I don’t know if it was a very enviable position for Roger Moore to be in, in 1973, when he had to take the 007 reigns from Sean Connery. Connery’s star had risen to become one of the biggest in the world as he portrayed Bond in the 1960s, and one attempt to replace him, with George Lazenby in 1969’s On Her Majesty’s Secret Service, resulted in the series’ first minor box office failure. If a second attempt to keep the series going without its first 007 proved unsuccessful, its all too likely that the franchise would have simply faded into obscurity. Thing is, filmmakers seemed to be ready this time. To be able to not only replace Connery, but keep pace with a world that seemed to be turning away from the espionage antics of the Bond universe, 007 would have to evolve and give audiences something different to get them in the theaters again.
With Live and Let Die, Roger Moore’s first outing into the world of James Bond, that is exactly what audiences got, and they ate it up. Avoiding possible pitfalls that were associated with depicting real world issues like the Viet Nam war and such, Moore’s films turned to pure escapism, and usually seemed more ridiculous than his predecessors’ efforts even thought about being. In fact, with Live and Let Die it seemed that film makers were not only desperate to change the previous Bond image, but decided to even throw 007 into the most ’70s type of film possible; an exploitation film.
Centering around Moore’s Bond investigating a series of assassinations in New Orleans, the Caribbean, and New York City, Live and Let Die ends up a sharp turn from what had preceded the film up to this point in the franchise. Instead of your usual megalomaniac or agent of S.P.E.C.T.R.E., 007 must contend with Voodoo priests, Harlem drug lords, and redneck sheriffs that would seem right at home in a Burt Reynolds flick. Indeed, where film makers had tried so hard put George Lazenby in a Connery-like adventure, skiing through snow covered mountains as he tried to stop Telly Savalas’ Blofeld from taking over the world, Moore’s Bond would instead fight evil in gritty back alleys and southern bayous.
It helps that film makers surrounded Bond with top talent. Yaphet Kotto’s Kananga is a formidable villain, with plans that seem somehow very realistic, similar to that of Frank Lucas’ real life drug empire in Harlem, yet instilled with the ridiculous theatrics of a Bond villain, as seen by his use of double identities, voodoo fortune tellers, and mechanically enhanced henchmen. Kotto’s performance in the Blaxploitation masterpiece Truck Turner the following year would be similar to his menacing turn in this picture, his cool demeanor giving way to fits of violent rage at just the right point.
Just on a visual level too, there’s just something dangerous about the way that Kotto moves as Kananga. Almost like a cat, everything he does is very deliberate, with no wasted movement, especially in the final knife fight with Bond at picture’s end. It’s just these little touches that make Kananga such a memorable foe for 007, as he seems perfectly at home as his role as diplomat, surprising you with his ferocity when rage finally overtakes him.
Providing a gorgeous dichotomy is Jane Seymour’s Solitaire, the voodoo priestess who uses her powers of fortune telling to help Kananga achieve victory in his evil schemes. Seymour is unbelievably beautiful here, but its her innocence that seems to separate her from the rest of the Bond Girl pack. Despite her ridiculous attire, Seymour manages to make Solitaire into the girl next door, making her absolutely as irresistible as Bond is to women.
And speaking of Bond, though this is his first time out in 007‘s tailored suit, Moore seems especially assured of himself. Unlike Lazenby, who was stuck trying to stay within Connery’s shadow, Moore and the producers tried to distance his Bond portrayal from his illustrious predecessor and the result is a new kind of Bond. Yes, Moore’s 007 is a bit softer around the edges and more upper crust, but this is why the urban and then very rural settings for much of this film seem to create such a diverse backdrop for this very sophisticated English gentleman. Moore also manages to bring the most humor to the role, which adds to the type of escapist atmosphere that Director Guy Hamilton and Screenwriter Tom Mankiewicz were trying to bring forth.
The film’s action is also quite spectacular throughout. Per capita Live and Let Die may actually have the most chases of any Bond flick, from an NYC Taxi pursuit to maybe the most impressive boat chase you’ve ever seen on screen. This thing is to boats what the car chase in Bullitt is to Ford Mustangs. With insane jumps and explosions, the chase seems to go on for about ten minutes in all, with Moore seemingly taking the whole thing in stride.
Then on top of all that, you’ve got fistfights and knife fights galore, with 007 taking on a terrific lineup of deformed henchmen from Julius Harris’ one armed, hook handed Tee Hee to Geoffrey Holder’s immortal witch doctor Baron Samedi. Also, just as it is with every Roger Moore Bond film, you get an amazing stunt to behold. For Live and Let Die the stunt is an unbelievable moment where Bond has to run across the backs of four live crocodiles.
