Live and Let Die (Special Edition)
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Movie Reviews of Live and Let Die (Special Edition)
Movie Review: Live and Let Die: A Solid Introduction For Roger Moore in a Pretty Good Movie
Summary: 4 Stars
Roger Moore's first appearance as James Bond lacks the iconic imagery of Sean Connery in "Dr. No" and the cool of George Lazenby in "On Her Majesty's Secret Service," but his introductory movie is a pretty good entry to the franchise that casually ushers in a new era of Bond.
In "Live and Let Die", Bond is assigned to investigate a string of murders linked to the fictional Caribbean island San Monique. The pre-title sequences, which depict these events, are among some of the best in the movie; an elaborate "faux" funeral procession in New Orleans' famed French Quarter that bursts with culture, and is as clever as it is disturbing, is my favorite of the three.
The main plot of the movie involves heroin kingpin Mr. Big and San Monique's leader Kananga, who is being closely monitored by the CIA following the murders. Kananga is a decent villain, serviceable enough for a movie like this, but he is pretty forgettable relative to most of the other villains in the series. Tee Hee, Kananga's large, metal-armed henchman who never fails to find humor in any situation, as well as the mysterious Baron Samedi, make much better villains.
Locations are a highlight of the movie. Early scenes depict Bond's first trip to New York City and feature some fantastic on-site footage, a loaded "Pimp Mobile" (comparable to his DB5, even), and a great chase scene involving a very friendly cabbie. Later, Bond follows Kananga to San Monique where the Voodoo theme that in many ways defines the movie permeates throughout. Tarot cards, creepy voodoo "scarecrows," and haunting rituals all give "Live and Let Die" a unique flair that greatly contrasts it with all the other Bond movies.
Action scenes are plentiful throughout the movie, including a close encounter on a crocodile farm (where trespassers are warned they "will be eaten") that is followed soon after by an extended speedboat chase in the Louisiana bayou. In these scenes, Moore proves he is every bit Bond as he expertly outmaneuvers an onslaught of enemies in a speedboat.
Overall, "Live and Let Die" is a solid action movie, but as a Bond movie for me it ranks near the bottom of the list. The overall plot of heroin smuggling is much less exciting, and in many ways much less worthy of Bond's attention, than the plots of any other Bond movie. Fans of 007 will almost certainly want to watch this movie, but for any casual action movie fan, there are many better Bond movies to see.
Movie Review: Great Moore debut
Summary: 4 Stars
Roger Moore debuted as Bond in this early 70's flick in which the threat is not some shadowy megalomaniac, but insidious organized crime. Investigating the mysterious deaths of British agents in New York, New Orleans and the Caribbean island of San Monique, Bond uncovers a multi-national crime cartel using ready to flood the western world with heroin. Following the trail from Manhattan to New Orleans by way of the Caribbean, Bond finds the cartel headed by a shadowy "Mr. Big" and allied with San Monique's president (Yaphett Koto). With a tarot-dealing seer (Jane Seymour) ready to deal the death card for Mr. Big's enemies and the legendary Baron Samedi (Geoffrey Holder, the 7-up guy) as a mascot, Mr. Big's cartel pushes fear of the spirit realm with a healthy dose of heroin.
This was Moore's first stint as 007, and the change marks a new direction only hinted in "Diamonds are Forever" - with car chases, visual sight gags and elaborate stunts. The broad humor seemed a good idea at the time (LaLD was followed up by "The Man With the Golden Gun" which not only expanded on the comedy but even unwisely returned the comic-relief: Clifton James as Sheriff Pepper). The real joke is the flavor which is early 1970's blaxploitation, Harlem, afros, soul food and Bond about as out of place as a Ku Klux Klan cookout at the Apollo Theater (a variation on the line uttered by one of the characters in this film - I couldn't make that up!). Watching the film you keep thinking that the producers had dreamt up the whole thing after a night of one-too-many Vodka Martinis. Even when you find out what the story is about, you're not sure you should care (there's no clicking clock to a nuclear explosion or WWIII). The script manages to neglect that important scene when Bond stumbles upon the evil operation and we realize the gravity of the evil plot (like the nerve gas scene in "Moonraker" or the Ft. Knox diorama from "Goldfinger"). Nevertheless, LaLD excels on Moore's talent for self-deprecation (the joke is that he's always in the last place he belongs, and doesn't seem to care - like when he bravely tails Mr. Big's operatives uptown - into Harlem) and also on the George Martin score. Yaphet Kotto is also good as Katanga, the Carribean president with his own angle on Mr. Big. Be aware though - if you watch the film waiting for Bond to strut around Manhattan to the theme to "Shaft", you're in a for a disappointment.
Movie Review: New bond, and new style -- more like the books?
