In the cinematic saga of James Bond, Sean Connery bids farewell to the iconic 007 role in “Bond is Back!” This marks the end of Connery’s distinguished tenure as the suave secret agent.
Indulge your senses in a symphony of flavors that dance on your palate, pure culinary delight.
The departure of the legendary actor from the Bond franchise adds a poignant chapter to the spy series, leaving audiences nostalgic for Connery’s charismatic portrayal.
As the curtain falls on this era, Connery’s contribution to the Bond legacy remains indelible, etching his name into cinematic history.
Bond is Back! Sean Connery’s Farewell to 007
The recent online release of the Spectre trailer, the 24th installment in the James Bond series by Eon Productions, has thrust the Bond franchise back into the spotlight.
Established in 1961 by producers Albert “Cubby” Broccoli and Harry Saltzman specifically for the Bond films, Eon Productions is an acronym for “everything or nothing.”
The trailer suggests that Spectre will continue the tradition of delivering a cinematic spectacle exceeding two hours, featuring gunfights, car chases, and explosive sequences, as famously described by SCTV’s Big Jim McBob and Billy Sol Hurok, “blow up good, blown up real good!”
Notably, this film marks the return of SPECTRE (Special Executive for Counter-Intelligence, Terrorism, Revenge, and Extortion) as Bond’s formidable adversary, a plot element absent from Eon’s Bond films for 44 years.
The origin of this development dates back to 1961 when Ian Fleming, the creator of James Bond, based his latest novel, Thunderball, on an unapproved screenplay he had co-written with Kevin McClory and Jack Whittingham.
McClory and Whittingham sued Fleming for plagiarism, leading to a court decision that granted McClory the film rights to Thunderball.
In 1965, when Broccoli and Saltzman licensed the rights for the fourth Bond film, they agreed that McClory would regain remake rights after a decade.
When McClory sought to capitalize on these rights by launching a competing Bond franchise, legal battles with Broccoli and Saltzman ensued for nearly a decade.
This legal conflict resulted in Eon losing the rights to use SPECTRE and its leader, Ernst Stavro Blofeld, in their Bond films.
Consequently, the script for the 1977 Bond film The Spy Who Loved Me had to undergo last-minute revisions to eliminate references to both.
In 2013, the Broccoli family resolved the dispute with McClory’s estate, allowing SPECTRE to return to the Bond franchise.
Sean Connery’s involvement in McClory’s project played a crucial role in the potential realization of the Thunderball remake.
Even today, Connery remains the undisputed James Bond for many fans of both the movies and novels.
While the Bond series undeniably catapulted Connery to stardom, it’s widely acknowledged that he developed a strong dislike for the franchise that played a pivotal role in his success.
Unlike actors like Basil Rathbone and Jeremy Brett, who grew weary of portraying Sherlock Holmes, Connery’s discontent wasn’t directed at the character of Bond himself.
Instead, it stemmed from his frustration with the control exerted by producers Broccoli and Saltzman.
Despite his growing aversion, Connery’s affection for Bond led him to seek a farewell to the role on his terms.
This opportunity presented itself in 1983 when Warner Brothers and producer Jack Schwartzman collaborated with McClory to create Never Say Never Again, a retitled remake of Thunderball.
Connery’s wife suggested the title, inspired by his often-quoted declaration never to play Bond again.
This film marked the first severe James Bond movie outside the purview of Eon Productions, with the 1967 spoof Casino Royale being best left unmentioned.
The existence of Never Say Never Again is a testament to the persistence of McClory and then-novice Schwartzman, who produced the film for Warner Brothers.
Despite ongoing legal conflicts with Eon Productions throughout the movie’s production, Schwartzman assembled an exceptional filmmaking team.
This team included director Irvin Kershner, fresh from directing The Empire Strikes Back, screenwriters Lorenzo Semple Jr., Dick Clement, and Ian La Frenais, cinematographer Douglas Slocombe, and composer Michel Legrand, who collaborated with lyricists Alan and Marilyn Bergman on the catchy title song performed by Lani Hall.
From the mid-80s to the mid-90s, while still under Warner Brothers distribution, Never Say Never Again was the most accessible Bond film, frequently appearing on local television stations’ weekend matinees.
However, after being acquired by MGM from Warner Brothers and licensed by Sony as part of their alternate Bond franchise, the rights to Never Say Never Again ended up with the Broccoli family and Eon Productions.
