the expense of the story line. It was always peripheral to the scene and meant to enhance the scene, not be the focus of it. In fact all the humor of the first six Bond films usually emanated from James Bond himself. He frequently threw off paradoxical droll commentaries to accentuate the scene at hand, but always took his job seriously and was dedicated to the bitter end of each assignment.

The villains in first six Bond films always played their parts with deadly seriousness lacking any humor from within with the exception of the "bad girls," Pussy Galore, Fiona Volpe and Helga Brandt. Honor Blackman, Luciana Paluzzi and Karin Dor, respectively, played their roles as the female counterpart to the mystique of Connery's Bond. They were never silly as they exuded their cool sexuality with wry aplomb. Given the right time they each would have given Bond his comeuppance without batting an eyelash. Male or female, the villains in first six Bond films were all dangerous and a threat to James Bond not to be taken lightly.

The villians in DIAMONDS ARE FOREVER, with the exception of Joe Robinson as Peter Franks, never present any real threat. They seem to be there for the sole purpose of getting some chuckles like performers in a vaudeville act.

Bruce Glover as Mister Wint and Putter Smith as Mister Kidd, Blofeld's henchmen, are not even pale shadows to Robert Shaw's Red Grant, Harold Sakata's Oddjob, Philip Locke's Vargas or Yuri Borienko's Gruenther.

Blofeld's "front man" Burt Saxby, played by veteran actor Bruce Cabot, comes to his end in a most ridiculous scene, again just for laughs after he gives a credible performance. Other earlier "front men" such as Guy Doleman as Count Lippe and Teru Shimada as Osato were portrayed believably and disposed of just as believably in THUNDERBALL and YOU ONLY LIVE TWICE. The preeminent mouthpiece for Blofeld was Ilse Steppat as Irma Bunt in ON HER MAJESTY'S SECRET SERVICE. She ultimately and tragically murdered James Bond's bride.

Blofeld's scientists also can't seem to retain credibility for the entirety of the film. Joseph Furst performance as professor Metz falls completely apart in the final act like some misguided schoolboy. David Healy as the Vandenburg Launch Director is just ludicrous. It's all just supposed to be so very funny.

When you think back to DR. NO and the likes of Professor Dent (Anthony Dawson), Mr. Jones - the chauffeur from the airport (Reggie Carter), the "freelance" photographer for the Daily Gleaner (Margaret Le Wars), Miss Taro (Zena Marshall), Sister Rose (Michele Mok) and Sister Lily (Yvonne Shima) the odds were definitely against James Bond. In "Diamonds Are Forever" the villains are a no-show.

Almost every scene in this film is either played with a comic slant or is directed as pure hokum. One scene that is played straight is when Bond slaps Tiffany Case across the cheek demanding the identity of her contact after finding the body of Plenty O'Toole in the swimming pool. The fight scene in the elevator between Bond and Peter Franks is also played straightforward until Tiffany Case enters the scene. That's about it.

The plot is very confusing and it really doesn't matter because the film does not take itself serious.

Many Bond enthusiasts were not pleased with Charles Gray's performance as Blofeld. He was not the same Blofeld we saw, or didn't see in FROM RUSSIA WITH LOVE, THUNDERBALL or YOU ONLY LIVE TWICE. He was closer to Telly Savalas' performance in OHMSS but infinitely much more sophisticated. Given the tone of this film Gray's performance was on target. The continuity of the Blofeld character in this series, which showed signs of crumbling, disintegrated completely in this film.

I have never understood why so many critics through the years have stated that this was Sean Connery's best performance as Bond. It looks like he had fun making it, but again he was just going through the motions and delivered a good self-parody of his previous performances of the character.

John Barry's score was much more lightweight, not in substance, but in sound. He appropriately reflected the tone of the film. The string and percussion sections are much more prominent here than in earlier Bond films. Actually, it is one of his better Bond scores. The only weak part being the helicopter attack on the Blofeld's oilrig. He reverted back to his 007 theme, which he had used too much better effect in THUNDERBALL.

Ken Adam's designs for the Willard Whyte penthouse and Blofeld's cavernous mud bath lair were familiar and welcome additions from the man who helped set the visual style for the series.

There are just so many things different about this film from what I was used to seeing. The editing, costumes cinematography, plot, gadgets, and so forth were all changed. Somehow it seems very nostalgic, entertaining and a lot of fun today. Time does strange things.

This film is what changed the entire coarse of the series and was actually the vanguard for the Roger Moore's Bond.

This is one of my favorite James Bond movies. This and On Her Majesty's Secret Service are probably my two favorites. This film has a lot of the plot taking place here in the USA. It is the most light hearted of the Connery films by far. It also features a 71 Mach 1. You can't go wrong with a hot red Mustang or a hot redhead like Jill St.John!!! I could watch this film over and over again!!

this movie is a gift for a friend. loved it thrilled with it. makes me happy, it arrived in great shape, quickly .. thanks

The return of Sean Connery in a humorist mood is odd after 'On Her Majesty's Secret Service'. This is the simplest Bond film. It is not as exciting, but it is entertaining and fun to watch Bond's world of menace, terror, humour and sex. Look out for the sadistic scene, where Bond gets thrown around by Bambi and Thumper! Also the character of Willard White, the rich, vegas eccentric, is a hoot! At this point I'm tired of Connery because he doesn't seem to be in the game anymore and his performance is uninspired. And the script is too simplistic, like the coda at the end when Bond and Case the female heroine rid of the remaining villains, it's small-minded and not effective. But the film transfer, yet again is superb!

