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Sometimes, the story behind a movie is more fascinating than the movie itself. This is especially true in the case of notorious productions like “Troll 2”, the never-officially-released “Fantastic Four” film, and “Deep Throat”—all of which inspired documentaries detailing their bizarre and often chaotic journeys to the screen. While I’m not sure “Never Say Never Again” quite deserves a full documentary treatment, the tangled rights issues, behind-the-scenes drama, and its rivalry with “Octopussy” make its backstory far more compelling than the film itself.
“Never Say Never Again” is a James Bond film in which aging British spy James Bond is called out of retirement to track down two stolen nuclear warheads taken by the criminal organization SPECTRE. Led by the cunning and ruthless Maximilian Largo, SPECTRE threatens global security, prompting Bond to travel across the world—from the Bahamas to the French Riviera—in pursuit of the weapons and Largo himself. Along the way, Bond teams up with Domino, Largo’s mistress, who becomes a crucial ally in stopping the plot.
“Never Say Never Again” was produced outside the official James Bond franchise due to a long-standing rights dispute between producer Kevin McClory and EON Productions. McClory had collaborated with Ian Fleming and screenwriter Jack Whittingham on a Bond story that eventually became “Thunderball“, and after legal battles, he retained the rights to that specific story and its elements, including the villain SPECTRE and Blofeld. This allowed McClory to produce his own version of “Thunderball“, resulting in “Never Say Never Again”, starring Sean Connery in his return to the role after a 12-year hiatus. The film was released in 1983, the same year as EON’s “Octopussy“, starring Roger Moore, leading to a rare box office showdown between two rival Bond films. Despite being unofficial, “Never Say Never Again” performed well commercially and sparked debate among fans over who was the better Bond.
The biggest ace up its sleeve is undoubtedly Sean Connery’s return as James Bond. You might expect a dramatic buildup to his reappearance, but the film puts him onscreen right away with surprisingly little fanfare. From there, the story closely mirrors “Thunderball”, though its execution is markedly different. The once-groundbreaking underwater sequences, a major draw in 1965, are dialed back significantly—likely because by 1983, the novelty had worn off. Only three underwater scenes remain, one of which features Bond facing off against a surprisingly convincing shark.
The film has been updated to fit the 1980s sensibility. In place of the classic baccarat showdown, Bond and Largo now compete in a high-tech video game called “Domination”, played in a neon-lit room packed with arcade machines—an unmistakably ’80s touch. This is just one of many tweaks that give the film a sense of freshness, even as it retells a story audiences had seen nearly two decades earlier.
While Connery returns as Bond, the same can’t be said for the other iconic characters tied to EON Productions. M, Moneypenny, Q, and Felix Leiter are all played by different actors here. Notably, Felix Leiter is portrayed by Bernie Casey, making him the first Black actor to take on the role—a milestone EON wouldn’t reach until 23 years later when Jeffrey Wright played Leiter in “Casino Royale.” However, these recastings contribute to the film feeling somewhat like a knock-off Bond rather than a seamless entry in the series.
The main Bond girl is Kim Basinger as Domino, in the role that introduced her to a wider audience. Basinger would go on to become a major star and even win an Academy Award, but here she mostly serves as eye candy, with a role that’s light on depth. The other Bond girl, Fatima Blush, played by Barbara Carrera, is a lethal enforcer working for Largo—doing all his dirty work. As a character, she leaves a stronger impression than Domino, though her brutal demise feels a bit over-the-top and undeserving for such a formidable villain.
Largo is played by Klaus Maria Brandauer, who lacks the commanding presence of Adolfo Celi’s portrayal in “Thunderball“. Granted, Celi’s eyepatch lent an air of mystery and menace that Brandauer’s Largo doesn’t quite capture. This version of Largo isn’t very imposing—if it turned out the character was gay, it wouldn’t be all that surprising. His obsession with Domino feels more about control than love. As the film’s main villain, he’s a disappointment, and the final showdown with Bond is underwhelming, mostly because it boils down to two stuntmen struggling to kill each other at the bottom of the sea.
Stunts are a key ingredient in any Bond film, and while “Never Say Never Again” has its moments, they’re mostly perfunctory. The standout is a thrilling motorcycle chase where Bond jumps over speeding cars—arguably the best action set piece in the movie. There are also nods to “Thunderball“, like Connery’s jet pack flight, but aside from that chase, the film lacks any real wow-factor stunt sequences.
Between the two films, “Never Say Never Again” is definitely the funnier one, but all things considered, “Thunderball” is the stronger movie. Both star Connery, but the original features a younger Bond surrounded by the familiar faces fans love. While this remake isn’t bad on its own, it feels like a cash grab riding on the Bond name. At least the movie seems self-aware—Connery even gives a knowing wink to the camera when Basinger tells him to “Never Say Never Again.”
