When Bond Battled Bond at the 1983 Box Office

Amazon
Amazon

In January 1976, film producer Kevin McClory took out a full-page ad in Variety that made an audacious claim. A new James Bond movie, James Bond of the Secret Service, was about to enter production under the supervision of Paradise Films.

It was not to star Roger Moore, the current Bond who had appeared in two films and was due for several more; nowhere did the ad mention EON, the longstanding production company of all the Bond films. It was as though someone were daring the Bond caretakers to take notice of a bootleg 007 project.

The ad was a calculated move taken by McClory, who had no involvement with EON but believed he had the legal right to make a Bond film as a result of events that had happened well over a decade prior. McClory’s aim was to write his own chapter in Bond history, with his secret weapon being the man who had originated the role onscreen and whose presence still loomed large over the franchise.

Although the ad didn’t mention it, McClory’s plan was to restore Sean Connery behind the wheel of the Aston Martin, an ambition that would eventually decide once and for all which Bond moviegoers preferred.

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Against the wishes of Bond creator Ian Fleming, Connery had been cast as the secret agent in 1962’s Dr. No. Projecting an air of charming menace, Connery’s performance was an immediate hit, winning over the author and kicking off one of the most durable Hollywood film franchises in history.

There would be four more films—From Russia with Love (1963), Goldfinger (1964), Thunderball (1965), and You Only Live Twice (1967)—before the actor, bored with taking second place to the series’s increasing fetish for gadgets, left. EON recast with George Lazenby for one film, 1969's On Her Majesty’s Secret Service, before enticing Connery back for one last appearance in 1971’s Diamonds Are Forever. Earning $1.2 million, Connery felt Diamonds helped excise the character from his career while adding to the funds of his charitable efforts.

That film was, as far as Connery was concerned, the end. But in 1975, McClory approached Connery with an intriguing story: In the early 1960s, McClory and Fleming had sat down to hash out potential story ideas for the burgeoning Bond film franchise. Fleming eventually used some of those ideas for the novel Thunderball, which was adapted into a 1965 Connery vehicle.

McClory argued in court that certain rights to Thunderball were owed to him; in an effort to get that film made, EON agreed, but mandated that McClory not attempt to use any of the elements of the story he helped conceive for a 10-year period. Thunderball was produced, and McClory was silent—for exactly 10 years.

When he was legally able, he began to pursue his rogue Bond project. Legally, it could only be a loose remake of Thunderball, but that was of little consequence. McClory knew the plot was secondary to a return by Connery to the role that had made him famous.

Connery was surprisingly open to the idea. For one, he understood his name above a Bond marquee meant at least as much as Moore was earning: a reported $4 million per picture. For another, he wouldn’t have to deal with Albert “Cubby” Broccoli, the producer of the Bond films and a man with whom he had had numerous business disagreements during his first tenure as the spy.

Still, Connery didn’t fully commit to a return. Instead, he worked with McClory and writer Len Deighton on a script under titles like Warhead and James Bond of the Secret Service. When pressed for details, McClory told press his revamped version of Thunderball would feature mechanical sharks and an assault on Wall Street via the New York sewer system, with Orson Welles as the villain. His Bond, he said, would be like “Star Wars underwater.”

When EON got wind of their efforts, the latitude they had displayed 10 years prior had evaporated. Bond was now firmly a pop culture cash machine, and they took to the courts to resist McClory’s efforts. In joint action with distributor United Artists and the Fleming estate, EON successfully scared off Paramount, which was collaborating with McClory on the project.

As the 1970s came to a close, Connery was showing signs of becoming frustrated by the legal wrangling.

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McClory’s salvation came in the form of Jack Schwartzman, a onetime tax attorney who wasn’t cowed by the litigation surrounding the project. So long as they colored inside the lines, sticking to the elements found in the Thunderball narrative, Schwartzman didn’t see any problem. He obtained the film rights from McClory, who was tired of the fighting and remained only loosely involved with the project; Connery was signed for a robust $5 million, with profit participation adding to his reward later on. Broccoli dropped most of his legal assault after Schwartzman promised him a share of the movie's grosses and to delay release by several months in order to avoid competing head-to-head with EON's Octopussy.

Never Say Never Again—a title suggested by Connery’s amused wife—began shooting in the fall of 1982 at London’s Elstree Studios, just a few miles down the road from where Roger Moore was shooting his Bond entry, Octopussy. The two reportedly had dinner together and compared shooting schedules; Moore would later say he never had a chance to catch Connery’s return onscreen.

Despite Connery’s early enthusiasm, script troubles and philosophical disagreements with director Irvin Kershner (The Empire Strikes Back) made for a stressful production. While promoting its release, Connery told press, “There was so much incompetence, ineptitude, and dissention” during the making of the film that “it could have disintegrated.”