Summary: 4 Stars
As mentioned in the included documentary (DVD version), the Bond conglomerate revamped much of the then-moribund formula that served, then smothered, Sean Connery. DIAMONDS ARE FOREVER screenwriter is back, as is Bond veteran Guy Hamilton (GOLDFINGER, DIAMONDS), and production designer Ken Adam. Much of the bombast of YOU ONLY LIVE TWICE and DIAMONDS ARE FOREVER were abandoned (too bad they returned after MAN WITH THE GOLDEN GUN). What I remembered loving in 1973, and still do, about LIVE AND LET DIE was the very fresh approach to the story, and Bond. Moore, acting hard to NOT duplicate his Saint persona, plays Bond in a very different vein. The production design was hipper. The milieu and script was forceably hipper (to the point of clunking terribly in parts). And George Martin's blaxploitation-infused score left no mistake that this was a NEW Bond for the 1970. I still like the music, particularly the coup of having Paul McCartney score the punchy title song. The addition of a pure comic element, Clifton James' Sheriff J.W. Pepper, was as fun as it was unexpected.
Does it measure up? There are two camps: those that like the early, classic years, and the later campy, send-up years. I'm in the former. LIVE AND LET DIE was a nice anomaly, bridging the character driven suspense (Bond and Solitaire, Solitaire and Kananga) and growing expectation for outlandish stunts. Like FROM RUSSIA WITH LOVE and ON HER MAJESTYS SECRET SERVICE, this film skirted some of the obvious cliches and made unexpected choices. Many of the trademark "Bond touches" that Terence Young introduced were omitted because they were strongly associated with Connery. The result? A pared down Bond character that I find more in keeping with the books.
And of course, these DVDs come packed with extras, so they're a bargain for Bond aficionados. ;)
Movie Review: The Deck was Slightly Stacked
Summary: 4 Stars
This is the oddest-looking James Bond film. It doesn't look or feel like any of the other films in the rest of the series. Cinematically "Live and Let Die" is an entity unto itself. Every effort to disassociate Roger Moore from Sean Connery was made in this film and in doing so the entire film also became disassociated from the rest of the series. It was a real jolt to fans when it came out. I even have a hard time watching this film today. However, to new fans just coming aboard the `Bond-wagon' it was a very humorous and entertaining film. At its core it still contained enough elemental bear bones of the James Bond series and other entries from the tongue-in-cheek spy film genre to differentiate it from other movies on the market. And that being said there are elements of this film that I do like. Derek Meddings' miniatures of Kananga's poppy fields exploding near the film's climax were excellent. Julius Harris as Tee Hee, Roy Stewart as Quarrel Junior and Arnold Williams as the Cab Driver were all good in their roles. The fight scene between Bond and Tee Hee aboard the train wasn't bad and led up to a great one-liner. One of the better scenes in the film was the confrontation between Bond and Kananga when he `reveals' himself in his New Orleans lair. I found Geoffrey Holder's choreography much better than his role as Baron Samedi, a great character that was never developed. The film's best innovation was having Paul McCartney and Wings perform their hit tune over Maurice Binder's titles. To everyone's heartbreak it was a shame that Desmond Lewelin as Q never appeared in this film. And that being said the best gadget in this film was James Bond's coffee machine. As Bernard Lee as "M" commented, "Is that all it does?"Movie Review: Say LIVE AND LET DIE
Summary: 4 Stars
This is the oddest-looking James Bond film. It doesn't look or feel like any of the other films in the rest of the series. Cinematically LIVE AND LET DIE is an entity unto itself. Every effort to disassociate Roger Moore from Sean Connery was made in this film and in doing so the entire film also became disassociated from the rest of the series. It was a real jolt to fans when it came out. I even have a hard time watching this film today. However, to new fans just coming aboard the `Bond-wagon' it was a very humorous and entertaining film. At its core it still contained enough elemental bear bones of the James Bond series and other entries from the tongue-in-cheek spy film genre to differentiate it from other movies on the market. And that being said there are elements of this film that I do like. Derek Meddings' miniatures of Kananga's poppy fields exploding near the film's climax were excellent. Julius Harris as Tee Hee, Roy Stewart as Quarrel Junior and Arnold Williams as the Cab Driver were all good in their roles. The fight scene between Bond and Tee Hee aboard the train wasn't bad and led up to a great one-liner. One of the better scenes in the film was the confrontation between Bond and Kananga when he `reveals' himself in his New Orleans lair. I found Geoffrey Holder's choreography much better than his role as Baron Samedi, a great character that was never developed. The film's best innovation was having Paul McCartney and Wings perform their hit tune over Maurice Binder's titles. To everyone's heartbreak it was a shame that Desmond Lewelin as Q never appeared in this film. And that being said the best gadget in this film was James Bond's coffee machine. As Bernard Lee as "M" commented, "Is that all it does?"