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Though flush with success, “Goldfinger” director Guy Hamilton pleaded exhaustion.
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With McClory on board, it was time to reassemble the Bond team.
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With Fleming having passed on and an obvious cash cow of enormous magnitude before him, victorious rights holder McClory agreed to an EON-produced film of “Thunderball” on certain conditions, including that he be the sole credited producer. The suit was eventually settled out of court by an ailing Ian Fleming. A lawsuit brought by Kevin McClory nixed the idea, even though writer Richard Maibum had already completed a screenplay. Broccoli and Saltman’s EON team originally initially saw “Thunderball” as the best kick-off for the Bond series, even if its action would have to be scaled back considerably to fit their budget. “Cubby” Broccoli and Harry Saltzman entered the mix. Things got complicated when producers Albert R. He nevertheless used a great deal of the abortive script’s story in his 1961 novel of “Thunderball.”
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Fleming eventually tired of the complexities of getting a Bond movie on the screen and abandoned the project. “Thunderball” began life as a screenplay that James Bond creator Ian Fleming developed with, among others, screenwriter Jack Whittingham and producer Kevin McClory. The amazing part is that the film was ever made at all, as the project had been plagued by legal difficulties for years. As luck and skill would have it, the most eagerly anticipated Bond film would ultimately top the box-office success of “Goldfinger” by $20 million with a worldwide take of $141.2 million - not quite enough cash to satisfy a Bond villain, but getting there. They cannily chose to triple-down with a budget roughly three times higher than the already relatively high ($3 million!) “Goldfinger” budget and all-out marketing and cross-promotional blitz. “Cubby” Broccoli and Harry Saltzman knew that their hot streak was still very much in play. The EON Production team led by producers Albert R.
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With the series chugging along at the rate of roughly one movie a year and a worldwide spy craze underway, an observer might well have expected that the James Bond phenomenon had peaked with the blockbuster success of “Goldfinger.” Then again, a lot of people in 1965 were also figuring that those flash in the pan teen idols, the Beatles, had peaked with “I Wanna Hold Your Hand.”
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Without any viable strategy other than complete capitulation, the only respectable option for the free world seems to be sending Bond to kill, copulate, and skin-dive his way to victory over nuclear terrorism. that they’ll either part with £100 million or kiss one or two of their favorite cities goodbye. The plan this time is nuclear blackmail, as SPECTRE Operative # 2 takes possession of two hydrogen bombs and informs England and the U.S. No, Red Grant, Rosa Klebb, and countless other operatives, the amalgamated baddies of SPECTRE return with their most diabolical plot yet. Unperturbed by the 007-related deaths of Dr.
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It’s also only the second, and so far final, Bond film to ever win an Oscar - for special effects of course. It also remains the all-time box office record holder of all the Bonds. Critics and filmmakers may prefer “ From Russia With Love” and “ Goldfinger,” and many complain about those long underwater sequences but, to a lot of fans, Bond #4 remains the ultimate in spy action, intrigue, gadgets, and girls, girls, girls.