Diamonds Are Forever | art by Tony Stella
In the six-decade and soon-to-be-25 film oeuvre of the series, Diamonds Are Forever stands out as the most peculiar entry in the franchise thanks to its unintentional embrace of the surreal and the challenges it poses to its own pedigree and dogma.
Fifty years since its release and 20 years since I first saw it, The Last Picture Show remains one of the best portraits of the ways we often fail to be worthy of one another, and one of the most generous towards the myriad disappointments of growing up and growing old, especially for women.
In both Play Misty for Me and The Beguiled, Eastwood finds himself at the mercy of hysterical, horned-up women scorned. Not only does he play against type as victim to some tenacious broads, but the taciturn western hero—historically smoldering yet essentially sexless—presents in both films as a total horndog.