Product Details

• Actors: Sean Connery, Klaus Maria Brandauer, Bernie Casey, Barbara Carrera, Kim Basinger
• Directors: Irvin Kershner
• Format: AC-3, Color, Dolby, DTS Surround Sound, Widescreen
• Language: English
• Subtitles: French, Spanish
• Aspect Ratio: 2.35:1
• Number of discs: 1
• Rating: PG (Parental Guidance Suggested)
• Studio: MGM
• DVD Release Date: March 24, 2009
• Run Time: 134 minutes
• Average Customer Review: 3.2 out of 5 stars  See all reviews (14 customer reviews)
• ASIN: B001R10BM8
• Amazon.com Sales Rank: #14,250 in Movies & TV (See Bestsellers in Movies & TV)

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Product Description

In this remake and updated version of the 1965 THUNDERBALL, James Bond, who has been primarily teaching for the last few years, is quite happily yanked out of semiretirement to deal with the deadly SPECTRE organization's newest plan for the destruction of the planet. (The Bond story line mimics Sean Connery's semiretirement from the role, which he had last played in 1971's DIAMONDS ARE FOREVER.) Agent Number 2, also known as Maximilian Largo (Klaus Maria Brandauer), has managed to steal two cruise missiles armed with nuclear warheads, and Agent Number 1, Blofeld (Max von Sydow), has threatened to explode them in areas with large populations if a huge, and almost impossible, ransom demand from the NATO countries is not met. The film features an excellent gaming battle between Largo and Bond, as well as stunning turns by Barbara Carrera and Kim Basinger.

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Most Helpful Customer Reviews

20 of 27 people found the following review helpful:

5.0 out of 5 stars This rogue Bond movie finally gets the special edition treatment, February 3, 2009

By	Darren Harrison "DVD collector and reviewer" (Washington D.C.) - See all my reviews (TOP 1000 REVIEWER)    (REAL NAME)

