In the 1960s, Ian Fleming collaborated with screenwriters Kevin McClory, Jack Whittingham, and Ivar Bryce to develop a film script. When that project fell through, Fleming turned the script into the novel Thunderball . McClory sued, winning the literary and film rights to the Thunderball story. The 1965 EON film Thunderball was only made because McClory allowed it, retaining the right to remake the film after ten years.
Connery, ever pragmatic, famously quipped: “I’d already said ‘never again’ so many times that my wife told me to shut up and take the money.” The title, Never Say Never Again , was a direct, self-deprecating jab at his own famous declaration. While EON was producing Octopussy with Roger Moore (a film that leaned into campy, circus-based action), Never Say Never Again went back to basics. It is, essentially, a modernized (for 1983) remake of Thunderball . Never Say Never Again -James Bond 007-
This “geriatric Bond” (a harsh but intended reading) works brilliantly because it adds stakes. We feel his exhaustion. The final underwater fight—shot in the actual Bahamas with poor visibility and dangerous currents—looks less like a ballet and more like a desperate, ugly struggle for survival between two old men (Connery and a 50-year-old Brandauer). The director was Irvin Kershner , fresh off the massive success of Star Wars: Episode V – The Empire Strikes Back . Kershner was a character-driven director, not an action set-piece conveyor belt. He brought a grimy, textured realism to the Bond world. In the 1960s, Ian Fleming collaborated with screenwriters
However, culturally, Sean Connery won. The image of Connery in a dinner jacket, raising an eyebrow, was so potent that it reminded audiences what the character used to be. Roger Moore, seeing the writing on the wall, retired from the role two years later after A View to a Kill . Never Say Never Again was a one-hit-wonder. Legal battles over the rights to Thunderball continued for decades. For years, the film was orphaned—unavailable on streaming platforms, stuck in legal purgatory. Kevin McClory tried to remake it again in the 1990s with Liam Neeson, but those plans collapsed. The 1965 EON film Thunderball was only made
In the 1960s, Ian Fleming collaborated with screenwriters Kevin McClory, Jack Whittingham, and Ivar Bryce to develop a film script. When that project fell through, Fleming turned the script into the novel Thunderball . McClory sued, winning the literary and film rights to the Thunderball story. The 1965 EON film Thunderball was only made because McClory allowed it, retaining the right to remake the film after ten years.
Connery, ever pragmatic, famously quipped: “I’d already said ‘never again’ so many times that my wife told me to shut up and take the money.” The title, Never Say Never Again , was a direct, self-deprecating jab at his own famous declaration. While EON was producing Octopussy with Roger Moore (a film that leaned into campy, circus-based action), Never Say Never Again went back to basics. It is, essentially, a modernized (for 1983) remake of Thunderball .
This “geriatric Bond” (a harsh but intended reading) works brilliantly because it adds stakes. We feel his exhaustion. The final underwater fight—shot in the actual Bahamas with poor visibility and dangerous currents—looks less like a ballet and more like a desperate, ugly struggle for survival between two old men (Connery and a 50-year-old Brandauer). The director was Irvin Kershner , fresh off the massive success of Star Wars: Episode V – The Empire Strikes Back . Kershner was a character-driven director, not an action set-piece conveyor belt. He brought a grimy, textured realism to the Bond world.
However, culturally, Sean Connery won. The image of Connery in a dinner jacket, raising an eyebrow, was so potent that it reminded audiences what the character used to be. Roger Moore, seeing the writing on the wall, retired from the role two years later after A View to a Kill . Never Say Never Again was a one-hit-wonder. Legal battles over the rights to Thunderball continued for decades. For years, the film was orphaned—unavailable on streaming platforms, stuck in legal purgatory. Kevin McClory tried to remake it again in the 1990s with Liam Neeson, but those plans collapsed.
