How a Las Vegas dream and a record salary brought Sean Connery back to Bond
In short: After Sean Connery declined to return for the 1969 film On Her Majesty's Secret Service, producers faced a casting crisis. They eventually lured him back for 1971's Diamonds Are Forever with a then-record salary of US$1.25 million, fundamentally shifting the production's tone and setting toward an American-focused, neon-lit spectacle.
The development of Diamonds Are Forever was marked by creative pivots and high-stakes negotiations. Following George Lazenby's departure after a single outing, United Artists insisted on Connery's return, paying him a salary that he used to establish the Scottish International Education Trust. The script underwent drastic revisions; initial drafts featured a revenge plot involving Goldfinger's twin brother, but the concept was abandoned after producer Albert R. Broccoli dreamt that his friend, the billionaire Howard Hughes, was replaced by an imposter. This dream inspired the character of Willard Whyte, and screenwriter Tom Mankiewicz was brought on to craft a narrative better suited to American sensibilities.
The film's production was heavily influenced by its Las Vegas setting, which served as a primary location due to Broccoli's friendship with Hughes. This collaboration allowed the crew to secure empty streets and access iconic venues like the International Hotel, which doubled as the Whyte House. The aesthetic of the film, particularly the gaudy design of the Slumber Mortuary, was directly inspired by production designer Ken Adam's visits to local funeral homes. The production was also notable for its casting choices, featuring Jill St. John as the first American Bond girl and Charles Gray as Ernst Stavro Blofeld, despite Gray having previously appeared in the series as a different character.
Beyond the glitz of Las Vegas, the film's plot centered on a space-based laser weapon, a departure from the source material by Ian Fleming. The production faced logistical hurdles, including the need for last-minute rewrites to satisfy British censors and the challenge of filming night scenes under the city's neon lights. Despite the complex production history—which included Connery's intense schedule of filming at night and playing golf by day—the film was a commercial success. It remains a pivotal entry in the series, bridging the gap between the earlier Connery era and the subsequent tenure of Roger Moore.
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- Summary by Intellect · source: Diamonds Are Forever (film)
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