Rating: 
Summary: Live and Let Die
Review: Now this is James Bond, Roger Moore when serious is dead serious just like Ian Flemings Bond. This movie was full of adventure and excitement and it is a well done spy drama just like a James Bond movie should be, not just pointless action like the Pierce Brosnan movies. Roger Moore IS James Bond.
Rating: 
Summary: An action-packed, yet thought-provoking Bond flick
Review: Roger Moore's debut as Bond, in terms of quality, is a so-so outing, as was expected. Moore brings about an aura distinct with that of Connery's. The Bond that Connery portrayed was more of the consummate professional type, serious, rather impatient, edgy, relying more on toughness and innate resourcefulness to see him through. On the other hand, Roger Moore concentrates on the finesse side of Bond. He is debonaire, more intuitive, more blueblooded in the sense he is articulated and sophisticated, and a definite poster child on what it is to be a British gentleman secret agent. Moore reflects the 70's, where poise and style rules and therefore more adequate than Connery to play Bond in this point of time. Live and Let Die lays the foundation of this revolutionized Bond attitude the next six films, with Moore at the helm.Although Live and Let Die wasn't quite anything truly special in terms of overall story quality, besides Paul McCartney & the Wings' eerie, but memorable theme song, this film has to be one of, or if not Moore's most provocative and intriguing under his tenure as 007. First off, the mood and the pace of this particular episode has changed. Aside from the fact that the 70's feel prevails throughout, there is a supernatural, superstitious sense, a very foreign concept to the Bond series, even to this very day. There is a sense of mystery and unsettled emotion in Live and Let Die right from the get-go. Bond must investigate the enigmatic murders of three of his fellow agents: Dawes on the floor of the United Nations, Hamilton on a New Orleans street right in front of a funeral procession, and Baines who became part of a bizarre voodoo ritual on the island of San Monique. Getting a lead, 007 is on the trail for a Dr. Kananga, a UN representative of San Monique who "witnessed" Dawes' murder, while a Harlem kingpin Mr. Big (Kananga's other personality) gets in Bond's way. Bond also encounters an intriguing tarot reader, Solitaire (a very young Jane Seymour) who aids Kananga in foretelling the future. Bond is calm, cool and collected, amidst intimidation, inspired by the spiritual and supernatural circulating the movie and obviously, by Mr. Big's African-American organized crime machine. Successful in dispatching Solitaire's fears of the superunknown, Bond embarks on a mission to foil Kananga's plot to smuggle and distribute free heroin in an attempt to control the heroin market. The most controversial aspect of Live and Let Die is obviously its stereotypical subject. Filmed during touchy times, naturally African-Americans are portrayed as the big, bad, baneful dirty criminals, selling or in this case, giving away heroin for gain. At the same time, blacks obtain somewhat of an irrational label, portraying voodoo as just that, an irrational, outdated religion. The relative uneasiness of race relations is focused on as well (i.e. Bond/Rosie's love scene, the "Billy Bob" segment) Whites aren't exactly exempt from exploitation either. J.W. Pepper, played by Clifton James, is the stubborn, tobacco-spitting, indifferent redneck Louisiana sheriff, in essence, mocking southern culture. And of course, Bond, the seemingly omniscient, refined white man conquers all. Other than the relevant shortcomings, Live and Let Die is an action-packed extravaganza, meant to be taken with a good sense of humor. Moore elicits more of an over-the-top, lighthearted element to the film. Seymour's peformance as Solitaire is a definite bright-spot, as she plays out the innocent, vulnerable side of her character well. Yaphet Kotto's Kananga/Mr. Big is a competent villain who is seen off, Monty Python style and arguably is given the unenviable association with the worst death of a head villain in the Bond series. The supporting cast, in particular, Rosie Carver, Baron Samedi, and J.W. Pepper add a smart, eerie, and hilarious touch, respectively. And of course, the action scenes make up for its blatant flaws. A stellar speedboat chase, highlighted by Bond's crocodile-crossing stunt getaway before the chase even starts the chase, takes the cake, as the best sequence of the movie. All in all, a high-octane Bond adventure caper with an odd, but enticing supernatural kick.