While it wasn’t everything Connery had hoped for, Never Say Never Again performed very admirably when it opened in theaters October 7, 1983. The film grossed $55.4 million domestically, making it the 14th most successful film of the year. But the inevitable comparison to Moore’s Octopussy, which opened four months earlier, colored perception: Moore’s entry made $67.9 million, putting it in sixth place for the year.

Moore would play Bond just once more before retiring from the role in 1985. Connery made an unlikely return in 2005, lending his voice to a Bond video game. It would be as far as he was willing to go. Producers of 2012’s Skyfall didn’t even bother asking him about their idea to have him play a supporting role in the film as the Bond family’s onetime groundskeeper.

Schwartzman wouldn’t give up so easily. Insisting he somehow had the right to deliver another bootleg Bond in the 1980s, he tried to coerce Connery into a follow-up.

Connery was unmoved. “I’d be too old,” he told press in 1984.

But at 53, a reporter observed, he was three years younger than Moore. “He’s also too old,” Connery said.

Additional Sources:
Sean Connery, by Michael Feeney Callan

10 Forgotten Rankin/Bass Christmas Specials

A scene from Rudolph's Shiny New Year (1976).
A scene from Rudolph's Shiny New Year (1976).
Rankin/Bass Productions

If you're prone to picturing your favorite Christmas characters as stop-motion puppets, you can thank Rankin/Bass. The production company founded by Arthur Rankin Jr. and Jules Bass found success in transforming holiday songs and myths into fully-developed television specials in the 1960s, '70s, and '80s. Their most popular specials, like Rudolph the Red-Nosed Reindeer and Frosty the Snowman, are still staples of holiday programming decades after they first aired.

But not every holiday film that played under the Rankin/Bass banner was an instant success. After adapting the most beloved Christmas stories, the company broadened its definition of holiday material, with varying degrees of success. Some films were forgettable, and others were so strange and unsettling that young viewers forced themselves to forget. Here are some Rankin/Bass specials that may be missing from holiday television marathons this year.

1. Rudolph’s Shiny New Year (1976)

Scene from Rudolph's Shiny New Year.
Rankin/Bass Productions

After the stressful events of his 1964 Christmas special, Rudolph deserved a vacation. In Rudolph's Shiny New Year (1976), the red-nosed reindeer barely has a day to rest before being sent on his next adventure. When Santa Claus and his reindeer return home to the North Pole after delivering presents on Christmas, they learn that Happy the Baby New Year is missing. It’s up to Rudolph to bring him home before midnight on New Year’s Eve or else the calendar will be stuck at December 31. And because it wouldn’t be a Rankin/Bass cartoon without a terrifying villain, a vulture named Eon the Terrible is racing to catch Happy first so he can live forever. Thankfully, Rudolph has a caveman, a Medieval knight, and Benjamin Franklin on his side.

2. The Little Drummer Boy, Book II (1976)

Scene from The Little Drummer Boy, Book II.
Rankin/Bass Productions

The Little Drummer Boy from 1968 ends with the birth of Jesus Christ, a.k.a. the events of Christmas. This meant that Rankin/Bass’s most overtly religious Christmas special wasn’t an obvious choice for a follow-up, but the studio still released one in 1976. The Little Drummer Boy, Book II is inspired by "Silver Bells"—a song whose lyrics have nothing to do with the first Christmas at Bethlehem. In the sequel, the drummer boy Aaron and the wise man Melchior join forces to protect silver bells made for baby Jesus from the Roman soldiers plotting to steal them.

3. Nestor, the Long-Eared Christmas Donkey (1977)

Scene from Nestor, the Long-Eared Christmas Donkey.
Rankin/Bass Productions

By the late 1970s, it was apparent that Rankin/Bass was running out of Christmas myths to expand into television specials. Nestor, the Long-Eared Christmas Donkey, their 1977 stop motion film, tells the story of an outcast donkey who experiences a series of traumatic events during the Roman Empire. After being bullied by other animals, left for dead by his owner, and suffering the loss of his mother, Nestor becomes a hero by carrying a pregnant Mary to Bethlehem, where she gives birth to Jesus. Needless to say, Nestor, the Long-Eared Donkey didn’t have the same cultural impact as Rudolph the Red-Nosed Reindeer.

4. The First Christmas: The Story of the First Christmas Snow (1975)

Scene from The First Christmas.
Rankin/Bass Productions

It may have a happy ending, but The First Christmas (1975) is the bleakest movie on this list. An orphaned shepherd named Lucas is taken in by a group of nuns after he’s blinded by lightning. When snow falls during the abbey’s Christmas pageant, Lucas miraculously regains his eyesight and sees snow for the first time. The story swaps Rankin/Bass's signature humor and fantasy for heavy-handed sentimentality, which may be why it didn’t land as well with kids as the company’s other holiday specials. One highlight is a voice performance by Angela Lansbury as the narrator.

