Diamonds Are Forever marked a return to what felt like proper Bond: the glimmering title and Shirley Bassey theme tune, Goldfinger director Guy Hamilton, and – of course – Sean Connery. But when fans talk about Connery as the definitive James Bond, Diamonds Are Forever is very much not it – rather, it’s a daft, overblown, Americanised Bond that competes with Pierce Brosnan’s invisible car for 007’s worst, weirdest moment in almost 60 years of screen adventures.
Getting Sean Connery back was no easy (or cheap) feat. Connery’s relationship with the Bond producers, Cubby Broccoli and Harry Saltzman, had soured over money. On the set of his previous Bond film – You Only Live Twice – Connery had even demanded that Saltzman be removed from the set.
Connery might have thought Lazenby behaved like a prize s––t but he also knew “it wasn’t all his fault” – a backhanded shot at the producers. Connery understood the pressures and demands of being James Bond. The acrimony between Connery and the producers was both public and personal. “I don’t know whether it’s part of the Scots mentality,” said Roger Moore about the falling out, “but Sean seems to hold onto a grudge.”
Other potential Bonds were scouted. The explorer Ranulph Fiennes had a five-minute interview. Roger Moore was discussed but was unavailable. Diamonds Are Forever came very close to having an American Bond: Burt Reynolds was suggested; Adam West had a meeting; and John Gavin – best known for his role in Psycho – was signed and even announced as the next James Bond.
But David Picker, an executive from United Artists – the Bond distributor and financial backer – wanted Sean Connery. He also understood Connery’s distrust of Broccoli and Saltzman. The producers’ money, he noted, had been renegotiated and increased during the early Bond films; Sean Connery’s, however, had not.
Picker made Connery an offer: a $1.25 million fee, plus, a cut of the gross and a two-picture deal for any two projects of his choice. At one point, Ursula Andress – the original Bond girl – was dispatched to try and talk Connery back into the role. There were other conditions: Connery wouldn’t have to speak to either producer (though they did make up) and he’d get an extra $145,000 for every week the production overran. He was no stranger to frustrating delays. “I’ve been frigged about too much on other Bond pictures,” said Connery.
