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5 of 7 people found the following review helpful:
3.0 out of 5 stars
Bond's Transition: Moore Delivers Plastic Action & Humor, But We've Seen Better, March 23, 2007
Given the success and rage of blaxploitation films in the early 1970s, the producers decided to jump on the bandwagon in order to take the series in a new direction with LIVE AND LET DIE. It is, in many ways, a shocking film in how far away from the original mold it takes the series. This is particularly strange given that Guy Hamilton (who churned out GOLDFINGER, one of the best Bond films). For starters, we have a new Bond in the form of Roger Moore. He has his detractors and his supporters, splitting roughly along the divide of what people want out of the films: suspense & espionage or fantastic action & humor. If you love the latter, Roger Moore delivers in spades, his tongue firmly set in his cheek and an army of one-liners at the ready. LIVE AND LET DIE focuses on action and humor, Bond having become a sort of ridiculous character by now. For my tastes, Connery had the ability to hold the series just above the ridiculous, whereas by Bond's eighth outing, he is drowning in it. Additionally, the film has a decidedly blaxploitationist theme. Bond is now dealing with a black heroine supplier, surrounded by an army of jive-talking black henchmen, complete with pimp suits, "pimpmobiles," and Shaft attitude. Perhaps some will enjoy this lively romp through 1970s culture. Others might even congratulate the producers for being so timely and capitalizing on the trend. But it horribly dates the film, while at the same time making LIVE AND LET DIE look cheap and cheesy.
After the opening "gun barrel" sequence (now, of course, featuring Roger Moore), we are immediately taken to the United Nations, where we witness the interesting assassination of a British representative. We quickly cut to a New Orleans funeral march and again witness the assassination of another agent. Finally, we are taken to an island called San Monique and witness the voodoo killing of a third man, tied to a stake. It is a short opening teaser and Bond is notably absent. The opening titles follow in the voodoo theme, featuring a skull in flames and the bodies of black women with painted designs. McCartney's theme is fantastic and is definitely one of the stronger songs in the entire series.
The plot of LIVE AND LET DIE is rather down-to-earth, but with certain elements blown out of proportion to render the film an over-the-top feel. Several British agents have been killed (in the opening teaser) who were monitoring the operations of a certain Dr. Kananga (Yaphet Kotto), the dictator of a small Caribbean island called San Monique. Bond travels to New York, the site of the first assassination, where Kananga is visiting the UN. Upon arrival, Bond once again meets up with Felix Leiter of the CIA. (Interestingly, in DIAMONDS ARE FOREVER, Leiter is noticeably not fond of Bond and is exasperated by his antics. But here, there is no such animosity. They are best of friends again). Bond soon finds himself in the clutches of Mr. Big, a man known as Kananga's US gangster connection, who runs a chain of "Fillet of Soul" restaurants throughout the country. It is here that Bond first meets his girl Solitaire (Jane Seymour), a beautiful tarot reader who has the ability to predict the future. It is Solitaire's ability that has enabled Mr. Big and Kananga to stay one step ahead of Bond's operations. Bond manages to escape and travels to San Monique to track down Kananga. He seduces Solitaire (in addition to his contact Rosie Carver (Gloria Hendry)) and finally figures out Kananga's plans. Kananga has produced two tons of heroine on his secret plantation, guarded against invasion by secret nets and the islanders' fear of voodoo and the occult (reminiscent of the islander's fear of Dr. No's "dragon" in DR. NO). Kananga plans to distribute the heroine in the United States for free, both flooding the market to put his competitors out of business while at the same time doubling the number of addicts in the country. With the mob out of the way, Kananga will be able to run the heroine business in the US for many years to come. That is, of course, unless Bond can foil his plans!