Rating:
Summary: i liked it
Review: I really liked this movie because it was good. Baron Samedi was useless in the movie but important in the book.
Rating: 
Summary: Moore's first gets off on the right foot
Review: Roger Moore's first turn as James Bond is an interesting film that showcases James Bond trying to stop an island dictator from creating a massive drug problem in the world. The film features a large element of voodoo, a largely black cast, and the absence of Q, who was excused as part of a plan to make the series more current - these elements make this a unique Bond adventure. For some reason, this feels like a holdover from the more intimate, stylish Sean Connery era, probably due to veteran Guy Hamilton's direction (he directed Goldfinger and Diamonds are Forever), and the more down-to-earth sets, which lean toward the more realistic ones of movies like From Russia With Love. The movie is a fun adventure, with a so-so villain, an interesting Bond girl (Jane Seymour, practically the only one who had a career afterwards), and a boat chase that goes on WAY too long. It also features Bond's first (and so far only) movie trip to New York City. The movie has a nice pace (aside from the chase), good changes of location, and it's just fun. Not a series highlight, but one that sits firmly in the middle of Bond's adventures.
Rating:
Summary: Moore does Bond, Bond does Blaxploitation
Review: There's a lot to say about the eighth Bond film. Obviously, it begins the Moore era of Bond films; the stunts are more ridiculous, the women are sexist comic relief, the chase scenes are laughably absurd. Connery's world-weary double-fisted agent gives way to the slick '70s playboy superspy. The Moore Bond films are about over-the-top toungue-in-cheek fun. Why go looking for anything more in them? For one thing, LIVE AND LET DIE actually introduces one of the most developed and compelling of the Bond girls, Jane Seymour's impeccably-played Solitaire. A fantastical character with profoundly weird motivations and supernatural powers is portrayed with a depth and humanity that contradicts the above stereotype of the Moore films. Another actor turns in a great performance; with minimal screen time Roy Stewart manages to do justice to DR. NO's Quarrel. Yaphet Kotto's villain, too, is interesting and even textured, accentuating the absurdity of the explosive way he is dispatched. The extremely long speedboat chase puts to shame DIAMONDS ARE FOREVER's moon-buggy silliness. That said, there are ways in which L&LD is problematic. It is obviously a reaction to the success of the Blaxploitation films, which themselves often borrowed from the Bond series. L&LD, with Harlem and New Orleans as background, makes heavy use of the cars, costumes and conflicts around drugs of the Blaxploitation genre. In absorbing these tropes, however, the roles are reversed; the corrupt authoritarians and gangsters are Carribean and African-American, while it is the European who knows what is best and saves the day. The cultural stereotyping doesn't end there. Clifton James overacts every Southern cop cliche with his Sherrif J.W. Pepper character, an incidental role which wastes so much screen time one will be reaching for the "fast-forward" button. Enjoying L&LD demands, in its way, a certain kind of tolerance, both for the emerging goofiness brought into the Bond films in the '70s and for sitting through the sexism, racism and colonialism of this particular episode. For someone with that tolerance, there are a number of thoroughly enjoyable moments in this installment. Those looking for a more serious Bond, however, should look earlier in the series, or later.
Rating: 
Summary: Best left in the 70s
Review: I never saw LIVE AND LET DIE when it was released in 1973. Now, thirty years later, I have the disquieting thought, "Might I have loved it back then?" Surely not. But what will I think thirty years hence of Pierce Brosnan's recent Bond films, some of which I regard with a modicum of favor? There's a good chance I'll be dead and won't suffer embarrassment. In this 007 thriller of the post-Connery era, Roger Moore plays James Bond up against the evil drug lord Kananga (Yaphet Kotto), who's already managed to liquidate three British agents. Kananga lurks behind a voodoo facade, and his own actions are guided by Tarot cards dealt by Solitaire (Jane Seymour, in her film debut). The ostensible locale of much of the action is the Caribbean, perhaps so the solitary, bikinied Bond Babe can avoid goosebumps. LIVE AND LET DIE has the quality of a made-for-TV-movie, and not a very good one at that. The gadgetry is minimal, the acting sometimes deplorable, and the one extended chase sequence remarkably soporific. Roger Moore is no better than third behind Connery and Brosnan as the intrepid and resourceful Commander. Kotto as Kananga is uninspired. And the caricature of a southern sheriff by Clifton James is both unnecessary and excruciatingly overacted. Perhaps the only reason to see LIVE AND LET DIE is Jane Seymour, who is, in my opinion, one of the most exquisitely beautiful actresses ever to grace the Big Screen. And animal lovers will enjoy the plethora of snakes, sharks and crocodiles.