This ownership was not without controversy, as they wished the film had never been made. Despite a “Collector’s Edition” release on DVD and Blu-Ray in 2009, it is notably more expensive to purchase than other Bond films.
It can still be rented online at Amazon as an “Instant Video” for a cost ranging from $9.99 to $12.99.
The film’s availability may dwindle over time as Eon Productions endeavors to downplay its existence, akin to the determination in the USSR’s revisionism of Russia’s post-revolution history.
It’s regrettable that, despite the plot being a reiteration of Thunderball, with SPECTRE seizing nuclear missiles from NATO to blackmail the world, Never Say Never Again possesses distinct qualities setting it apart from other Bond films.
Connery’s dry performance reflects a relaxed and laid-back demeanor, suggesting he enjoyed himself more than during his tenure with Broccoli and Saltzman.
Connery’s good spirits were evident, especially in his willingness to humorously address his age.
At 52, he looked far better than his last performance for Eon Productions twelve years earlier in Diamonds Are Forever.
Connery’s age in Never Say Never Again introduced the concept of Bond being viewed as a politically incorrect anachronism by his superiors.
This theme became commonplace in later Bond films with Brosnan and Craig.
Connery’s maturity, at 52, lent credibility to the idea compared to Brosnan and Craig, who were 42 and 38, respectively, during their Bond debuts.
Despite Never Say Never Again having a limited budget, only a fraction of Eon’s Bond pictures, the filmmakers, particularly Kershner, creatively handled the constraints.
Instead of relying solely on spectacular action set-pieces, the emphasis shifted to characterization and suspense, reminiscent of the original Fleming novels.
The scriptwriters cleverly injected humor to compensate for the minuscule budget, notably in the portrayal of MI-6 weapons master Q, played by Alec McCowen.
In contrast to the sophisticated Q in Eon films, McCowen’s Q, nicknamed “Algy,” lacked a state-of-the-art workshop, and the weapons he managed were neither futuristic nor foolproof.
McCowen’s delivery of the film’s best line, welcoming Bond back into action with a hint of humor, added a memorable touch.
The movie features an impressive trio of villains portrayed by celebrated performers of different nationalities.
Max von Sydow excels as Blofeld, head of SPECTRE, bringing a sartorial advantage to the character.
Klaus Maria Brandauer portrays philanthropist Maximilian Largo with a neurotic vulnerability reminiscent of Peter Lorre, creating a frightening and poignant character.
Barbara Carrera steals the show with her over-the-top portrayal of ruthless assassin Fatima Blush, blending elements of a film noir femme fatale with Disney’s Cruella De Vil.
Other notable portrayals in Never Say Never Again include Bernie Casey as Felix Leiter, Bond’s American CIA counterpart—a historic casting as the first time a black actor took on this role.
Edward Fox embodies the prissy, aristocratic M, Bond’s boss, while comedian Rowan Atkinson makes his film debut as the bumbling British consulate Nigel Small-Fawcett.
The only outlier among these seasoned performers is 29-year-old Kim Basinger, portraying Largo’s naive mistress, Domino.
While she may seem out of depth among these veterans, it’s fair to note that her performance is on par with the typical acting seen in a “Bond girl.”
Ultimately, watching Never Say Never Again offers a distinct experience compared to the “official” Bond films.
Unlike the seemingly Red Bull-induced, non-stop thrill ride of Eon Productions’ entries, Never Say Never Again is akin to a laid-back and affectionate reunion with an old and cherished friend, complete with drinks—vodka martinis, naturally, shaken, not stirred.
Spectre reportedly exceeded budget, reaching $350 million, making it the most expensive Bond film.
Notably, Peter Lorre was the first Bond villain, portraying La Chiffre in a 1954 adaptation of Casino Royale, the pilot episode of an American live television anthology called Climax!
This marked the initial dramatization of a Fleming novel, viewed today as a campy historical curiosity, especially considering Bond (played by Barry Nelson) was reimagined as an American intelligence agent known to his colleagues as “Card Sense Jimmy Bond.”
[3] Acknowledging that Diana Rigg, formerly Mrs. Emma Peel on The Avengers, was the most talented actress to play a “Bond girl” in On Her Majesty’s Secret Service.
Unfortunately, opposite George Lazenby considered the least talented actor ever cast as Bond, Dame Rigg found herself virtually acting in a vacuum.
