The saga continues. After a false fresh start, it’s Roger Moore’s turn to step into Bond’s shoes with Live and Let Die.

007 is tasked with solving the mystery of three murders across the globe, all MI6 agents. As ever this takes him all over the world and he meets bad guys, women, shoots guns etc etc. This is the eighth film in the series and we’ve learned by now that it’s not about what he does, it’s about how he does it.

Despite being superficially the same as the others, this is a genuine change of direction for the franchise. The camp tone that was so irritating in Diamonds are Forever actually works in Moore’s hands.

He’s the definition of nonchalant. While Connery was always ready, clenched fist and hand on gun, Moore gets out of danger with a smirk and a raised eyebrow. It sounds silly but he’s so good at it one can’t help but be charmed.

The other changes they make are more hit and miss. There’s no crazy villain trying to take over the world, just a gangster running a drug business. However, even with the apparent simplicity of the story it still manages to be overly convoluted.

Trying to ‘get real’ hurts the film too. The villains simply aren’t that threatening. Not that everyone should be Dr. No but it’s hard to imagine why they send Bond on a errand that frankly should be a matter for the local police.

The producers also clearly attempted a shameless cash grab by imitating the then popular Blaxploitation theme. Bondsploitation. It can be fun to watch at times for the fish-out-of-water value but mostly it makes the film feel too much of its time. No one really wants to see Bond tackling the ‘issues’.

There’s a lot of good though. Jane Seymour stands out as the ‘Bond girl’. She’s only 20 years old here and it really shows. She manages to lend a genuine vulnerable air to the role without hamming it up. However, it is slightly unsettling to watch Bond shamelessly try to screw a teenager using some rigged tarot cards. He’s only one step away from slipping a pill into her drink…

Also good is the theme tune. It’s the first break from a big band style song and it’s a true classic. McCartney still plays it live on stage.

There are some very slick action sequences in Live and Let Die. It’s a shame they are often swamped by really boring ones or just wind up being overly long and losing our interest.

The boat chase is the best example of this. It feels like it’s never going to end, we don’t really know why there even is a boat chase, never mind where it’s actually supposed to be happening (the Bayou I presume?). A shame, because it is punctuated by moments of true greatness. One of the boat jumps broke a Guinness world record. It’s ambitious footage spoiled by a very poor edit.

Live and Let Die has not aged well. It’s confusing and keeps trying to bring race into the plot for no reason. However, one can’t help but enjoy Moore’s performance and if this film does anything, it makes us want to see where he goes with the character.

http://benoliver999.com/film/2015/06/05/liveandletdie/

Live and Let Die marks a turning point in the James Bond saga as Roger Moore takes on the iconic role of Agent 007 for the first time. Moore brings a distinct elegance, humor, and sophistication to the character, setting a new tone for the franchise.

Directed by Guy Hamilton, the film offers a unique atmosphere, blending exotic locations with action, suspense, and a hint of mysticism. The plot combines international espionage with elements of voodoo culture and drug trafficking, giving it a distinctive flavor within the series.

The film's soundtrack, especially the title song "Live and Let Die" by Paul McCartney & Wings, remains one of the most iconic themes in the franchise. The energetic track sets the tone perfectly, adding to the film's memorable moments.

One standout scene is the famous crocodile sequence, which showcases the creative action that Bond films are known for. The film also benefits from its setting in New Orleans and the Caribbean, adding an exotic touch to the narrative.

Jane Seymour shines as Solitaire, bringing mystery and vulnerability to her role, making her one of the more memorable Bond girls. Meanwhile, Yaphet Kotto delivers a compelling performance as the villain, adding a credible threat to the story.

Overall, Live and Let Die captures the essence of James Bond while experimenting with new elements, resulting in an entertaining and distinctive entry in the franchise.

This 007 film aged very well.
007 follows in the footsteps of three prior agents who were assassinated.
There's a lot of "jive" in this one, since this is the one where the villain is black, and he uses mostly black helpers, so the white James Bond really sticks out.
And thus we get a lot more comedy here.
There's a bit of a condescending attitude towards Harlem here, and too much respect for the few who are the criminals of Harlem, but this is a "comedy" 007 adventure.
The beautiful Solitaire is the love interest, and there's a lot of belief in the supernatural here. That's part of the "condescending" part.
This movie was very bad in 1973, but it aged well, because in 1973 the "red neck sheriff" was such a trite cliche that one had to groan in 1973.
But today, after all the movies that have tamed down the image of the red neck lawman, it's a fresh bit of comedy, and that's why this movie has aged well. It comes close to breaking into the top ten 007 films of all time due to its lack of negativity that has been the Hollywood formula since about 1965.

When I first watched this opening outing for Roger Moore in the "007" role, I wasn't very impressed. Now, when I watch it though, I appreciate more the sophisticated and subtle approach that the star brought to the role. Gone is much of the chauvinism of the Connery days, replaced by a more subtle, humorous, playful style whilst still delivering a good adventure film. This time, following the deaths of three other agents, "Bond" finds himself investigating a dodgy Caribbean ruler "Katanga" (Yaphet Kotto) who is using the prophetic skills of his tarot reader "Solitaire" (a rather beautiful but simpering, charmless, Jane Seymour) and a great deal of heroin to dominate the global narcotics market. It's got it's fair share of gadgets and one of the most memorable opening (funeral) scenes of any movie I've ever seen. Geoffrey Holder is crackingly menacing as "Baron Samedi" - the master of voodoo; and Julius Harris as the almost indestructible "Tee Tee" - complete with a basic, but dangerous artificial hand. It's dark, gritty and sinister and well worth watching. Can't say I'm the biggest fan of the Wings theme tune, though - I prefer the knock 'em dead power ballads...

Live and Let Die is a brilliant use of a new Bond (Roger Moore) and an iconic title song for one of the best Bonds there is.