Bond No. 1

Never Say Never Again got its title because Sean Connery had said in the 1970s (shortly after Diamonds Are Forever) that he would "never" do another Bond film. However, in 1983 he was persuaded to return to the role for a one-off special, a remake of his fourth entry Thunderball, and his wife rather humorously said to him that in the future he should make a point never to say never again. This film actually came out close to a Roger Moore entry in the series (Octopussy), and although Connery had more admirers as 007 than Moore, it was surprisingly Octopussy that scored a bigger box office hit.

Connery's Bond is older and more vulnerable than we remember him. His boss, M, doesn't hold him in very high regard and actually suggests that he take some time off in a plush health spa. During his time here, Bond uncovers a strange plot and the further he delves into the mystery the more he discovers. It seems that his old adversaries SPECTRE, fronted by the nefarious Blofeld (Max Von Sydow) have stolen two nuclear warheads which they will detonate if they are not paid an extortionate ransom. Chief overseer of this hideous plan is Emile Largo (Klaus Maria Brandeur), and Bond pursues Largo around the globe in an attempt to stop him, visiting such places as Monte Carlo and North Africa during the course of the mission.

The music by Michel Legrand is poor by series standards. It sounds rather similar to his music for the sleazy 1981 movie Your Ticket Is No Longer Valid, and is really ill-suited to this Bond production. However, in terms of villains, they've come with a couple of great ones for this film. Largo, as personified by Brandeur, is smooth but deadly, and hench-woman Fatima Blush (Barbara Carrera) is uncommonly disturbing. Rowan Atkinson also has a fairly good role as a dim-witted agent assigned to "help" Bond. The big action sequences are quite good, especially the horse chase around the North African sea-fortress and the motorbike chase, although some of the underwater moments are tough to understand because it's hard to figure out who is who behind the diving masks.

"Never Say Never Again", as everyone knows by now, was the second Bond film to be released in 1983, and was nearly as big a hit as "Octopussy" was (that film was still playing in some theaters when "Never Say Never Again" was released). Lacking the distinctive gun-barrel opening and famous Bond theme among other distinctive features of the EON franchise films, this lacks not only the feel of the EON Bond series, but of Fleming's work, leaving a seriously bloated mess of an American action thriller which happens to feature Bond as the lead character.

Why? That's the first question anybody should be asking about this film. A cynic (which I probably qualify as) would say 'for the cash', others might say it was just to get Connery back as Bond and give him a proper goodbye. Some might say it was in retaliation to the direction the Moore films were headed in, although "For Your Eyes Only" is a far superior and far less bloated film than this, so that argument doesn't quite work.

Of course, there's a lot to dislike here. Connery has moments of inspiration where he slips right back into character, but for most of the film he just looks really old and slightly ridiculous, which fits the plot but doesn't make his performance any less tired. Still, I'd argue that this is a better send-off for him as Bond than "Diamonds are Forever". Kim Basinger is a terrible Bond girl, and as much as I like Rowan Atkinson he shouldn't be anywhere near a Bond film. In addition, the villains here fall flat as well.

That said, "Never Say Never Again" is not a film I can hate, even if I wanted to (and I never want to hate anything), simply because little of it comes off as especially bad yet all of it comes off as flat, bland, and uninspired, and far, far too American for a Bond film. It's just sort of... there being the bloated, over-long, but not terrible film it is. I don't count it as a 'Bond film', as it doesn't feel remotely like one, but even just as an action thriller it doesn't quite work.

5/10

The year 1983 saw a strange phenomenon; two rival Bond films. "Octopussy", starring Roger Moore, was part of the official Cubby Broccoli Bond franchise. "Never Say Never Again", made by a rival producer, is, apart from the awful "Casino Royale", the only Bond movie which does not form part of that franchise. Its big attraction was that it brought back the original Bond, Sean Connery; its title reputedly derived from Connery's remark after "Diamonds Are Forever" that he would never again play the role. Some have complained that Connery was, at 53, too old for the role, but he was in fact three years younger than his successor Moore, who not only made "Octopussy" in the same year but went on to make one further Bond film, "A View to a Kill", two years later.

The film owes its existence to the settlement of a lawsuit about the film rights to Ian Fleming's work. It is perhaps unfortunate that the terms of the settlement included a clause that the new film had to be a remake of "Thunderball", as that was perhaps not the greatest of the Connery Bonds. (A remake of "Dr No" or "Goldfinger" might have worked better). The plot is much the same as that of the earlier film; the terrorist organisation SPECTRE, acting together with a megalomaniac tycoon named Largo, have stolen two American nuclear warheads and are attempting to hold the world's governments to ransom by threatening to detonate them unless they receive a vast sum of money. It falls to Bond, of course, to save the world by tracking down the missing missiles.

