Sean Connery had essayed the role from the beginning with the first film in the series, Dr. No (in 1962), carried on with it through the "Bond-boom" in the 1960's and, though few admitted it at the time, his presence went a long way in securing the franchise's popularity. But, after five films, a personally problematic location shoot in Japan (no privacy!), extended production schedules and a feeling that he was becoming less essential with more elaborate sets and gadgets, and, most critically, being rebuffed at suggestions he be made a producing partner at EON productions, Connery called it quits. He also wanted to do other things, other more challenging acting roles, and the animosity between himself and producers Albert R. Broccoli and Harry Saltzman became so intolerable that Connery asked that the money-men be barred whenever he was before the camera, which, frankly, was most of the time.
His "retirement" lasted on movie. Broccoli and Saltzman, after Connery's rejection of doing the next one, On Her Majesty's Secret Service, cast a hither-to unknown to star and the result was a fine Bond film, but a noticeable reduction in ticket-sales (even though the film was popular). For reasons best left unsaid, the producers started casting about for who would star as Bond in the next film, Diamonds Are Forever. Roger Moore was considered, but busy making his series "The Persuaders". They approached Michael Gambon ("I was in terrible shape") Adam West (TV's Batman—"And I said, 'I'm sorry I can't do it, I'm tied up with something else.' Also, I thought it should be an Englishman."), Burt Reynolds (“I thought no American could possibly play James Bond,” he told Today. “But I didn’t, and I’m, you know, still working.”), even Clint Eastwood (“I thought James Bond
should be British. I am of British descent but by that same token, I
thought that it should be more of the culture there and also, it was not
my thing.”).
All of them said no, either due to commitments or their belief that Bond should be played by an English actor. This was not a breaking point for the producers for they announced that American actor John Gavin (who had worked in films directed by Hitchcock and Kubrick, and had starred in the 1968 spy thriller OSS 117: Murder for Sale) would play Bond.
The distributing studio, United Artists, was not impressed. The head of the studio, David Picker, wanted Connery back and was willing to put up the money for it. The deal was unprecedented.
"United Artists, through
president David Picker, offered Connery a staggering basic fee of $1.25
million and a 10% cut of the gross receipts from the first dollar the
movie made, rather than a share of the profits. Beyond the movie deal,
Picker promised Connery that United Artists would financially back, to
the tune of one million dollars apiece, any two films of his choosing,
either to star in or direct." The first, The Offence, was directed by Sidney Lumet. The second, a film of Shakespeare's Macbeth, was cancelled owing to a rival production by Roman Polanski.
Later, Connery sued the production company for alleged unpaid royalties in 1984, which shed further light on the deal:
The lawsuit
reveals that his new deal called for him to get 10 per cent of the gross receipts
from the first dollar the movie made, rather than a share of the profits. Court
documents show that there was a separate agreement covering the United Kingdom
and Ireland that gave Connery and additional 2.5 per cent of the gross
receipts from 'Diamonds.' That brought his total share to 12½ per cent of
every dollar the movie made. Plus, he would be compensated if the film went even slightly over its 18 week shooting schedule. Connery ended up donating his base $1.25 million fee (a record at the time) to establish the Scottish International Education Trust.
That's a lot of negotiation and legalese to explain why Connery left and why there was a gap between appearances. But, it was enough fodder for screenwriter Tom Mankiewicz to make hay with, chiding both the star and his character. Connery, supposedly, loved it. He particularly praised Mankiewicz's first fifteen pages.
For instance, there is a new element to the Bond-'M' dynamic that was not in the previous films of the series—a sharp-tongued disdain (done for comedic effect and which would carry on through the Roger Moore era). Bond is constantly being reminded that his presence has been absent (explained away as 'you've been on holiday, I understand") and chided mildly for his lack of duty. His seemingly-bottomless expertise is also undercut.
It is a scene buttressed by two sets of rolling eyes, which some would say is the best way to watch this particular entry of the James Bond series.
The Set-up: James Bond, MI6 Agent 007 (as well as star Sean Connery) has been "on holiday," which, we have observed, meant the dispatching of his arch-enemy, Ernst Stavro Blofeld (Charles Gray). Now, back in England, he has a briefing with the head of MI6, "M" (Bernard Lee) and the head of the nation's diamond syndicate, Sir Donald Munger (Laurence Naismith).
Action.
Note: The scene, as it plays in the film, is inter-cut with sequences involving the fey assassins Wint and Kidd disposing of the different couriers in the diamond pipeline. I've eliminated those parts as this post would have lasted forever...forever...forever...
Script deletions have been crossed out. Additions are marked in green.
INT. OUTER OFFICE - DIAMOND SYNDICATE BLDG. - LONDON - DAY
WE PULL BACK, revealing the imposing
corridor leading to the outer office of Sir Donald Munger.
M and BOND walk by cases containing diamond replicas. M is
in the process of giving a short lecture to the disinterested
BOND.
(pause)
He ushers them through a large, oak-panelled door marked:
DIAMOND SYNDICATE - CHAIRMAN, closing it behind them.
2 INT. SIR DONALD'S OFFICE - DAY
Elegantly furnished. SIR DONALD MUNGER, a distinguished
and middle-aged gentleman, rises from behind his imposing
desk. He has clearly met M before.
MUNGER: Please sit down.
M sits down in a chair facing desk. BOND stands. SIR DONALD crosses to an array of decanters.
MUNGER: Sherry?
BOND: Yes, thank you.
BOND sits, exchanges glances with M, irritated at Bond's winesmanship. SIR DONALD watches, smiles.
SIR DONALD'S VOICE continues over ensuing African scenes.
INT. - UNDERGROUND DIAMOND MINE - DAY
MINERS loosen clay using picks, drills, etc. Others load chunks of it into carts. GUARD in F.g. watches closely.
CAMERA CLOSES IN on MINER who has just shuttered chunk of clay with his pick. He looks around, sees GUARD'S back is momentarily turned. MINER deftly palms pebble-like rough diamond from among clay pieces.
INT. SHED - MOVING BELT - DAY
Chunks of clay on belt bringing them to crusher.
INT. SHED - ANOTHER MOVING BELT - DAY
Crushed clay carried to diamond recovery table. An oily substance makes diamonds stick to surface while the rest of the material moves on.
EXT.-HOSPITAL BUILDING - DAY
WORKERS and PERSONNEL entering and leaving.
INT.-DENTISTS OFFICE - DAY - PATIENT in chair
The DENTIST stands over MINER we saw palm diamond. DENTIST goes into MINER's mouth with forceps, comes out with small, glittering diamond, hold it up to dental spotlight, nods, opens lid of his instrument sterilizer, drops the diamond in.
INSERT - STERILIZER - DAY
Instruments in bubbling water. Visible at bottom are other diamonds of varying sizes.
BACK TO SCENE
The DENTIST takes a piece of white paper, flattens several banknotes on top of it, lays two aspiring tablets on notes, then makes a twist, hands it to MINER.
[WINT AND KIDD DR. TYNAN SCENE ELIMINATED]
INT. SIR DONALD'S OFFICE - DAY
SIR DONALD stands by the window. BOND and M sit.
[WINT AND KIDD MRS. WHISTLER SCENE ELIMINATED]
Words by Tom Mankiewicz and Richard Maibaum
Pictures by Ted Moore and Guy Hamilton
Diamonds Are Forever is available on DVD and Blu-Ray from 20th Century Fox Home Entertainment.
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