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The special features on this Blu-ray release are as follows:
Commentary with Director Irvin Kershner and James Bond Historian Steven Jay Rubin (the author of THE JAMES BOND FILMS: A BEHIND THE SCENES HISTORY). This is the primary special feature and an interesting listen, even though Kershner does resort to describing the on-screen action. Anyone who heard Kershner's commentary for "The Empire Strikes Back" (the best of all the Star Wars commentaries IMO) will not be surprised. Kershner is engaging and amiable and Rubin provides a historical perspective (while trying to keep Kershner on-topic) in what is overall a fun track.
Three featurettes are presented arguably the most valuable of which is "The Big Gamble" (16:24) which covers much of the legal background to the movie production and the history of the production. Included in this documentary are new on-screen interviews with Rubin, Kershner, screenwriters Lorenzo Semple, Jr. (who left the movie midway through), Dick Clement and Ian La Frenais (who finished the script) and actress Barbara Carrera (who still looks incredible). Also included are interviews with actress Talia Shire (the wife of late producer Jack Schwartzman, but better known as Rocky's wife in ROCKY) and Schwartzman's son John.
Also present are "Sean is Back" (8:04) which features Kershner, Carrera and Schwartzman discussing how wonderful Connery is as an actor and how he helped the movie to get made and "The Girls of Never Say Never Again" (10:07) which covers the casting of the actresses. As a fan of Carrera's I was interested to learn that her original role was much smaller (to her chagrin) until writers Clement and La Frenais entered and that the hat she wears in the movie was full of small weapons.
In addition are The Theatrical Trailer (1:27) and a Photo Gallery that includes 62 still photos including shots from the movie, publicity poses and some behind-the-scenes shots.
The picture quality as you would expect is the best the movie has ever appeared in on home video. There are a couple of instances of print dirt and scratches, but overall the quality, particularly in terms of contrast, is an improvement over all previous incarnations of the movie.
One area where this release scores top marks is in the audio department, this is largely thanks to an impressive 5.1 DTS-HD Master Audio encoding combined with some extensive audio remixing. Dialogue is situated squarely in the center channel with a number of rear directional effects in the action sequences.
When Kevin McClory teamed up with the Eon company to make the movie Thunderball in 1965 he was contractually obliged not to exercise his rights to the James Bond character for ten years, Sure enough in 1975 McClory started pitching a 007 script titled Warhead to all the competing studios, but it wasn't until 1983 that Never Say Never Again actually made it to the silver screen opening opposite the inane Roger Moore vehicle Octopussy. Never Say Never Again (a title suggested by Sean Connery's wife) has on display a variation of the plot that McClory had produced over 20 years earlier.
Faced with not being able to include the iconic familiar gun-barrel sequence at the beginning of their 1983 Bond movie, Taliafilm (named after Shire) had to cone up with their own graphic image. What they decided upon gives the first clue that we are about to experience something different, a breath of fresh air and a good kick up the rear end to a series of movies that had become stale through resorting to self-parody and recycled dialogue and villainy.
Yes, NEVER SAY NEVER AGAIN is a retelling of the THUNDERBALL storylines worked out between Fleming, Bryce, Whittingham and McClory. It's technically speaking not a remake of the 1965 picture though, but a different version of the story using characters that appeared in the earlier drafts (such as Fatima Blush).
And from the moment the screen fills up with all those 007's and the audience is drawn in, we know right away that Connery is back and better than ever, and looking much fitter than he did in DIAMONDS ARE FOREVER.
The title song has been attacked by 007 fans over the years, but I actually like it quite a lot (in direct comparison with the rest of the admittedly rather tame soundtrack). I have found myself over the past 20-plus years humming it to myself (sometimes at the most inopportune moments) and so it has obviously become seared into my consciousness as only a catchy tune can.
And here we come to what is the 1983 movie's pretitle sequence. But instead of interrupting the flow of the story with yet more images of nude women and silly fluorescent effects the titles play out for the action allowing the audience to immediately find its feet and settle into the pace of this thrilling picture.
Of course it's not the first time that we have seen Bond killed off in the opening minutes. We saw it first at the hands of Red Grant in 1963's FROM RUSSIA WITH LOVE and then again just four years later in YOU ONLY LIVE TWICE. Here Bond is on a training mission and for those with keen eyes its really quite obvious (no muzzle fire from 007's gun). As such it works a little better in the little details, and when 007 rescues the leggy millionaires daughter held captive she plunges a knife into him.
It is at this point that the factor of a new M really pays off. We see Edward Fox sternly watching the exercise on tape. We see another unidentified character (presumably Tanner). Its not until the very last minute that Connery's 007 is revealed - alive and well.
Following on from a dressing down from M is one of my favorite sequences in the movie - namely Shrublands. It's a favorite of mine because we really get introduced to my favorite character in the movie Fatima Blush, a character included in the aborted 1950s scripts. The 1965 movie has Fiona Volpe, but Volpe lacked the super-charged charisma, biting wit and ego-maniacal psychotic nature that Barbara Carrera simply oozes as Blush.
Look at the tenderness she shows to Jack, followed immediately by her bashing his head against the wall. Witness her dispatching of Jack and then crooning over her pet snake, and who can forget her final confrontation with 007 - "guess where you get the first one."
Carrera steals every scene she is in. She dances on her way to kill Bonds French ally and like a black widow spider she seduces 007 and then attempts to kill him with a device to attract a special group of sharks attached to his air tanks.
The second highlight is the appearance of Indiana Jones alum Pat Roach as Count Lippe. Who cannot appreciate and revel in the fun fight in which Roach's Lippe plays the indestructible Jaws role, minus the embarrassing buffoonery that Richard Kiel brought to the EON franchise. Bond throws everything at Lippe to no avail and then in an amusing conclusion the character is blinded by Bond's urine falling back into a collection of glass cylinders and test tubes.
Connery's reaction is classic.
In an attempt perhaps to counter the familiarity of the group of has-been actors inhabiting the SIS offices in the EON series at the time, this Connery movie has the most impressive list of actors to inhabit any Bond movie. In addition to the already mentioned Connery, Fox, Carrera and Roach we also have the incredible Klaus Maria Brandeur as Largo, the revered Max Von Sydow and Bernie Casey as a black Felix Leiter (hey, why not?!).
Brandeur plays Largo with just the right amount of understated menace and Casey is probably the second best Leiter of the series (after Hedison). You really get the feeling that he and Connery's 007 are the best of buddies, their interactions and playful barbs appear genuinely affectionate and respectful of the other,
The one A-list actor who really lets down the rest of the team is Kim Basinger. She admittedly didn't have much to go on, but it is in this one respect that Claudine Auger and the 1965 EON effort takes the honors.
Some have said that it is with Bonds arrival in Nassau, that this movie tends to wander a little. I respectfully disagree. It is here that the majority of Carrera's scenes appear and here that Connery has his first confrontation with Largo. I have yet to really understand the computer game the two play, but it works nicely in building up some real tension and suspense (name a Moore 007 -villain scene that achieved the same level of pent up pressure - I can't). The final line from Connery - " I wouldn't know, I've never lost" is also probably one of the best 007 comebacks in the entire series.
Yes, this section of the movie also features some of the best dialogue, the promise of which had been ably shown in the brilliant Q-scene earlier in the picture. The lines come thick and fast and are genuinely witty in comparison with some of the gags in the Moore series of pictures. In addition Rowan Atkinson nicely doesn't outstay his welcome as comic relief and his "don't know his mother" line always makes me smile. Other gags that work include the cigarette lighter gag at the casino and the "your place or mine" bomb at the hotel.
The ending in Africa is over a little too soon and the small battle in the underground caverns lacks the scope of some of the 007 pictures. But I think it works well in the context of the rest of the picture and is not the confusing, overlong mess that really mars the 1965 effort. Its cleaner and tighter, just the way I like it.
Yes, even though Roger Moore is my favorite 007 actor, "Never Say Never Again" is my favorite 007 picture.
Irvin Kershner, who directed the best of the Star Wars movies, again brings us a franchises crowning achievement with a steady directing hand, incredible witty dialogue, superb performances by an amazing cast and Sean Connery returning revitalized after a 12 year absence... Read more ›