When I first saw DIAMONDS ARE FOREVER I thought it was esoterically good from an eclectic viewpoint. It was the last Connery James Bond movie I had viewed. I had already watched the first 5 that he made. They were a little too serious. DIAMONDS ARE FOREVER was more like Roger Moore's James Bond movies. DIAMONDS ARE FOREVER was very different from the earlier ones, especially George Lazenby's stand-alone ON HER MAJESTY'S SECRET SERVICE. George Lazenby is the definitive James Bond in my mind. DIAMONDS ARE FOREVER was closer to Roger Moore's THE MAN WITH THE GOLDEN GUN and the exceptional and misunderstood A VIEW TO A KILL.

Watching the movie I kept finding it so much more humorous from the earlier Connery ones and very enjoyable. All the villains were acting with a breezy and carefree caricature of what a James Bond villain should act like. It was as if I put on a Moore Bond movie. I think they were making a satire of their own series and the 60s spy craze.

The first six Bond films were played too straightforward. If there was any comedy at all it was played in a very indirect and dull manner. It was never lively but it was never done as a detriment of the story. It was always outlying the scene and meant to enhance it, not be the focus of it. This was wrong. It should have been central to the plot in such a way to advance each story in a more interesting way for greater audience interaction.

The villains in first six Bond films always played their parts with deadly seriousness most of the time. They lacked any humor from within themselves. Some of the villains were a bit quirky like Kleb, Benz and Oddjob. The idiosyncratic Kleb added some comic relief as she tried to kick Bond to death with a poisonous steel-pointed shoe in FROM RUSSIA WITH LOVE. "She's had her kicks," remarks Bond. Not bad! Otherwise the villains in first six Bond films were all too serious and too threatening to James Bond. They should have lightened up.

The villains in DIAMONDS ARE FOREVER with the exception of Peter Franks, are all real unadulterated unflappably cool! They all make it that much more enjoyable and entertaining. Bruce Glover as Mister Wint and Putter Smith as Mister Kidd, Blofeld's henchmen, are the hippest! Look at Red Grant and Vargas who were much too serious. When you think about it however, Vargas, in THUNDERBALL was sort of funny going around all the time in that black outfit in broad daylight! Actually he did not look too cool at all!

Blofeld's other bad guys in DIAMONDS ARE FOREVER include Burt Saxby, Shady Tree, Mrs. Whistler, Slumber, Bambi and Thumper. Burt Saxby comes to his end in a funny scene; he gets fired literally by Willard Whyte. Whyte was supposed to be guarded by Bambi and Thumper, but Bond gets them all wet in Whyte's swimming pool. They don't stand a chance against Bond! There are just so many good actors in minor parts in this film. Don't forget Klaus Hergersheimer "checking radiation shields."

Even the good guys are plentiful in amusing roles. Jimmy Dean as Willard Whyte and Norman Burton as Felix Leiter are good. Jill St. John as Tiffany Case and Lana Wood as Plenty O'Toole are among the best "Bond Girls." "Q" has a good scene with Tiffany Case in the casino at a slot machine.

Many Bond fans didn't like Charles Gray's performance as Blofeld. He was not the same Blofeld we saw in "From Russia With Love," THUNDERBALL or YOU ONLY LIVE TWICE. He certainly was not the same Blofeld we saw in ON HER MAJESTY'S SECRET SERVICE. In fact there is a bit of a continuity problem with Blofeld as seen consecutively in YOU ONLY LIVE TWICE, ON HER MAJESTY'S SECRET SERVICE and DIAMONDS ARE FOREVER. However, that is a topic for discussion at some other point. The main point here is that Charles Gray was the best and perhaps definitive Blofeld.

This was Sean Connery's best performance as Bond. It looks like he had an amusing time coming back. He delivered an exceptional self-parody of his previous performances of James Bond 007.

John Barry's score was much better than his earlier ones. In fact, it is one of his better James Bond scores. It is fun, moving, and dynamic and yet pure Bond! He brought back his 007 theme to score the helicopter attack on the Blofeld's oilrig. We didn't hear that again until MOONRAKER. Let the good times roll.

Ken Adam's designs for the Willard Whyte penthouse and Blofeld's mud bath hideout were similar to sets that were to come latter in the series. His best design was for the lunar surface set used at Willard Whyte's laboratories in the Nevada desert. The pipeline where "Bond smells a rat" was also very good.

This film set up the Roger Moore James Bond epics that were to come. DIAMONDS ARE FOREVER is truly a paradox in the cinematic James Bond lineage. It is a contradiction of everything that came before and established the James Bond mystique. Yet, in the final analysis everything works in DIAMONDS ARE FOREVER in a self-made world of complete absurdity.

Jokes are substituted for wit in this series entry that should have followed up the intensity of OHMSS. Beefy and balding Sean's in it for the paycheck. You may find yourself wishing Lazenby'd gotten another shot. After creepy Donald Plesance and Telly Savales' playfully brooding menace as the previous two Blofelds, Charles Gray is droll but not terribly effective here. And this is one of the least engaging heroines in the series. Great extras and docs though.

Sean Connery's swan song in the Eon series of 007 films takes a Fleming story about gangsters from Las Vegas and diamond smuggling and infuses Blofeld, two gay killers and a ditzy redhead. The grand finale is a fight on an oil rig. A Howard Hughes type character is played the king of pork, Jimmy Dean. A car chase where a Mustang Mach I is driven through an alley on two wheels (the set piece of the film) at the conclusion of a chase through the streets of Vegas that demolishs 28 cars. Entertaining but less typical of the earlier films than the Roger Moore era to come.