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This Bond film (the 3rd best; the others being From Russia With Love, Goldfinger and 4th would be Dr. No) has exotic locale, superb soundtrack, formidable bad-guy, the hottest real Bond gal (Claudine Auger as Domino), other hot chicks - Martine Beswick and Lucianna Paluzzi, and Sean's toupee still looked good before his final three Bond adventures.

There may have been too many Bond effects underwater in this one, but everything else about it makes up for the scuba scenes, which are necessary to the "plot". Adolfo Celi (Largo) had presence, great white hair, an eyepatch, and figured out Bond almost immediately. It flows with best scenery (Bond-wise) and had no major problems, although a tad long. A 7 out of 10. Recommended for 1965!

Thunderball is directed by Terence Young and adapted to screenplay by Richard Maibaum and John Hopkins from a story by Kevin McClory, Jack Whittingham and Ian Fleming. It stars Sean Connery, Adolfo Celi, Claudine Auger, Rick Van Nutter and Martine Beswick. Music is scored by John Barry and cinematography by Ted Moore.

The fourth outing for James Bond (Connery) sees 007 assigned to the Bahamas to try and thwart SPECTRE's number 2 operative, Emilio Largo (Celi). Largo has hijacked two atomic bombs from NATO and sets about extorting huge ransoms of money. If his terms are not met he will blow up major cities.

It was meant to be the first James Bond film, but Thunderball became part of a long drawn out legal battle between Kevin McClory, Jack Whittingham and Ian Fleming. Eventually an out of court settlement was reached and Thunderball rolled into theatres in 1965. After the colossal success of Goldfinger, and Bond as a pop culture phenomenon, producers Albert Broccoli & Harry Saltzman knew that they had to try and up the ante to keep Bond on top. They were also acutely aware that many imitators were springing up on film and TV. These facts led Bond to go epic, with the producers going for a more is more approach, however, Thunderball is a considerable step down from Goldfinger.

As with many other Bond movies, Thunderball polarises opinions amongst the fans. Some are happy to laud the pure entertainment value on offer, the reliance on hardware and gadgets viewed as an aid to the Bond persona and not a hindrance to his humanistic worth. Technically the film is often exceptional, be it on or under the water, director Young really crafts some Bondian quality. The exotic Bahamas locale is beautifully realised by Ted Moore, Barry's blunderbuss score is one of his best for a Bond movie and Connery has charisma in abundance. The girls, too, are delightful, particularly Auger who positively sizzles with sexuality. Bond's by play with M, Q and Felix Leiter (Nutter very enjoyable and more charismatic than Cec Linder in Goldfinger) is well scripted and performed. While for those who adore the gadgets and daring stunts? Thunderball excels with its assortment of trick vehicles, under water weaponry and aids and radioactive pills! Without doubt the near $6 million budget is all up there on the screen.

Yet for other fans, and this is the category I fall into, it's a film of too many flaws to be considered one of the greats. Whilst it's undeniable that when it hits the high points it excites royally (the extended underwater battle is eye popping brilliance), but there's too much languid passages in the overlong running time. Young himself lamented that he couldn't get the pace right on account of the plot structure. The other major problem for me is Celi as Largo. Visually he's striking, with his white hair and eye patch, he well looks villainous, but physically he's wrong and someone you can't buy into as a man able to not only take on Bond, but to overcome him as well! While the finale lacks a grandness to reward those having sat for over 2 hours with the film. But what do I know? Film made a stunning $141 million at the box office! And the fanaticism that began with Goldfinger reached epic proportions here.

The more is more approach worked for the makers, and it ensured that for the time being Bond was going to stay in this epic, gadget effects strewn groove. Connery wasn't happy, he had voiced his concerns about Bond becoming characterless, while he hated the mania surrounding the films and his role within them. He would return for the next instalment, You Only Live Twice, question was, would it be his last performance as Bond? 7/10

Two nuclear warheads are stolen from a British Vulcan by the secret criminal organization known as SPECTRE. With only a small time to meet the blackmail demands the British send James Bond (Sean Connery) to the Bahamas to try to find the warheads and the people responsible. Anyway, what I liked about this film was that it had just about all of the ingredients that have made this series so entertaining. It has action, suspense, sly humor, innovative gadgets and a bevy of beautiful women to include Claudine Auger (as "Domino) who won the title of "Ms. France" in 1958, Luciana Paluzzi as the evil assassin named "Fiona", Molly Peters as the attractive masseuse named "Patricia" and Martine Beswick ("Paula") who played the role of one of the gypsy women in the James Bond film "From Russia with Love" in 1963. It even won an Academy Award for special effects. Along with that, I especially liked the underwater battle between the frogmen at the end of the film. In short, I thought that this was an enjoyable film in an equally enjoyable series. Definitely recommended for all fans of James Bond.