LIVE AND LET DIE is notable for the down-to-earth nature of its evil villain. Neither Blofeld or SPECTRE is anywhere to be seen. We no longer have an evil supervillain capable of crushing the world in a single blow. Instead, we have a drug-trafficker who wants to rule the market. Of course, he is a drug trafficker who has an incredibly elaborate hideout and an incredibly elaborate operation. (Though, why it is so elaborate is never really understood, other than the need for Bond to fight a villain of some size, power, and eccentricity.) Another feature of LIVE AND LET DIE that pops out is the explicit attempt to make Roger Moore's Bond different from Sean Connery's. Bond never orders a martini throughout the entire film (he prefers bourbon with no ice). The mission briefing occurs in Bond's private residence and Q makes no appearance whatsoever (although, he is referred to in reference to Bond's electromagnetic watch). Finally, Bond no longer has his cigarette case, choosing to smoke cigars instead. It is all a bit jarring.
Another funny aspect of the film occurs during the terrific boat chase sequence. The sequence is really quite spectacular and is certainly worthy of a Bond film. But for some strange reason, the producers decided to insert Sherriff J.W. Pepper (Clifton James), a stereotypical dim-witted Southern sheriff who seems to be the inspiration for Sheriff Buford T. Justice of SMOKEY AND THE BANDIT fame. In fact, I felt like I was in a prequel to the BANDIT series during this whole escapade, in which this ignorant Southern sheriff attempts to catch Bond in a high-speed chase, only to be foiled by various wrecks and problems (supposedly to the audience's delight). It's clearly meant to be a bit of comic relief, I suppose, but it falls flat. Just like Kananga's henchman Tee Hee (Julius Harris) falls flat with his ridiculous looking metal pincer hook. Just as Kananga's shark pool (why does he have sharks?) and the "explosive" ending falls flat.
Roger Moore ushered in a new era for Bond films. The action in LIVE AND LET DIE is, on the whole, quite good. The stunts are great and the pursuit sequences are particularly fun. But Bond is a bit light for my tastes here. I preferred the Bond films when they took themselves more seriously and tried to create suspense. This is escapist entertainment. Thus, if you enjoyed the Roger Moore era, you will enjoy LIVE AND LET DIE. The Ultimate Edition looks much fantastic and the sound is great. Included are a number of documentaries about the making of the film, as well as various footage of Moore on the set. It all comes down to what you want from Bond. There is no way to achieve perfect continuity throughout a film series that spans decades and involves several different actors in the lead role. If you enjoyed the class of the Connery films, you will probably not like the change evidenced here. But if you're willing to accept a light-hearted, tongue-in-cheek Bond, Roger Moore certainly delivers. I prefer Connery. But to each his own.
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4.0 out of 5 stars
An excellent upgrade for Roger Moore's entertaining Bond debut, February 13, 2008
Fondly remembered by many as Moore's best effort, you have to be in the right mood to see this today and willing to make a mental trip back in time to the early 70s when it was made. It's probably dated more than almost any other Bond film - even bearing in mind that the seventies was the decade that fashion forgot, the sideburns and flares on display here are pretty vicious and, as the first film since Dr No to enter Bond's flat, it is deeply distressing to note that he is a slave to Formica and has chicken-shaped pate moulds on the wall. As swell as being the first Bond film since Goldfinger not to be shot in 2.35:1 widescreen, more significantly it also marks the point at which the series started imitating other trends rather than setting them - in this case blaxploitation pictures, which is quite an achievement you're your hero is white. Beyond its voodoo trappings little of the plot of Ian Fleming's novel survives as Shaft - sorry, Bond - takes on the drug-pushing president of a small island in Jamaica, but it's certainly one of the most action-packed of the series and never outstays its welcome the way some later efforts would.
Taking barely 11 minutes to get into some serious raised eyebrow action, there is perhaps a bit too much of Simon Templar in Moore's performance, but there is also a harder edge to his Bond that was soon smoothed away. He has a very cynical attitude towards Jane Seymour's virginal Solitaire), using her callously as bait. In a way it's a blessing that the film was not tailored specifically for Moore as later efforts would be, relying more on his rarely tapped abilities as an actor than his star persona. It doesn't hurt that director Guy Hamilton visibly raises his game from his lazy helming of Diamonds Are Forever.
