Diamonds r 4ever: commentary (part II)

But on second thought, maybe Connery’s lackadaisical introduction was a deliberate one. At the time audiences felt that the prior film, On Her Majesty’s Secret Service, sorely missed the original Bond’s presence. Critics today are far more generous to George Lazenby’s first and only portrayal of 007, but being that this was the first time the character had been recast, audiences weren’t so sympathetic. With Connery lazily introducing Bond in the cold open, perhaps this was the filmmakers’ way of telling the audience that the Scottish actor had always been James Bond.

Yet this might not have been the only attempt at erasing On Her Majesty’s Secret Service within the first minute and a half. Obviously nowhere in the cold open or in the rest of the film is Tracy Bond’s death mentioned. But also, recall where the Diamonds Are Forever starts: (presumably) in Japan. And where did Connery’s prior Bond film, You Only Live Twice, end? That’s right: Japan. You Only Live Twice ends and Diamonds Are Forever begins with Bond chasing Ernst Stavro Blofeld in Japan. Coincidence? I think not. There’s obvious problems with my theory, namely James Bond looks 50 years older, but you could almost assume that Diamonds Are Forever picks up right where You Only Live Twice ends, therefore bypassing On Her Majesty’s Secret Service altogether.

Unfortunately none of this matters. The franchise is noticeably absent of continuity which has led to many asinine fan theories, the most egregious one being that James Bond is a “code name”. So allow me to digress a moment to dispel this dumb ass idea. First off, the death of Tracy Bond is a major event in the series. It is also referenced numerous times in other films staring four different Bond actors: Lazenby, Moore, Dalton, and Brosnan. This would lead us to assume that James Bond is the same man across all the Eon produced films. Additionally, it is nonsensical to believe that each secret agent that takes up the mantle of “James Bond” would ALSO have been married to a woman named Tracy who was later killed. What are the odds? Of course Lazenby infamously breaks the fourth wall in OHMSS by referring to Connery (“this never happened to the other fellow”) but later he is seen going through various trinkets seen in prior films, implying that he and Connery are in fact the same James Bond. Therefore all pre-Daniel Craig actors, from Connery to Brosnan, are the same James Bond. The Craig era is a hard reboot of the series and therefore exists in a timeline of its own. It would make zero sense for MI6 to assign various agents across the decades the same name and code. That’s fucking stupid and this theory needs to be put to bed.

Anyways, back to the erasure of On Her Majesty’s Secret Service. Now I have zero proof of what I’m about to allege, but it is well known that by this time, the relationship between producers Cubby Broccoli and Harry Salzman was on the fritz. At this point in production history, the two were alternating lead producer responsibilities from one film to the next. Saltzman produced On Her Majesty’s Secret Service. That means Broccoli produced Diamonds Are Forever. I know what you’re thinking: “so you’re saying Broccoli tried to fuck over Saltzman by trying to make audiences forget On Her Majesty’s Secret Service?”. And the answer is yes, that’s exactly what I’m saying.

And folks, I’ve only discussed the first minute and half of this film. Now’s let’s move on to the other hour and 58 minutes….

TO BE CONTINUED

Bond 26: “The Skin of Your Teeth”

When I was growing up, I wanted to be only one thing: the next Tom Mankiewicz. The man who brought you gems like Hart to Hart wrote three James Bond films early in his career. After Peter Hunt controversially changed the formula with On Her Majesty’s Secret Service, Mankiewicz was brought in to update the franchise for what is perhaps the greatest decade in cinema: the 1970s.

The results were a mixed bag: Diamonds Are Forever, Live and Let Die, and The Man With The Golden Gun. But I think Mankiewicz largely succeeded. While most films from the decade zigged into gritty realism, Bond movies zagged in favor of over-the-top campiness. While this is a controversial opinion, I truly think this helped save the franchise. While Roger Moore isn’t my favorite Bond (or second, or third), I wouldn’t trade his portrayal or Guy Hamilton and Lewis Gilbert’s directorial contributions for any other alternative that might’ve better suited the times. Most Bond fans would agree with that sentiment. And we largely have Tom Mankiewicz to thank for that.

Which leads me to our current times. James Bond is dead. Of course he’ll come back. But how?

News is slim. While initially I put weight into the rumor that Aaron Taylor Johnson would be the next Bond, that now seems unlikely. I don’t expect the announcement of a new James Bond actor anytime soon.

But more importantly, where should the series go from here? While Daniel Craig’s portrayal was universally praised, I think it is generally accepted that producers need to aim for a lighter tone in the next era. That means no more renegade agents hellbent on revenge. Fans and audiences want a return to basics: a spy on a mission fuckin and killin for England.

The series has been in this position before. The end of On Her Majesty’s Secret Service had James Bond nearly in tears over the death of his wife. Saltzman, Broccoli, and head of United Artist David Picker said ‘fuck this! Bring Connery and Guy Hamilton back!”. Enter Tom Mankiewicz to punch up the script and the result was Diamonds Are Forever. It was two hours of Sean Connery lazily walking through cheap sets and even cheaper SFXs as Bond attempts to thwart the latest stupid plot from Ernst Stavro Blofeld. It was insane and bordered on parody. It was genius (and the third highest grossing movie of 1971).

So my advice to Michael G. Wilson and Barbara Broccoli is this: go the Diamonds Are Forever route. Americanize the setting a bit, bring in a comical and/or over the top actor for the villain and let’s have some fun for christ sake! And no need to address Bond’s “death” in the previous film. There’s no continuity to these movies anyway! Just do what you did in DAF. While it is assumed that Bond was avenging his wife’s death in the cold open, Connery was playing it as though he just enjoyed throwing guys through walls and strangling women with their bikini tops. The events of OHMSS aren’t addressed at all! And that’s what needs to happen in the next film, which I have titled The Skin of Your Teeth. Because one of the coolest James Bond moments was in The Living Daylights when Timothy Dalton says “whoever she was I must have scared the living daylights out of her”.

That was dope.

So in the new cold open, Bond barely escapes and M says “you escaped by the skin of your teeth.” Then the screen fades into the title sequence with naked women spinning around in silhouette and Adele returning to sing the theme.

Hell yeah dude 👍

That’s why I’m the next Tom Mankiewicz

Peter R Hunt

In honor of Pride Month, I’m giving a shout out to the most under appreciated filmmaker of our time: Peter Roger Hunt. While going through my latest obsession with the James Bond film franchise, it’s becoming clear that Hunt essentially invented how modern action should move.

Hunt was the editor for the first five films before being named the director of On Her Majesty’s Secret Service which is now largely considered the best Bond movie. While director Terrance Young (Dr. No, From Russia With Love, Thunderball) is credited as developing the look and feel of the James Bond character for the screen, Hunt, largely out of necessity, developed the “crash cut” editing style now widely used across the industry.

Hunt, who was openly gay, arguably left the biggest impact on filmmaking from the franchise making him one of the great unsung heroes in movie history. In the interview below, he stated that he wanted to make these movies “paperback films” which is probably the most apt description of those early Connery outings.