This is the fourth Bond film, and it's a bit of a step back. SPECTRE has stolen two nuclear weapons from a NATO aircraft, and is blackmailing the west for £100M. Bond must investigate leading him to Bahamas.

Adolfo Celi is playing the bad guy Largo. He's not as scary. The most interesting thing about him is an eye patch. The pace is a lot slower this time around. It's mostly due to the massive amount of underwater work. It's a big technical challenge, but it doesn't maintain the tension. The action is slower underwater, and the people can be obscured by the action. I guess the underwater work was cool back then, but it doesn't make it great viewing today. As far as gadgets, the Bond franchise keeps it coming with a rocket pack. There isn't an evil henchman like Oddjob. There isn't an iconic Bond girls in this one although they are very beautiful. It's a small step backwards for the franchise.

After the legendary success of Goldfinger , expectations were understandably astronomical for the next Bond installment, with 007 producers determined to consistently push the envelope, delivering a "bigger and better Bond" than ever before. Unfortunately, this determination proved to be both the strength and weakness of Thunderball, the resulting sequel. On the whole, the film is by no means a failure, but the producers' determination to cash in on elements which made Goldfinger such a success led to overkill excesses which sink Thunderball's overall quality.

The plot is even more outlandish than Goldfinger's radiation of the fort Knox gold reserve, pushing the threat to a more global context with the destruction of major world cities by atomic weapons. As well as being a particularly poignant plot device at the time, in the midst of the Cold War, the gist of Thunderball may seem quite familiar to those who frequent more modern political action thrillers, such as The Sum of All Fears. Despite the larger than life premise, Thunderball remains far more grounded in reality than several later Bond exploits (including You Only Live Twice and Moonraker) which tended to drift into being overly silly and ludicrous. Thunderball still takes itself relatively seriously, with several surprisingly dark moments, which help counterbalance the slightly comical yet still thrilling sight of of seeing Connery in a jet pack, and dramatically aid the overall quality of the film.

However, Thunderball's significantly larger budget is mostly misused through underwater photography sequences, which, although interesting to look at (and were likely moreso back in the 1960s, where such a sight was very seldom visible to the public eye) for the most part fail to further the plot in any way, and drag on excruciatingly long. However, the film does boast some strong cinematography (and some stunning locations), the action sequences (including a tense chase sequence through a Mardi Gras parade) are solid, and an unreasonably catchy Tom Jones title track surprisingly helps not hinders the film.

Unfortunately, for however many of the film's previous strengths, the film descends into utter chaos during the film's final quarter with a painfully repetitive and indecipherable underwater battle (it is increasingly difficult to tell which underwater army is which, who is winning, or why it should even retain our interest) a boat chase flaunting special effects which have dated decidedly unfavourably, and laughably inexplicable character motivations seemingly thrown in to finally tie up the increasingly unravelling mess. It is a disappointment indeed to see what started out with such promise sink into such a banal conclusion.

The character of Bond himself is surprisingly reduced to far less screen time than is usual for a 007 film, which is unfortunate, as Connery gives arguably one of his strongest performances as Bond, oozing self assurance and panache, yet an unprecedented darkness amidst the one liners ("I think he got the point" being the most classic). This time around Bond not only gets hurt, but is not afraid to hurt, unflinchingly bestowing surprisingly vicious physical punishment against his adversaries

The supporting cast proves to be a very hit and miss affair. While former model Claudine Augere certainly looks the part of a sixties Bond girl, but unfortunately for the most part retains the static lack of emoting also associated with them. Adolfo Celi's eye-patched frown makes a visually iconic Bond villain, and is suitably menacing, but as the film progresses, he loses his threat element more and more, eventually degrading to a flimsy carbon copy of an adversary by the final act. Luciana Paluzzi steals the show from all but Connery, making one of the most chilling Bond femme fatale figures in the franchise. Paluzzi, despite the potential to coast by on her sensual looks, refuses to play the part on autopilot, and exudes laudable charisma and threat throughout. The unfortunately named Rik Van Nutter makes the most generic and forgettable CIA agent Felix Leiter of the Bond series, but Bernard Lee and Desmond Llewelyn are on top form as the ever endearing M and Q.

As overlong and let down by some unfortunate overuse of budget and dated special effects as the film may be, Thunderball is nonetheless a noteworthy and suitably engaging early Bond effort. Connery himself, in one of his most charismatic renditions of the role is enough to merit watching, and the film for the most part runs along at a brisk enough pace to retain audience interest. While the film is less likely to enthrall those who are not already Bond purists, fans of the character or series should easily be able to extract moments of enjoyment from Thunderball.

-6/10