The Film
The 1971 film adaptation of Diamonds are Forever substantially revised the plot and, with it, Tiffany's character. In the novel Tiffany is a vulnerable young woman with a sardonic exterior and an experience of the world beyond her years, similar in many ways to female characters in noir fiction. The cinematic Tiffany, however, while often wise-cracking, is also somewhat ditzy, slightly naive, and more money-grubbing. While she is still a diamond smuggler, she is now unwittingly working for Bond's archnemesis Ernst Stavro Blofeld and his terrorist organisation, SPECTRE. Bond arranges a partnership with her in disguise, but this time it is to investigate her role in Blofeld's latest criminal scheme. She initially believes that she and "Peter Franks" are going to make millions, but gets caught up in much more than she bargained for when the real Peter Franks arrives on her doorstep. In a change of pace for the series, Tiffany is the first Bond girl to be shown gaining pleasure from watching Bond undress (albeit off camera), and encourages him with remarks such as "So far so good, keep going" and (still believing him to be Franks) "Peter, I'm very impressed. There's a lot more to you than I had expected." From the moment she and Bond find Plenty O'Toole soaking in Tiffany's swimming pool, drowned mistakenly instead of her, Tiffany helps Bond follow the path of the smuggled diamonds until the trail leads to Blofeld.
By the end of the film, Tiffany has helped Bond defeat Blofeld, and the two go on a romantic cruise together. They are briefly interrupted by an assassination attempt by Blofeld's henchmen, Mr. Wint & Mr. Kidd, but Bond foils it, and the two sail off into the sunset.
In an attempt to leave Las Vegas with the diamonds, Tiffany hires a red Ford Mustang Mach 1 which is later driven by Bond.
Read more about this topic: Tiffany Case
Famous quotes containing the word film:
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)
“Film music should have the same relationship to the film drama that somebody’s piano playing in my living room has to the book I am reading.”
—Igor Stravinsky (1882–1971)