The film is fortunate in that it has not just one but two of the most beautiful Bond girls of all, Barbara Carrera as the seductive but lethal Fatima Blush and Kim Basinger as Largo's girlfriend Domino who defects to Bond's side after learning of her lover's evil plans. A number of the Bond films have a plot that hangs upon the hero's ability to win over the villain's mistress or female accomplice- there are similar developments, for example, in "Goldfinger", "Live and Let Die" and "The Living Daylights". In the official series, Bond's ally is normally regarded as the female lead, but here Carrera, playing the villainess, is billed above Basinger, who was a relatively unknown actress at the time. Basinger, of course, has gone on to become one of Hollywood's biggest stars, whereas Carrera is one of a number of Bond girls who have somewhat faded from view.

Of the villains, Max von Sydow makes an effective Blofeld, the head of SPECTRE, but Klaus Maria Brandauer seemed too bland and nonthreatening as Largo, except perhaps during the "Domination" game, a more sophisticated variant on those violent computer games such as "Space Invaders" that were so popular in the early eighties. Brandauer can be an excellent actor in his native German, in films such as "Mephisto" and "Oberst Redl", but he does not comes across so expressively in English.

One of the film's features is that it both follows the normal Bond formula and, at times, departs from it. There is the standard world-in-peril plot, chase sequences, a series of exotic locations, glamorous women, sinister villains and a specially written theme song based on the film's title. There is, however, no extended pre-credits sequence, and we see some familiar characters in a new light. For example, Bond's boss M becomes a languid, supercilious aristocrat, his American colleague Felix Leiter is shown as black for the only time, and the scientist Q is portrayed by Alec McCowen as a disillusioned cynic with (despite his characteristically upper-class Christian name of Algernon) a distinctly working-class accent. There is also an amusing cameo from Rowan Atkinson as a bumbling British diplomat. Although Connery was perhaps not quite a good here as he was in some of his earlier films in the role, this ringing the changes on the familiar theme makes this one of the more memorable Bonds. 7/10

A goof. Rowan Atkinson's character states that he is from the British Embassy in Nassau. As, however, the Bahamas is a Commonwealth country, Britain would have a High Commission in its capital, not an Embassy.

The final installment in Connery/Bond series finds 007 on a mission to thwart Spectre which has threatened to blow up cities if a ransom is not paid . James Bond (Sean Connery who shows his face clean-shaven and wearing a variety of grey and brown wigs) matches wits with a nasty , good-looking tycoon , Largo (Klaus Maria Brandauer) , who is holding the world nuclear hostage as part of a diabolical plan schemed by Espectre led by a sinister leader (Max Von Sydow) . As Emilio Largo , is a ruthless and flamboyant enforcer who has hatched a scheme against the North Atlantic Treaty powers . British send his "00" agent , James Bond , to recover the warheads before SPECTRE carries out its threat to detonate the devices on the UK and US mainlands . As the world is held hostage by the threat of a nuclear nightmare , Bond jumps into action , racing against the clock as the trail leads him to tropical Nassau . Later on , Bond facing off heavies and bedding a lot of pink and dust beauties (Barbara Carrera as Fatima Blush , Kim Basinger as Domino , Valerie Leon , among others) . Will 007 prevent the killing of millions of innocent victims?

Connery returns to the world of Bond after 12 years , it results to be smooth in this peculiar remake of ¨Thunderball¨(1965) by Terence Young with Claudine Auger , Adolfo Celi , Luciana Paluzzi . The noisy action is staged with all the mechanical efficiency of the classic Bond pictures with a bit more bite . After Diamonds are forever (1971) Sean told her he'd never play James Bond again, there he was, playing James Bond again , her response was for him to "never say never again" ; however , for a big salary he accepted this film . Although Connery is back to recover two nuclear warheads stolen , purists will have qualms deeming this part of the official Bond series since longtime producers Albert ¨Cubby¨ Broccoli , Harry Saltzman , had nothing to do with this endeavor . This Bond film was not part of the franchise produced by these producers , but here Kevin McClory who was producer and co-writer of Thunderball (1965), won a legal battle against Ian Fleming to make his own Bond movie , the settlement stipulated that it had to effectively be a remake of Thunderball . Here James Bond/Connery bedding a variety of wonderful women , the bond girls are the followings : Kim Basinger as the beautiful heroine , Barbara Carrera is excellently cast as the nasty villainess and the Hammer-girl Valerie Leon . Bond/Connery is given hot competition in the acting department by Klaus Maria Brandauer who makes ¨Largo¨ a stunning , memorable smiling psychotic baddie from Sprectra criminal organization , replacing prior Adolfo Celi . Being Final James Bond film to feature Spectre until recent film Spectre (2015) . Support cast is frankly magnificent as Bernie Casey , Alec McCowen , charming Pamela Salem as Miss Moneypenny , Rowan Atkinson as Embassy official , Edward Fox , Gavan O'Herlihy , Ronald Pickup and brief acting by the busty Bond girl Valerie Leon as Lady in Bahamas .

