There’s a surprisingly good movie here once you strip out the cliché jungle stuff and the racist elements. The diamond of the title is actually a MacGuffin, just enough to get you started on two parallel tales of revenge.
George Segal is a mining engineer-cum-adventurer and Ursula Andress, daughter of mine owner Harry Andrews, as far from the traditional jungle heroine (except in one regard) as you could get. She saves him from crocodiles, rescues him from jail and quicksand, swims across a hippo-infested river and is a better shot than him (or anybody for that matter) with a rifle. This is female empowerment with a vengeance.
Suspected of stealing the diamond, he is hunted by ranger Ian Hendry, Segal’s love rival, who intends to win Ms Andress back using the simple expedient of killing the thief. Lying in wait is all-purpose rogue Orson Welles who seeks revenge on Hendry. The second unit had a whale of time filming anything that moved – lions, leopards, zebras, giraffes, buffaloes, monkeys, antelopes, the aforementioned hippos and crocodiles and what looked like a cobra – and at one point everything does move in coordinated fashion if you can call a stampede coordinated.
But the main focus is an Ursula Andress who constantly confounds Segal’s sexist expectations. Docility is her disguise. Anytime she appears to be doing what she’s told you can be sure she’s planning the opposite. While Segal does have his own specific set of jungle skills, he often looks a fool. But they do make a good screen partnership and their dialogue is lively.
Hollywood spent millions of dollars trying to create screen chemistry between various stars and although it seemed to work very well in the industry’s golden age with Clark Gable and any number of MGM female stars, Bogart/Bacall and Tracy/Hepburn and I guess you could chuck John Wayne-Maureen O’Hara into that particular mix, the formula seemed to have gone awry by the 1960s discounting the Doris Day/Rock Hudson combo, big budget romances like El Cid (1961) and Doctor Zhivago (1965) and an occasional home run with whomever Cary Grant was romancing on screen. So it was usually hit-or-miss whether any sparks flew between the stars.
Andress had certainly been a European femme fatale par excellence as seen in Dr No (1962) and The Blue Max (1966), but it was certainly not a given that she would more than hold her own for an entire picture. Segal was nobody’s idea of a romantic leading man although the notion had been given a tryout in The Girl Who Couldn’t Say No (1968) with Virna Lisi. But here the whole enterprise works in an It Happened One Night vein with the supposedly superior male recognizing that perhaps his companion was more than a match.
Harry Andrews and Orson Welles both try to steal the picture, with polar opposite characterizations, Andrews loud and menacing, Welles soft and menacing. You can tell Scottish director Sidney Hayers (The Trap, 1966) was an editor because he cuts for impact and mostly does an efficient job of sticking to the story. Supposedly, Orson Welles directed his own scenes, but that might be to make sure he got to hog the camera. He has enough choice lines and bits of business to keep him happy and gives his venomous character a camp edge.
The casual, incipient, racism is harder to ignore. It is both verbal and physical with Johnny Sekka, Segal’s buddy, who actually has the diamond, bearing the brunt and being brutally whipped.
Despite my reservations, this is well constructed and keeps one step ahead of audience expectation with plenty twists to subvert those, although the music by Johnny Dankworth gets in the way, offering musical cues opposite to what is required.
As it is a jungle picture there is the obligatory heroine’s bathing scene – and to balance the books on that score Segal does whip off his shirt at one point. Except for the clichés, it would have gone higher in my estimation for by and large it is well done and Andress is once again (see The Blue Max) a revelation.