Diamonds Are Forever (1971) – Esoteric Analysis

Film poster.

Film poster.

By: Jay Dyer

JaysAnalysis has analyzed 007 in the past, as well as Howard Hughes in light of Scorcese’s The Aviator, but could there be a connection between the two?  What if Ian Fleming was encoding an explosive, real-world conspiracy involving Howard Hughes, JFK, Aristotle Onassis and the famed kidnapping?  Not only is there evidence to suggest this, the film version of Fleming’s 1954 novel Diamonds Are Forever subtly suggests much more.  We know Ian Fleming was high level Naval Psy Ops and involved in numerous covert operations, and as I’ve argued many times, Fleming’s novels and the film versions, in their own respective ways, elucidate these covert operations that touch on everything from black market smuggling, to actual espionage and assassinations.

Fleming’s inspiration for the novel stemmed from meetings and discussions with former MI5 head, Sir Percy Stillitoe, then working for the DeBeers diamond empire.  Combined with these tips, as well as information he received from wealthy socialite William Woodward and Los Angeles police intelligence on organized crime and smuggling operations, Fleming composed the 4th Bond novel in 1954 as a literary means of detailing the dark world of precious gem and jewel markets.  To add intrigue to this already intriguing tale, Fleming was also approached by Aristotle Onassis for a film version of either Casino Royale or Dr. No, with Onassis desiring to be a part of the funding (Ian Fleming by Andrew Lycett, pgs. 336-7).  No stranger to Hollywood, Onassis was also a friend of numerous Hollywood heads, including the Greek film executive Spyros Skouras.

With these connections, my thesis here, in concert with the fascinating insight of Basil Valentine, is that Diamonds Are Forever the film provides a crucial insight into the coded reference of Willard Whyte as a stand in for Howard Hughes.  As I argued in my Scorcese piece, Hughes was intimately tied to the CIA through Robert Maheu, an intelligence-establishment figure who emerged from the CIA-dominated advertising world.  It is possible Maheu was involved in the reported kidnapping escapade of Hughes, which the Gemstone Files allege was orchestrated by Onassis, leading to Hughes being spirited away to the magnate’s lavish island, Skorpios.

On this note, there is an interesting parallel no one else has considered to the 1965 postmodern novel The Magus, by John Fowles.  In the story, a young English Oxford lad is (intentionally) led to a fictional Greek island named Phraxos, where a wealthy Greek magnate and former Nazi collaborator arranges elaborate psychological and theatrical operations to “test” Nicholas’ will.  Playing with both reality and classical mythology, Conchis (the Greek) eventually breaks Nicholas’ resolve, having completely altered the protagonist’s paradigm of reality.  Rather than freely choosing his lascivious dalliances, Nicholas discovers his own story has been organized and directed by troupes of actors and academics at the behest of the elite mastermind.  Could this be a coded reference to the Gemstone File?  While it is not clear, Onassis is rumored to have contacts with Eva and Juan Peron in Argentina.  Billionaires, Greek Isles and possibly coded, occulted messages? It’s quite a tale – one Fleming may have decided was worth telling.  I wrote of The Magus as follows:

Fowles' The Magus.

Fowles’ The Magus.

The book is spiced throughout with references to Tarot cards, Greek deities, Baphomet, gnosticism, ritual initiation, the Eleutherian mysteries, etc.  Conchis eventually reveals to Nicholas, when he’s drugged, captured and placed in the judgment role that the real secret is science.  While Nicholas is supposed to “judge” the rest of the Illuminists present under the sign of the Pentagram and Baphomet, Nicholas ends up confounded as the group of doctors and PhDs present dissect his entire life with psychoanalysis.

Nicholas is then forced to watch a pornographic film with the girl he loves that has been intertwined with his own time spent on the island, recorded by numerous secret cameras.  Here Bentham/Foucault-style Panopticism emerges, as the prisoner is subjected to the all-pervading gaze of the eye of the elite.  Nicholas not only cannot escape their influence and power, he is also held captive to the narrative they may construct about himself and his life.  In short, he is helpless, though he thinks he is “free” in his atheism and nihilism.

Maurice, then, turns out to be a combination of the trickster/magus, as well as the prince/ruler, with his unlimited wealth.  He can hire any actors, recreate any scenes, arrange any events he so desires.  No matter where Nicholas goes, or what he does, he cannot escape Maurice’s designs.  Every time Nicholas tries to construct a “mask” or excuse or identity for himself, he is reminded of the existential dictum that he is “condemned to be free.”  He continues to operate in Sartrean “bad faith” and “inauthenticity” to the end, until he appears to concede that he is helpless.

In regard to Diamonds Are Forever the 1971 film, it is a curious note that Whyte, the Hughes stand in, is said to have been kidnapped and/or never emerging from his penthouse for years.  As it turns out, it is the inimical Bond villain Blofeld, and particularly Ernst Stavro Blofeld, that is behind the diamond smuggling plot, moving in on Whyte’s aerospace operations.   If Basil’s thesis is correct, then Stavro could be a composite of Onassis and Niarchos, the brother-in-law of Onassis and rival shipping magnate.  Stavros Niarchos is reported to have been a Bilderberg member, and a close associate of the Rockefeller Foundation certainly.  These considerations are admittedly speculative, but if we can believe anything in the Gemstone Files, these connections seem to back up that possibility.  A worthy tidbit also comes to the fore in the history of the fictional SPECTRE organization, where we read of a 007 board game:

“In 1983, a highly successful James Bond tabletop RPG was released. With the films as inspirations, the stories were adapted for players. Minor changes to plots and villains were made; for example, Wint and Kidd were freelance assassins working for SPECTRE. They in fact leased out services to other terrorist organisations and various crime syndicates. The most noted changes were to SPECTRE: Blofeld’s name was changed to Karl Ferenc Skorpios, and he was given a greyhound instead of a white cat; the organisation itself was renamed TAROT (Terrestrial Acquisition, Revenge, and Orchestrated Turmoil), with the face cards representing various departments. This was due to the copyright issues referenced above. Victory Games worked with Eon productions (the film producers) for the rights to Bond, and were told they were not allowed to negotiate with McClory for the rights to SPECTRE, hence the hasty renaming.”