Unfortunately, the film’s reliance on camp has also caused its aging to be less than dignified. Kananga’s final exit from the film alone is pretty cringe worthy, and the depiction of voodoo in the film is pretty silly. I’m sure some will perhaps even see the film as a bit racist considering nearly all the villains in the film are African American, though oafish characters like Clifton James’ backwater Sheriff J.W. Pepper and others were clearly an attempt by the film makers to even the playing field, Bond being an equal opportunity rabble rouser in this picture. All of these take away from a movie that is clearly just trying to give audiences the same sort of exploitive pleasures many of the films of the day were, just on a James Bond budget, and many pleasures are to be found if you can look past the film’s goofy shortcomings.
The print on this disc seems a little softer than the previous Bond Blu-rays, with a little less image detail, but still the transfer is better than this movie has looked in a long time. Those ‘70s outfits and hairstyles still have quite a bit of sparkle left in them, and this BD gives them a polish they haven’t had in a long time.
Better yet is the print’s audio, which is absolutely flawless. Seriously, you’ll think this was a brand new picture if you just listened to soundtrack on this movie.
Audio Commentary by Sir Roger Moore – One word: awesome. I love that Moore would perform this track (and one for every 007 film he appeared in) so long after retiring from his Secret Agent days; and to top it all off, this is a terrifically engaging, laid back track with a wealth of information about shooting the movie, from his initial days as a prospective Bond to playing pranks on Yaphet Kotto on the set.
Audio Commentary by Director Guy Hamilton – This track is actually just like the previous Bond Blu-ray commentary tracks that feature several participants in addition to Director Guy Hamilton. Just as before this track is “hosted” by John Cork of the Ian Fleming Foundation and features several members of the cast and crew, including Gloria Hendry who plays Rosie Carver in the picture as well as Julius Harris who played the aforementioned Tee Hee.
Audio Commentary by Tom Mankiewicz – The writer of this and several other Bond flicks, Mankiewicz’s is the best track on the entire disc. Able to really give us perspective on the series, the writer talks about how it was different trying to put screenplays together for two different Bonds and how you had to approach each of them differently in order play to their strengths. This is an exemplary track from Mankiewicz and hopefully we get to hear more of them on other 007 Blu-rays to come.
Bond 1973: The Lost Documentary – This terrific vintage doc was made during the filming of Live and Let Die and features several nice interviews from the cast and crew. This is an unexpectedly candid look at the making of the movie, and you can tell how nervous everyone is about bringing in a new Bond. Thankfully, it all worked out.
Roger Moore as James Bond, Circa 1964 – A clip taken from a British TV Show called Mainly Millicent, this Bond spoof actually features Moore nine years before he would actually take the role that would make him an international superstar.
Live and Let Die Conceptual Art – This is a look at the different poster and artwork for the movie.
007 Mission Control – This feature is like a highlight reel from the movie, allowing you to go to specific events.
Inside Live and Let Die – Ported from the original Live and Let Die: Special Edition DVD, this documentary is another terrifically detailed look at the making of this movie. Upgraded to HD, you get an incredible assortment of interviews and behind-the-scenes footage, the best of which showcases the awesome crocodile stunt. Showing every attempt to make the run by Stuntman Ross Kananga, and every single one is breathtaking.
On the Set With Roger Moore: The Funeral Parade – This behind the scenes footage has Moore talking about a scene being filmed as he watches from a near rooftop.
On the Set With Roger Moore: Hang Gliding Lessons – This footage has instructor Bill Bennett talking about the hang gliding stunt in the film.
Original Trailers and Commericals
Image Database
Live and Let Die is a good, but not great Bond film, but it is filled with terrific stunts and action and the movie made for a fun introduction to the Roger Moore era of the 007 series. This Blu-ray though, is fantastic. With tons of extras and the best this movie has ever looked on home video, fans of this movie should be all over this.
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MGM/20th Century Fox presents Live and Let Die. Directed by Guy Hamilton. Starring Roger Moore, Yaphet Kotto, Jane Seymour, Clifton James, Julius Harris, Geoffrey Holder, David Hedison, and Gloria Hendry. Written by Tom Mankiewicz. Running time: 121 minutes. Rated PG. Released on DVD: October 21, 2008. Available at Amazon.