3 of 3 people found the following review helpful:

3.0 out of 5 stars A somewhat mixed bag, but definitely worth owning on Blu-Ray, April 21, 2009

By	M. Hockman "flyhigh2014" (flyhigh2014) - See all my reviews (REAL NAME)

For years I have had questions about Never Say Never Again that remained unanswered for lack of special features or director's commentary to explain some of the elements in this film. Finally, we hear from the director and a Bond historian about many of the backstories about how this renegade Bond film was made, and the many challenges the producers had to overcome to complete this film. I never realized just how much of a nail-biter it was for the producers to crank out a coherent movie due to all the script, logistical, budget, and legal issues that dogged the film every step of the way.
But most of all, I really wanted to understand how the AWFUL musical score got added to this film. It was really a by-product of the low-budget and chaotic schedule to get the film completed that such a counterproductive score was added. Irvin Kirschner did not approve of the score that Michel Legrand produced because it failed to convey the proper on-screen emotion, but it was too late in the production cycle and there was no money available to commission a new score. It was interesting to note that Legrand has more history and comfort writing songs than a theatrical score, and it showed clearly in this film. It was a huge editing challenge to mix and move the music that they had to scenes of the movie.

To my surprise and disappointment, the director and some other crew members had wanted Howard Shore to create the music, but some unnamed other producers were against it for reasons unexplained (probably money). If only a more mainstream composer had created the score, it would have lifted Never Say Never Again to a whole new level. The irritating music is a constant negative throughout the movie and undermines scene after scene. The opening title sequence is marred by the terrible title track, and the main NSNA theme is so melancholy and of such poor sound quality that it gives the whole movie a B-movie feel.

Another fact revealed in the commentary is how ruthlessly the Broccolis fought this movie in court. They literally dragged Jack Schwartzmann into court almost daily during production of NSNA to dispute script changes that the Broccolis claimed were outside the scope of the allowable screenplay. Somehow, the Broccolis were getting information about all the script changes as they happened to fuel their complaints in court.

I appreciate the candor that Kirschner relates in the commentary about the musical score issues, and some other production problems, that explain some of the forces that kept NSNA from being a truly great film. At least I feel better knowing they tried to make the best film they could, and indeed, made a better film than they had any right to considering the constant budget and legal issues that dogged the film.

With the exception of Kim Basinger, who looks great in this film, the actors did a superb job in this movie. I think this was Sean's best performance as Bond besides From Russia with Love. And as others have noted, he looked much more fit in this film than in Diamonds are Forever 12 years before. He deserves a lot of credit for returning to Bond and delivering a performance with the right balance of strength, wit, and acknowledgement of age.

Oh, and don't miss Rowan Atkinson as Bond's contact in Nassau. Mr. Bean was never so funny.

1 of 1 people found the following review helpful:

4.0 out of 5 stars great to see this in high def, April 21, 2009

By	David J. Lizotte "Trek Fan" (Waterville Maine) - See all my reviews (REAL NAME)

Although this was not my favorite James Bond movie, and is basically a rehash of Thunderball, it did bring back Sean Connery. It also managed to outperform MGM's simultaneous release of Octopussy which starred a rather geriatric looking Roger Moore. (I think Connery looked more the part then Moore did at this point). It also had a better cast in my opinion. The blu-ray release looks and sounds stunning. I believe it is a must buy for any Bond fan