Deleted scenes show the Hughes reference more clearly

When we consider Hughes’ close connection to the CIA through operations like Project AZRORIAN, which sounds just like a SPECTRE-style operation from a 007 film, we can certainly presume much more was being conveyed here, possibly even questions relating to the moon mission, given the seemingly out-of-place shot of Bond stumbling across a sound stage in Hughes’ facility where actors are staging a moon landing. Is Fleming saying the moon mission itself was a Psy Op?  Speculation is welcomed here, but the real message of the diamonds centers around exotic weaponry along the directed energy lines.  The same theme re-emerges in the 1974 film adaptation of Fleming’s The Man with the Golden Gun, where alchemy and techne combine to reveal the Pentagon’s darkest future tech.  Given that Jackie married Aristotle Onassis 5 years after JFK was gone, could this signify a mafia-mandated marriage tradition?   Perhaps Fleming knew the answer about this and the real SPECTRE.

For more on this, check out my interview with Basil on 21 Wire in the second half.

15 Comments on Diamonds Are Forever (1971) – Esoteric Analysis

  1. Interesting theory 008….
    Also, it’s worth noting that Aristotelis ‘Telly’ Savalas – a Greek-American actor -played Blofeld in ‘ On Her Majesty’ Secret Service’, released in 1969 – moon landing year.

  2. Not really relevant to the article but still interesting: Jill Saint John was girlfriend to both Henry Kissinger and “supermobster” Sidney Korshak. Who was the bigger mobster? Well that’s an open question. Kissinger definitely has more blood on his hands. In any case, the Kissinger-St. John – Korshak connection illustrates the intersection of organized crime, entertainment and politics.

    A funny story told in Gus Russo’s book Supermob is when Sidney Korshak purchased a Rolls Royce for his mistress Jill Saint John and someone goofed by delivering the luxury automobile to his home where his wife was there to receive it. She thought it was a gift for her and Sidney just left it at that.

    BTW I understand that Bain Capital got its start by stealing billions of dollars from Howard Hughes’ medical foundation.

  3. Zack Steiner // July 14, 2015 at 10:15 pm // Reply

    Interesting observation on the moon landings regarding them being an I mmaculate psy-ops. It’s my contention that aside from the obvious political gains and enhancement of the military industrial complex apparatus, the fake moon landings were an alchemical/occultist stagecraft of the highest order, far surpassing even the 9/11 trauma-based mind control objectives.

    Curiously, the staged landings were not about inducing mass trauma; actually quite the opposite. It’s not an accident that Brzeinski’s well known “Between Two Ages” so synchronistically coincides with “The Age of Aquarius” (NASA title for the moon explorations) … dawn of a new age. The main objective was a final and certain blow to the Logos, the Center. In 1890, Nietzsche declared that “God is dead.” Eighty years later, NASA, with the moon stagecraft show, put God in a coffin and buried him. What I mean is that the primary objective was a battle for human consciousness that we can become Gods ourselves, and there are no limits to our innate powers. (This is a very ‘masonic’ theme, and the Apollo mission were replete with innumerable masonic references). Of course it’s all smoke-and-mirrors, for it’s all like a skyscraper built on quicksand. A massive lie, a giant hoax, a monumental deception. Given that we can’t even send an astronaut beyond the Van Allen belts, it’s clear that we’re far less than Gods.

    The (fake) landings did nonetheless cause a massive shift in human consciousness, further entrenching the dubious foundations of the religion of scientism.

  4. thalindrome // July 14, 2015 at 11:37 pm // Reply

    Jay, I think you missed it on this one. Ian Fleming’s novel did not contain anything about the moon landings, or about Willard Whyte. These elements were added by the film’s creators. Wikipedia cites the DVD commentary:
    “The original plot had as a villain Auric Goldfinger’s twin, seeking revenge for the death of his brother. The plot was later changed after Albert R. Broccoli had a dream, where his close friend Howard Hughes was replaced by an imposter. So the character of Willard Whyte was created, and Tom Mankiewicz was chosen to rework the script.”

  5. thalindrome // July 15, 2015 at 2:21 am // Reply

    It isn’t necessary to conclude that Ian Fleming somehow leaked info on a conspiracy for the movie.

    This biography of Cubby Broccoli describes how Broccoli kept in touch with Howard Hughes by means of remote control from Hughes’s hermetically sealed Las Vegas penthouse suite.

    “The wealthy and aging Howard Hughes, accompanied by his entourage of personal aides, began moving from one hotel to another, always taking up residence in the top floor penthouse.”-Wiki Howard Hughes.

    This is exactly what the movie presents. It makes more sense that Broccoli would base WW on someone he knew.

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