The name’s not just Bond . . . James Bond.

Actually, the name is Sean Connery, and legend has it he left the role of Agent 007 to prove he could do more. Turner Classic Movies presents before-and- after evidence starting Friday, as the channel spends a month saluting the actor whose long career has encompassed an Oscar win for 1987’s “The Untouchables” — and roles ranging from a leprechaun’s consort (in Walt Disney’s “Darby O’Gill and the Little People”) to Indiana Jones’ father.

The monthlong tribute includes the TCM debuts of his six “official” Bond movies (“Never Say Never Again” was made by different producers), while other attractions represent a considerable span of his work. Here are some highlights.

“Goldfinger” (1964; airs May 8). The high point of the James Bond series in many purists’ eyes, this is the caper that simply nails the formula. Great gadgets (the Aston-Martin with the ejector seat), stunning women (Honor Blackman, Shirley Eaton), terrific villains (Gert Frobe as wealthy-as-he-wants-to- be Goldfinger, Harold Sakata as silent but deadly Oddjob), the Shirley Bassey-rendered title song and an ever-cool Connery add up to sensational entertainment.

“Dr. No” (1962; airs at 8 p. m. Friday). Though he had done relatively small British films, some television work and the aforementioned “Darby O’Gill,” it really started here for Connery. Sitting at a card table and casually introducing himself as “Bond . . . James Bond,” he immediately cements himself as the rugged, romantic and resourceful image of novelist Ian Fleming’s secret agent with a license to kill.

“From Russia With Love” (1963; airs at 10 p. m. Friday). Arguably the most literate of Connery’s turns as Bond, this smart thriller makes the spy the object of an enemy plot to discredit him, with a lovely Russian (Daniela Bianchi) as the bait. Bond’s battle with assassin Red Grant (Robert Shaw) in a compartment aboard the Orient Express is memorably vicious.

“Robin and Marian” (1976; May 29). Connery and Audrey Hepburn give affecting portrayals of Robin Hood and Maid Marian in director Richard Lester’s melancholy and lovely portrait of Sherwood Forest’s residents — also including Robert Shaw as the Sheriff of Nottingham — in their later years. The score by frequent Bond composer John Barry is one of his best.

“Thunderball” (1965; May 8). Connery is in great physical form in his fourth round as Bond, and he needs to be, for all the underwater action he’s involved in. SPECTRE operative Largo (Adolfo Celi) masterminds the hijacking of nuclear bombs, prompting 007 to invade the villain’s Bahamas compound and woo mistress Domino (Claudine Auger) over to his side.

“The Great Train Robbery” (1979; May 29). Connery gets credit for giving all for his art in this case, since that’s really him running atop a moving locomotive. In the Michael Crichton story set in Victorian England, he and Donald Sutherland play the schemers risking their necks in trying to relieve the train’s safe of its contents.

“Diamonds Are Forever” (1971; May 15). After skipping one Bond movie, Connery returned to give the franchise a lighter tone that would become a blueprint for successor Roger Moore’s entries. The spy races from Amsterdam to Las Vegas, tracing smuggled gems to the surprising source who wants them to power a potentially lethal satellite. Jill St. John and sausage king Jimmy Dean are amusing as Bond allies.

“The Wind and the Lion” (1975; May 29). Connery is superb as a Berber rebel with his own rationale for abducting a prominent American (Candice Bergen), inspiring a desert showdown with soldiers sent by President Theodore Roosevelt (Brian Keith), in writer-director John Milius’ atmosphere-rich saga.

“The Hill” (1965; May 22). In his first of multiple collaborations with director Sidney Lumet, Connery leaves behind all the Bond trappings in a grueling tale of military prisoners under a cruel overseer (Ian Hendry) — and the relentless blaze of the sun — in North Africa.