5. Jack Frost (1979)

Scene from Jack Frost.
Rankin/Bass Productions

So this film from 1979 is technically a Groundhog Day special, but its connection to winter means it’s usually lumped in with the rest of Rankin/Bass’s Christmas programming. A groundhog named Pardon-Me-Pete (voiced by Buddy Hackett) narrates the story of Jack Frost. After Jack Frost falls in love with a woman on Earth, Father Winter agrees to make him human, with the catch that Jack will turn back into a sprite if he fails to obtain a house, a horse, a bag of gold, and a wife by the first sign of spring. The special is notable for its weird characters, including a villain with a clockwork horse and henchmen. And—spoiler alert!—because Jack doesn’t get the girl at the end, it’s one of the few Rankin/Bass films that doesn’t have a happy ending.

6. Rudolph and Frosty's Christmas in July (1979)

Scene from Rudolph and Frosty's Christmas in July.
Rankin/Bass Productions

In 1979, Rankin/Bass gave two of its most iconic Christmas characters—Frosty the Snowman and Rudolph the Red-Nosed Reindeer—their own movie. The studio was so confident in the product that Rudolph and Frosty's Christmas in July even had a brief theatrical release overseas. But the film has failed to take the place of the original specials in the public consciousness—maybe because seeing snow snakes terrorize Rudolph and watching an evil wizard transform into a tree were too much for younger viewers to handle.

7. Pinocchio's Christmas (1980)

Scene from Pinocchio's Christmas.
Rankin/Bass Productions

The story of Pinocchio may not be the first thing that comes to mind when you think of Christmas, but that didn’t stop Rankin/Bass from turning the classic Italian fairytale into a holiday special. Pinocchio's Christmas (1980) features many of the same themes and characters as The Adventures of Pinocchio—only this version of the tale centers around the puppet’s first Christmas. Santa Claus even makes a cameo appearance.

8. The Stingiest Man in Town (1978)

Scene from The Stingiest Man in Town.
Rankin/Bass Productions

Charles Dickens’s A Christmas Carol is one of the most widely adapted stories of all time, so of course it shows up in Rankin/Bass’s filmography. An insect named B.A.H. Humbug narrates this musical retelling from 1978, with Walter Matthau starring as Ebeneezer Scrooge. The Stingiest Man in Town joins Frosty the Snowman as one of the few Rankin/Bass Christmas productions made with traditional 2D animation instead of stop-motion.

9. The Leprechauns' Christmas Gold (1981)

Scene from The Leprechaun's Christmas Gold.
Rankin/Bass Productions

Rankin/Bass’s streak of mashing up Christmas with other holidays reached peak weirdness in 1981. That’s when the studio released The Leprechauns' Christmas Gold—a story that follows a young Irish sailor who helps a clan of leprechauns protect their gold from an evil banshee named Old Mag the Hag. By trying to create a special that could air around Christmas and St. Patrick’s Day, the filmmakers ended up with something that made little sense at any time of year.

10. The Life and Adventures of Santa Claus (1985)

Scene from The Life and Adventures of Santa Claus.
Rankin/Bass Productions

In 1970, Rankin/Bass explored how Kris Kringle became Santa Claus with Santa Claus Is Comin’ to Town. Fifteen years later, the studio produced a film that provided an alternate origin story for the character, based on L. Frank Baum's 1902 children's book of the same name. This second special wasn’t as well-received as the first. It starts with an antler-sporting sorcerer called the Great Ak finding an abandoned baby in the forest. The child is taken in and raised by wood nymphs, eventually growing up to become a jolly man who delivers toys to children—all while fighting monsters called Awgwas on the side. It ends with a council of mythical beings granting Santa Claus immortality. What was arguably Rankin/Bass’s most unusual Christmas special was also the last to use stop-motion animation.

2020 Golden Globes: The Full List of Nominees

Andrew Scott stars in Fleabag.
Andrew Scott stars in Fleabag.
Steve Schofield/Amazon Studios

Awards season is officially upon us and we're all rushing out to the movie theater—or, more frequently, our own couches—to load up on some of the year's biggest movie and television titles.

Now that the 2020 Golden Globe nominations have been announced, it's clear that Netflix's investment in original content like Martin Scorsese's The Irishman and Noah Baumbach's Marriage Story, which scored the most nominations with six, was a wise decision.

