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| Live and Let Die |
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  (6/10)
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Runtime: 119 |
| Public Rating: 9.25 (12 votes) |
Director: Guy Hamilton |
MPAA Rating:  |
| Genre: Action adventure |
Year: 1973 |
| Writer(s): Ian Fleming (novel), Tom Mankiewicz (screenplay) |
| Reviewed by: Le Apprenti |
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James Bond is back, but not Sean Connery. In his place is Sir Roger Moore in Live and Let Die, taking over the reins from Connery after Diamonds Are Forever. In many ways, this installment holds a unique distinction. Aside from it being Moore’s 007 debut, it is the only film that pits Bond exclusively against African-American powers-in-crime, the only other film besides From Russia With Love without an appearance by Q, has its first surviving villain since Blofeld, and a first Bond music score not composed by John Barry.
This 8th installment of the Arthur Brocolli and Harry Saltzman franchise takes Bond to the United States, following the deaths of 3 MI-6 agents. From Harlem to New Orleans and island state of San Monique, he investigates and stumbles upon a heroin trade operation spearheaded by two contrasting personalities: San Monique Prime Minister Kananga and his alter-ego Harlem gangster Mr. Big (no relations to the late rap artiste), both played by Yaphet Kotto. His team of black power includes cackling henchman Tee-Hee (Julius Harris), towering voodoo priest Baron Samedi (Geoffrey Holder), obese squeaker Whisper (Earl Jolly Brown), Kananga’s network of San Monique connections, and Mr. Big’s network of Harlem and New Orleans connections. Helping Kananga stay one step ahead of the law, and everyone else, is tarot-reading siren Solitaire (Jane Seymour), whose divine powers – bestowed upon by Kananga – is destined to fade completely after being romanced by Bond.
Clearly a departure from the Connery Bond films, Live and Let Die lean towards action-orientation than lush storylines. The story is richly dressed up in exotic African-American and Carribean culture, but underneath is severely underdeveloped. Compensating for it are lengthy action sequences in greater numbers than before, and excessive blaxploitation make-ups. The dialogue is dated to reflect the influence of the latter during the 70’s. Scenes of Harlem and New Orleans in their gritty glitzy city splendor abound. The latter includes the marching funeral procession in the city street and the boat chase down the bayou. This is added on by voodoo rituals and a showcase of mystical powers spawned from the occultic art.
In his Bond debut, Moore is good but not outstanding. He lacks the suave and machoism of Connery, making up for it with wit and humor. While Connery faces danger with brave confidence, Moore smiles candidly in the heat of it. Thankfully, his style enables him to assimilate into the role without being bland. But his debut is hardly outstanding, against the blaxploitation-filled plotline. Still, he is a worthy successor to Connery.
Overshadowing Moore – and Bond – is Kotto’s dual turn as Kananga and Mr. Big, keeping both identities distinct before unmasking them. As Kananga, he is ruthless and calculating; as Mr. Big, he is boisterous and domineering. Harris’ role as the Tee-Hee – sporting a pair of mechanical pincers for his right arm – provides excellent comedy villany. Not only is he colorful going medieval with Bond, but he also delivers the best lines of the entire cast. Whisper is grossly underused. Other than his signature voice, his character is not utilized in spite of his show of brawn. Baron Samedi is mysteriously menacing, but Holder sounds like he is doing a magic show. His maniacal laughter is hilarious, but scary when he does it to end the film. Bond girl Jane Seymour is a bore. She skims through Solitaire without any sparkle. Sadly, so is Gloria Hendry, but she compensates for it with a very short 5-minute screen time. David Hedison’s first run as returning CIA agent Felix Leiter is easily forgettable.
Overshadowing Moore – and Bond – is Kotto’s dual turn as Kananga and Mr. Big, keeping both identities distinct before unmasking them. As Kananga, he is ruthless, calculating and occasionally dull; and as Mr. Big, he is flamboyantly boisterous. Kotto’s best moment is trying to have Tee Hee snap Bond’s pinky finger. Speaking of whom, Harris’ role as Tee-Hee – sporting a pair of mechanical pincers for his right arm – provides excellent comedy villany. Not only is he colorful snipping his way into Bond, but he also has a wicked laugh. Whisper is grossly underused. Other than his signature voice, his character is not utilized in spite of his show of brawn. Baron Samedi is mysteriously menacing, but Holder sounds like he is doing a magic show. His maniacal laughter is hilarious, but scary when he does it to conclude the film. Bond girl Jane Seymour is a bore. She skims through Solitaire without any sparkle. Sadly, so is Gloria Hendry as dim-witted secret agent Rosie Carver, but she compensates for it with a brief 5-minute screen time. David Hedison’s first run as returning CIA agent Felix Leiter is easily forgettable.
The action sequences provide ample fun. Bond’s altercations with Kananga/Big are thrilling, culminating in Kananga’s underground base. After which, he faces off with Tee-Hee in the concluding fight sequence onboard a train. There are two elaborate vehicle chases: one involves a double-decker bus, and another goes from Bond being at the mercy of alligators into a lengthy boat chase. The boat chase is exciting but turns dull very quickly. To kill its lengthy duration, the sequence – more than 10 minutes of it – provides a comedy platform for Clifton James as Louisiana hick Sheriff J.W. Pepper, who makes a fool of himself chasing after Bond, and provides decent detractions from the otherwise dull action. Since Q is absent, all of the excitement are executed without any MI-6 issued car or gadgets, save for a wristwatch that doubles as a magnet and a razorblade. Only M (Bernard Lee) and Monneypenny (Lois Maxwell) return for another reprisal
Shaken and slightly stirred, “Live and Let Die” is not Moore’s best License to Kill. It drags at times yet it showcases, as homage of sorts, the best of blaxploitation culture going up against Bond, James Bond. And supporting the adventure is Paul McCartney’s arrangement (with wife Linda McCartney) and rendition (with Wings) of the title song. Moore anchors his reign as Bond for the next 6 films.
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