This also shows the first sign of breaking up set pieces to add throwaway visual gags. This frequently detracts from the nifty and still very impressive speedboat chase, possibly the best sustained action sequence in the series until the free-running chase in Casino Royale, as Clifton James does his Deputy Dawg impersonation while the odd bit of slapstick comedy removes much of the threat. At times it is hard to tell which lines are meant to be funny and which ones aren't. "Great disguise, Bond - white face in Harlem" is pretty obviously the former, but surely the unintentional dialogue high point has to be Tony Award-winning Shakespearian actor Yaphet Kotto - curiously seeming to give three performances, starting out as Marlon Brando before easing into the genial villainy - uttering the immortal "Names is for tombstones, baby. Take him out and waste him."
The extras from the original DVD release are all retained - including the documentary with amazing outtakes of the alligator stunt going wrong that prove that the filmmakers used real gators - as well as some welcome new additions. The 1964 extract from Millicent Martin's TV show with a young Moore sending up James Bond is fun, and there's an intriguing 1973 documentary shot on the set. The print may be a damaged mixture of faded color and black and white footage, but the content more than compensates, from Moore quipping "If Guy Hamilton thinks I'm doing that again, he can get the other feller back, I'm telling you" to the depressing sign of the times that even then the film industry was still partially segregated, with the Black Stuntmen's Association having to prove that you didn't need blacked-up white stuntmen to double for black actors. The trailers are among the best of the series, promising 'More excitement, more action, more danger and more - much more - Roger Moore.' Better still, the legendary Milk Marketing Board commercial that was so cruelly undermined by Moore's entertaining account of filming Roger Moore as James Bond, is also included, featuring much manufactured footage of the cast downing pints of milk after dangerous stunts!
Highly recommended
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3.0 out of 5 stars
Less is Moore..?, September 18, 2007
Moore's first movie successfully makes the transition into 70's, with flares, jazz, afro's and all, intact. It's an extension of the Americanisation that started in Diamonds are Forever, and a lot of it works - at least well enough to establish Roger Moore as the new Bond quite painlessly. His is a different Bond - more suave, less fisticuffs, more one liners. But the story lurches from new ideas to old standards in hesitant fashion, ultimately ending unsatisfyingly.
There are some very memorable set-pieces, but there is a lot missing from the mix too. The plot line meanders and never seems to present a particularly threatening atmosphere. SPECTRE and Blofeld are rather missed, as the franchise struggles to find a replacement protagonist for the new decade. After megalomaniacs trying to achieve world domination, a drugs baron (Mr Big, played by Yaphett Koto) somehow seems tame by comparison.
Moore is often criticised for bringing too much levity to the series - but the one liners roll easily from his tongue (amazingly, given how firmly entrenched it is in his cheek). However, for every plus in the humour stakes, something is lost in the action stakes - Moore was never convincing in the running and fighting. The final train compartment fight in the coda is ok, but pales compared to the classic similar scene in `From Russia...' In this movie, although older than Sean Connery, with careful editing, he just about holds his own as a credible action hero.
It is over half way through the movie as your eyelids may be drooping, that the movie really kicks into gear, with `that' boat chase. It's action packed, with great stunts and humour throughout, in large part due to Sheriff W Pepper. Other than the colourful Sheriff, in terms of characters, women are given a bit of a bum deal, either whimpering Jane Seymour falling instantly for Bond's charms thanks to a rather ungentlemanly piece of cheating, or Rosie Carver who is portrayed as the most useless CIA agent ever (although Bond gamely offers to `lick her into shape'). Yaphet Koto however is a credible Bond villain- even when he cannot decide whether to be something from a Blaxploitation movie, or the Blofeld clone he sounds like in the final few scenes of the movie, in the inevitable underground lair.
It is this switch from high octane powerboat chase to disappointingly old fashioned finale, that ultimately lets the film down.
For this ultimate edition, the usual professional job has been done in restoring both picture and sound, with the dts mix being near flawless and never too clver, and the picture just perfect. All the extras from the Special Edition are present, with just a couple more - this time, an interesting curio - an excerpt from a 1964 comedy sketch where Moore plays Bond! Also a vintage but quite well done 1973 vintage documentary. The original `Inside Live and Let Die' and the feature commentary are still the must see highlights.
As a package then, good enough to introduce a new Bond, while Moore was still young enough to fill Bond's shoes. It has scenes worth waiting for, but is certainly not one of Bond's finest moments.
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