Posted 02 December 2007 - 01:05 PM
DIAMONDS ARE FOREVER (Guy Hamilton, 1971)
After the George Lazenby-starring ON HER MAJESTY'S SECRET SERVICE (1969), which despite it's stigma as a flop was actually a huge success, Sean Connery was persuaded to return for a hefty one-off payday as James Bond in a film designed to take the 007 series back to the more light-hearted, easy going days of GOLDFINGER (1964 - director Hamilton also helmed that picture, and an early draft of the film featured Goldfinger's twin brother as the villain). Truth be told, DIAMONDS ARE FOREVER is arguably the first mediocre Bond film. Connery is aged and overweight, but on the other hand, his sense of fun is infectious, as is Richard Maibaum and Tom Mankiewicz's morbidly witty script. The action scenes (there's both an excellent punch-up in an elevator and the most underwhelming climax to any Bond film ), Bond girls (a progressively dumber if sexy Jill St. John, Lana Wood) and villain (Charles Gray's camp Blofeld) - all important assets of a Bond film - are all forgettable. The plot is difficult to follow and ultimately nonsensical, although the early portion of the film follows Ian Fleming's under-rated, fourth Bond novel quite closely. Add to the assets John Barry's breezy score (including the excellent theme song by Shirley Bassey - who also sang the theme from GOLDFINGER, of course) and Ken Adam's distinctive sets, and some memorable individual scenes (Bond making his way to Blofeld's suite and a hard-edged beginning to the pre-credits sequence), and you have a Bond film that entertains but fails to enthrall. (Even the gay assassins Wint and Kydd, who are initially amusing, quickly become tiresome.) With it's emphasis on episodic action scenes and humour above plot, characterisation and suspense, it could be said that the Roger Moore era starts here, yet there are quite a few films of Moore's that hit the spot higher.