Rating:
Summary: "Names Is For Tombstones, Baby"
Review: LIVE AND LET DIE marks the advent of the 13-year, 7-film Roger Moore Era of the James Bond Legacy. Moore is the third actor to step into this illustriously dashing role, and it's plain to see from the get-go he cuts a fairly sharp contrast to his predecessor, Sean Connery. Gone are the smooth, easy mannerisms of our hero of the 60's - Connery's unconscious charm - the burly pitch of his voice, the fluent expressiveness mingled with a somewhat rough, dour edge unique only to him. No, Moore is a whole different Bond altogether. However, that's not to say he's a bad one - his demeanor formal, his chiseled features essentially inexpressive, his voice balanced, refined and imbued with an astute droll dry wit, he's the quintessential British gentleman. Not once during the entire coarse of this film does this Bond lose his cool; he is unshakeable, never missing a beat. Never does even a hair on his head get tousled out of place. His take on 007 is, in fact, very apt for the era. Even the villains here are of another variety: for nowhere are the likes of a Blofeld or a Goldfinger to grace us with a fantastical Save-The-World Challenge for Bond to sort out. No, the villains here are a sinister all Black ring of international drug smugglers. LALD commences with a rather unique pre-credits sequence: for our favorite spy doesn't even grace us with his presence until after the fiery opening credits are razed - in consummate style by Maurice Binder's swarthy & spooky main title design: touched up in fire and skulls, intense wide-open staring eyes, against the backdrop of Paul McCartney's bizarre, piquantly invigorating title song. The pre-credit events involve the killing of three British agents: the first at a consulate in New York, a second during a jazz funeral in New Orleans, and another in a voodoo ceremony on the Caribbean island of San Monique. Agent 007 is assigned the task of getting to the bottom of these crimes, which leads him first to New York, thence onward to San Monique, New Orleans and the surrounding Louisiana Bayou, on the trail of the sinister Doctor Kananga (Yaphet Kotto), the menacing Mr. Big, and a mysterious woman called Solitaire (Jane Seymour), who can foresee the future in her Tarot Cards. Perhaps one of this movie's most enjoyable scenes takes place in Bond's first meeting with Mr. Big and Solitaire in the back room of a Harlem restaurant. Yet for this movie, scenes like that are rare; it's mostly action to be found here - and maybe too much action, actually. There's plenty of car chases, including one fairly entertaining pursuit in New York involving a taxicab, a pimp-mobile and a freeway full of 1973 Chevy Caprices and Impalas; there's an exceedingly exciting boat chase; there's also a great scene in which Bond, wearing crocodile-skin shoes, prances atop the heads of the crocodiles strewn malevolently across a sweltering bayou. Ha! Now, that is hot - quite hot!
But as for Roger Moore's first mission, he not only had a hard act to follow, but also a great many first-time occurrences to contend with. And it's apparent that he was yet just taking tentative steps into feeling his own way into the role. He's the only Bond who never ordered vodka martinis "shaken not stirred." This is the first (and fortunately only) Bond film since DR. NO lacking any appearance whatsoever by "Q." It's the first time John Barry's deep, lush compositions are absent from the score. And first black Bond girl, Rosie Carver (Gloria Hendry) sparks the first interracial love scene with Bond. LIVE AND LET DIE has some undeniably curious aspects. First of all, Solitaire's ability to foretell the future in her Tarot Cards is apparently real. Dr. Kananga's henchman, Baron Samedi (Geoffrey Holder) is eerily menacing with his terrifying deep laugh and lurid association with the arts of voodoo. This is the first, and I think only, instance of the supernatural woven into a Bond adventure.
