‘Reflection in a Dead Diamond’ Review: While James Bond Awaits a Reboot, French Pair Pay Eye-Popping Homage to His ’60s-Era Imitators

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In a sense, each scene in Hélène Cattet and Bruno Forzani’s “Reflection in a Dead Diamond” holds as much value as an actual cubic zirconia. The vivid spectacle we’re currently enjoying from this French duo, who previously brought us “The Strange Colour of Your Body’s Tears”, is nothing short of breathtaking. Their latest work maintains their reverence for the pop-art culture of the ’60s cult cinema, a genre they adore. This time, their main influence is the Italian pulp comics known as fumetti neri. These comics gave birth to the masked Diabolik character and a distinctive subgenre of crime and adventure films – primarily Bond-inspired imitations with vibrant colors reminiscent of giallo films.

Reflecting” on the cinematic and comic book portrayal of a life filled with globe-saving adventures, one can’t help but imagine how such a life might seem when looked back upon, as if a Bond-esque secret agent were staring out at the sea, reminiscing about his past. To put it another way: Things may appear far away, but they are also fragmented and shattered like pieces of broken glass. In this film, the second shot features the Italian actor Fabio Testi’s eyes filling the expansive aspect ratio – a more dramatic (albeit less impactful without initial setup or tension) introduction than Charles Bronson’s debut in “Once Upon a Time in the West,” where he was seen peering up from his harmonica.

Sergio Leone was considered a superior film director compared to many others in the industry, although Mario Bava’s 1968 film “Danger: Diabolik” is still widely appreciated for its retro charm. However, it’s the visually daring cinematic style of the entire spaghetti western genre that captivates Cattet and Forzani. It’s evident that they also appreciate the cheesy elements found in spy movies, such as cars equipped with machine guns, disguises akin to “Mission: Impossible,” and a ring with X-ray capabilities that can penetrate walls and read poker hands on cards. The directors even pay homage to Robert Brownjohn’s iconic opening credits for early James Bond films, featuring seductive silhouettes and footage projected onto various body parts.

Similar to Quentin Tarantino, Cattet and Forzani are masters of pastiche, drawing inspiration from numerous obscure European films known as Europuddings. They’ve marked the intriguing visuals and concepts that spark their interest, then blend these choice elements into a tribute filled with reverence. However, unlike Tarantino, they seem to lack the innate sense of spectacle, which gives Tarantino’s work its unique flair, derived from his use of B-movies as raw material. In contrast to the “Reflection” pair, he understands that audiences still crave suspenseful narratives and characters worth caring about.

In this movie, the dialogue seems lifeless, as if it was dubbed poorly, which has been a common issue in similar films. The acting appears stiff, even from talented actors like Yannick Renier, who are reduced to overly dramatic poses and tightened jaws. Additionally, the plot is difficult to understand or follow.

In this rendition, Testi portrays retired secret agent John Dimas, now in his 70s, lazily lounging on a rugged coastline of the French Riviera. His gaze is drawn to a brunette in a fiery red swimsuit, prompting him to request a beverage. This scenario transports us into “cinematic purity,” where dialogue takes a back seat and visuals carry the narrative: Dimas orders a beer, followed by an intimate close-up of golden liquid being poured, mirroring the frothy waves lapping against the woman’s body. As she casually removes her top, revealing a diamond nipple piercing, it triggers a whirlwind of memories from his past exploits in his mind.

It becomes apparent that the characters played by Renier and Testi depict the same individual, encountered at different points in Dimas’ life. This could be due to his memory loss or perhaps because he is now recalling everything again, as he has returned to the hotel where the oil tycoon (Koen De Bouw) he was tasked with protecting met a tragic end, murdered by his arch-enemy, Serpentik, who dresses in a catsuit. In this film filled with obscure cult references, the name and appearance of Serpentik are a tribute to the 1968 movie “Satanik.

It’s revealed that Serpentik was Dimas’ most cunning enemy, with her menacing claws, razor-edged fingernails, and venomous “cobra’s kiss” ring, Serpentik left a path of death in her wake. While not many watch James Bond imitations for the plot, the directors of “Reflection” prioritize the gadgets, the attractive women, vintage costumes and music, and undeniably, the masculine allure of a man whose charm no woman can resist.

Everything gathered together here, blended with a generous helping of self-satire, appears as if it’s a compilation of an artist’s entire career. Each scene follows a specific pattern, much like several shots in a trailer, while others rely on the audience’s familiarity with crime thriller conventions. For example, there’s the alluring coworker (Céline Camara) in the disco dress who can trigger a red button to scatter sequins like a thousand ninja stars – this creates a striking scene, but it doesn’t contribute to the plot development. While these visual jokes are amusing, the movie is so devoted to its genre that nothing feels grounded in reality.

In contrast to Serpentik’s appetite for disorder, Dimas was tasked with preserving order. Even though it seemed that Serpentik had emerged victorious in “Reflection,” which is complex and largely symbolic, Dimas believed he had defeated her long ago. However, these adversaries rely on each other for growth, and the movie beautifully illustrates this interdependence. As the story unfolds, the directors cleverly weave together various elements, such as comic book pages and a film-within-a-film titled “Mission Infinity,” starring Hervé Sogne as the generic hero John D., into the postmodern mix, creating an intriguing fusion of “Death in Venice” and “No Time to Die.

Diamonds might initially captivate us with their brilliance, yet over time, they can lose their charm. Despite the “Reflection” duo making each scene shine beautifully, there seems to be a lack of coherent storylines in many of them.

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2025-02-17 00:47