Though Thunderball served as the official introduction of Blofeld on screen, From Russia With Love (1964), the second Bond film, briefly features an unnamed Blofeld identified only in the picture’s closing credits. (In 1983, McClory’s own production company adapted Thunderball into Sean Connery’s final Bond film, Never Say Never Again.)
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After a series of legal battles, the court’s decision allowed for the adaptation of Thunderball(1965) into a film, with McClory as producer, and stipulated McClory could not make any further adaptations of the Thunderball material for at least ten years. The novel didn’t give McClory any credit for his contributions, and he was quick to sue. In 1960, Fleming adapted Thunderball into a novel and included many of the concepts of McClory’s screenplay, such as SPECTRE and Blofeld. Soon, he and McClory finished a script tentatively titled Thunderball. Jack Whittingham was brought into the fold to assist with the Bond script. It didn’t do very well at the box office and, as a result, Fleming’s interest in McClory and his ability to adapt Bond for the screen faltered. During this time, McClory was also working on a feature film called The Boy and the Bridge, which released in 1959. During that time, the ideas of SPECTRE and Blofeld were concocted as part of numerous works and revisions. The group was working on treatments that were to evolve into the first Bond film. In 1958, an informal company known as Xanadu Productions was formed by Ian Fleming, Ivar Bryce, Ernest Cuneo, and Kevin McClory. So why, after all these years, in the 2015 Bond film Spectre, is the franchise once again featuring Blofeld as the villain? It’s the result of a decades-long legal battle that finally settled in 2013. Later pictures inform SPECTRE is headed by the genius and supervillain Ernst Blofeld, who would eventually appear in one form or another across seven Bond films, becoming the most identifiable Bond villain as well as the inspiration for parodies like Dr. No, the titular villain of the first Bond picture, cites himself a member and introduces Sean Connery’s character to a criminal group that would give him trouble in a number of future film installments. No (1962), introduced cinema to the organization then known as an all-caps acronym: SPECTRE. No: “The successful criminal brain is always superior. The four great cornerstones of power headed by the greatest brains in the world.” Special Executive for Counter Intelligence, Terrorism, Revenge, Extortion.
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