Colorful cinematography by Douglas Slocombe shot on several locations in Côte d'Azur, Antibes, Beaulieu-Sur-Mer, Alpes-Maritimes,France , Malta Nassau, New Providence Island, Bahamas , La Alcazaba , Almería, El Ejido, Almería, Andalucia, Spain . However , this ¨Never say never again¨ is hampered by an atrocious soundtrack by Michael Legrand . The motion picture was professionally directed by Irwin Kershener , but with no originality . The main theme that runs through many of his films is social alienation and human weaknesses - although his biggest commercial success was the science fiction blockbuster ¨Star Wars: Episodio V Empire strikes again¨ and made decent sequels as ¨Return a man called horse¨and ¨Robocop II¨. This is an acceptable and passable Bond movie but inferior to other entries . This monarch of mayhem and luxury strides easily back into his kingdom .

Yes, it's Sean Connery playing Bond again, looking more alive and into his part than any time since the first time they made this film, in 1965 when it was called "Thunderball". But the tongue is so firmly in cheek one wonders if Connery isn't employing a few observed tricks from his friend and more humorous successor, Roger Moore.

Moore is my favorite Bond, but Connery makes a strong case for himself in this unusual outing. The only serious Bond film not made under the aegis of the classic Eon Bond series, "Never Say Never Again" is an irreverent return to the well. Soft on action, it's nevertheless strong on character and clever dialogue.

Bond, it's made clear right away, is a man in disfavor. No matter how many times he has saved the world, his new boss thinks little of his fat lifestyle. "Too many free radicals, that's your problem...Caused by eating too much red meat, white bread, too many martinis." "Then I shall cut out the white bread, sir," Bond smartly replies.

An early fight sequence in a spa represents the movie's high point action-wise, with Bond and an attacker fighting their way through a kitchen, a bedroom, and a laboratory before Bond finally douses his opponent, ironically with no small help from those free radicals. Humor is liberally applied in the film, rather more cleverly than most of Moore's outings, though Connery seems to be having more fun sending himself up as a result of Moore's less egotistic example.

Was it because he was making a good chunk of the gross? Or was it working for less stingy producers? Whatever it is, the screenplay serves his laid-back style well, and the result is richer and more entertaining than Connery's prior two Eon Bond outings, "You Only Live Twice" and "Diamonds Are Forever".

The 1980s were not a good decade for Bond, whether it was Connery, Moore, or Timothy Dalton. Leg warmers, video games, and ugly sports cars are all in evidence, and the Bianca Jagger sunglasses Klaus Maria Brandauer is seen wearing in his first scene do him no favors. Forget first impressions. Brandauer's role as the chief villain, Maximilian Largo, is one of the best in any Bond film, with Brandauer enjoyably playing up his character's menace and mania. At one point, he allows Bond free roam of his situation room, with a martini to boot, and his dancing eyes and mad, engaging grin make for compelling company throughout.

The best thing in this film, other than Connery, are the Bond girls, shot with more attention to personality than normal in Bond films, a testament to cinematographer Douglas Slocombe and director Irvin Kirshner. Barbara Carrera was nominated for a Golden Globe for her role as the villainess Fatima Blush, every bit as crazy as Largo and even nicer to look at. She doesn't last the whole movie; you almost need her gone in order to focus on the others.

Kim Basinger's breasts and buttocks should have had their own agents for the screen time they get in this film, but I'm not complaining. Basinger's a rare beauty who in this early role as Largo's mistress mixes incredible hotitude with a childlike vulnerability that brings out the Bond in me, and many others I suspect. (Her lips and cheekbones are pretty sweet, too.)

It's not a well-constructed film. It's a knockoff of a better Bond movie with a sloppy storyline, a terrible score, and a flat ending. But it does have Connery, proving his was the definitive take on cinema's definitive secret agent, even if he steals a page or two from my 007, Mr. Moore. The end result is entertaining enough, so I'm not complaining.