On the television side, streaming emerged victorious as well; The Crown landed a total of four nominations while Phoebe Waller-Bridge's Amazon hit Fleabag earned three, including one for "Hot Priest" Andrew Scott, who was a notable Emmy snub. Amazingly, Game of Thrones was nominated for just a single award: a Best Actor in a Drama Series nomination for Kit Harington.

Below is the full list of nominees for the 77th annual Golden Globe Awards, which will take place on January 5, 2020.

Best Motion Picture, Drama

1917
The Irishman
Joker
Marriage Story
The Two Popes

Best Motion Picture—Musical or Comedy

Once Upon a Time in Hollywood
Jojo Rabbit
Knives Out
Rocketman
Dolemite Is My Name

Best Motion Picture—Foreign Language

The Farewell
Pain and Glory
Portrait of a Lady on Fire
Parasite
Les Misérables

Best Director, Motion Picture

Bong Joon Ho, Parasite
Sam Mendes, 1917
Todd Phillips, Joker
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time … in Hollywood

Best Screenplay—Motion Picture

Noah Baumbach, Marriage Story
Bong Joon-ho and Han Jin-won, Parasite
Anthony McCarten, The Two Popes
Quentin Tarantino, Once Upon a Time in Hollywood
Steven Zaillian, The Irishman

Best Original Score, Motion Picture

Alexandre Desplat, Little Women
Hildur Gudnadottir, Joker
Randy Newman, Marriage Story
Thomas Newman, 1917
Daniel Pemberton, Motherless Brooklyn

Best Original Song—Motion Picture

Beautiful Ghosts, Cats
I'm Gonna Love Me Again, Rocketman
Into the Unknown, Frozen II
Spirit, The Lion King
Stand Up, Harriet

Best Actor in a Supporting Role in Any Motion Picture

Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood

Best Actress in a Supporting Role in Any Motion Picture

Kathy Bates, Richard Jewell
Annette Bening, The Report
Laura Dern, Marriage Story
Jennifer Lopez, Hustlers
Margot Robbie, Bombshell

Best Actor in a Motion Picture—Musical or Comedy

Daniel Craig, Knives Out
Roman Griffin Davis, Jojo Rabbit
Leonardo DiCaprio, Once Upon a Time in Hollywood
Taron Egerton, Rocketman
Eddie Murphy, Dolemite Is My Name

Best Motion Picture—Animated

Frozen II
How to Train Your Dragon: The Hidden World
Missing Link
Toy Story 4
Lion King

Best Actor in a Motion Picture—Drama

Christian Bale, Ford v Ferrari
Antonio Banderas, Pain and Glory
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Best Actress in a Motion Picture—Drama

Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Best Actress in a Motion Picture—Musical or Comedy

Awkwafina, The Farewell
Ana de Armas, Knives Out
Cate Blanchett, Where'd You Go, Bernadette
Beanie Feldstein, Booksmart
Emma Thompson, Late Night

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television

Christopher Abbott, Catch-22
Sacha Baron Cohen, The Spy
Russell Crowe, The Loudest Voice
Jared Harris, Chernobyl
Sam Rockwell, Fosse/Verdon

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television

Kaitlyn Dever, Unbelievable
Joey King, The Act
Helen Mirren, Catherine the Great
Merritt Wever, Unbelievable
Michelle Williams, Fosse/Verdon

Best Television Limited Series or Motion Picture Made for Television

Catch-22, Hulu
Chernobyl, HBO
Fosse/Verdon, FX
The Loudest Voice, Showtime
Unbelievable, Netflix

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Patricia Arquette, The Act
Helena Bonham Carter, The Crown
Toni Collette, Unbelievable
Meryl Streep, Big Little Lies
Emily Watson, Chernobyl

Best Performance by an Actor in a Television Series, Drama

Brian Cox, Succession
Kit Harington, Game of Thrones
Rami Malek, Mr. Robot
Tobias Menzies, The Crown
Billy Porter, Pose

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Alan Arkin, The Kominsky Method
Kieran Culkin, Succession
Andrew Scott, Fleabag
Stellan Skarsgård, Chernobyl
Henry Winkler, Barry

Best Television Series—Drama

Big Little Lies, HBO
The Crown, Netflix
Killing Eve, AMC
The Morning Show, Apple TV+
Succession, HBO

Best Performance by an Actress in a Television Series, Drama

Jennifer Aniston, The Morning Show
Olivia Colman, The Crown
Jodie Comer, Killing Eve
Nicole Kidman, Big Little Lies
Reese Witherspoon, The Morning Show

Best Television Series—Musical or Comedy

Barry, HBO
Fleabag, Amazon
The Kominsky Method, Netflix
The Marvelous Mrs. Maisel, Amazon
The Politician, Netflix

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