Though DIAMONDS ARE FOREVER, Connery's last official Bond film, appeared in 1971, it still very much retained the 1960's feel that had epitomized each of the first seven in the series. It's actually LIVE AND LET DIE that strode the 007 series, with a firm and sure step, into the blithe and spirited 70's.
Rating:
Summary: A Movie of Firsts for Bond
Review: This James Bond movie was a movie of multiple firsts. The first James Bond movie with a real rock song as the theme ("Live and Let Die" by Paul McCartney and Wings); it was the first major role for beautiful Jane Seymour; it was the first Bond movie where he was after someone other than someone out to take over the world; and of course it was the first Bond movie with Roger Moore in the title role. Some of the firsts worked really well. Jane Seymour is always lovely, and in this movie she was in her early 20s, looking absolutely stunning in a variety of costumes. The song by Wings is one of their most memorable and well-known. The other firsts had varying levels of success. Roger Moore rolled James Bond back from the continuous one-liners doled out by Sean Connery in "Diamonds Are Forever", which was welcomed and at least temporarily prevented James Bond movies from becoming spy comedies. This Bond movie also temporarily abandoned the science fiction theme of the last couple of Bond movies under Sean Connery. However, as good a bad guy as Yaphet Kotto played, ultimately he was still a drug dealer and seemed barely a worthy adversary for Bond. The other semi-welcomed change is the increased action of this movie. While the movie is advertised as being non-stop action, which it is, I wonder whether too much action is possible. Sean Connery's Bond generally had a well developed story to back him up, with ever-increasing plot complexity. It seems that much of the intellectual complexity was thrown out in this movie for the sake of continuous car and boat chases. Yet with all that, this movie is still a good Bond movie. Not the best, but not the worst either. The boat chase through Louisiana is exciting with at several novel crashes. One thing I didn't mention earlier is that this movie turned out to be an excellent vehicle for a number of Black actors. In addition to Yaphet Kotto, Geoffrey Holder and Julius Harris played very memorable supporting roles. Gloria Hendry as Rosie Carver is also a very memorable Black actor, as she was the first Black Bond girl; Bond's kiss must have seemed somewhat shocking to audiences of 1973, not to mention when he made love to her. The one flaw in all this is that Blacks seemed to have gotten all the criminal roles, and very few of the law enforcement roles (only one that I can recall). While having equal opportunity as criminals, people of color should have been more dispersed on both side of the line. With all its flaws, this movie still turns out to be a decent entry in Bond filmography. Roger Moore brings the styling of "The Saint" to James Bond, which was certainly a change for Bond. Furthermore, the opportunity was taken to bring Bond somewhat back to earth. Admittedly the elements of the supernatural, introduced for the first time in any Bond movie, were a bit unusual, but just as consistent as the science fiction in the previous Bond movies. Overall I would say this movie was an improvement over "Diamonds Are Forever", and certainly worth a bowl of popcorn.
Rating:
Summary: Live And Let Die
Review: It is a very good movie. But the song Live And Let Die by Paul McCartney is even better. If you don't like Paul McCartney, well, try Guns N'Roses
Rating:
Summary: The most boring film in the 007 series!
Review: Yes, the most boring James Bond flick of them all. The action scenes are dull as wood compared to the over-the-top stuff you see in the Connery films and in Moore's better efforts like "Moonraker" (Moore's most under-rated 007 film, and the movie that made me a Bond fan in the first place, way back at the tender age of 10) and "The Spy Who Loved Me." It takes at least half an hour before James even kills anybody! The film also suffers from Q's (Desmond Llewellyn's) hiatus. What's more, the Wings' title track is okay, but it's over-rated! It blows my mind that, and the title track to "A View to a Kill" are the most popular Bond songs of all time, yet they accompany the two dullest Bond films of all time. Too much time wasted on voodoo schlock as well, especially the closing bit with that laughing creep. Roger Moore did much better with the aforementioned titles . . .
|
