Released in 1973, Live and Let Die marked a new era in the James Bond franchise. Even though the producers wanted Sean Connery to return after his role in the previous Bond film Diamonds Are Forever, he declined, sparking a search for a new actor to play James Bond. Many actors were considered or auditioned for the role of the British superspy, among them: Julian Glover (later the villain in the 1981 Bond film For Your Eyes Only), Jeremy Brett and Michael Billington. Robert Wagner reportedly turned down the role because he felt Bond had to be British. Roger Moore, who had been considered by the producers before both Dr No and On Her Majesty’s Secret Service, was given the role. At the time, Roger Moore was best known for his role as Simon Templar in The Saint. As a result, screenwriter Tom Mankiewicz tried to craft a story that would play to Moore’s personality. The result was a film with more comedic scenes and a less intense, light hearted Bond.
For many filmgoers who grew up in the seventies (myself included), Roger Moore was the first Bond they saw on screen. Exposure to Sean Connery’s legendary portrayal would come later, with the evolution of cable television and the advent of home video. Many Bond fans feel that Live and Let Die is the weakest outing of Moore’s career as Bond. This is the movie that’s probably best remembered for Paul McCartney’s theme song, than the story.
While I consider Roger to be a close second to Sean when considering the best Bond’s, Live and Let Die as a film is weak. Stepping into the role of Bond had to be a daunting task for Moore; seven films had already been made and turned Sean Connery into a legend. The new superspy definitely looks a bit stiff; he had the looks and the wit but he clearly hadn’t found his way into the character yet.
The film itself diverted from many of the conventions that defined earlier entries in the series. There are few gadgets, formal wear, martinis, appearances by Q, battles with SPECTRE and no sports cars. Instead, the filmmakers decided to capitalize on the blaxplotation craze that was intriguing the world and introduce a black villain as well as several archetypes and clichés–afro hairstyles, pimp mobiles and racial epithets such as “honky.” Further, the film is set in major African American culture centers including Harlem, New Orleans and the Caribbean Islands.
Three British MI6 agents, including one “on loan” to the American government, are killed under mysterious circumstances within 24 hours while monitoring the operations of Dr. Kananga (Yaphet Kotto), the dictator of a small Caribbean island, San Monique. James Bond (Roger Moore) is sent to New York City, where the first agent was killed and where Kananga is currently visiting the UN, to investigate. As soon as Bond arrives in New York City, his driver is killed while taking him to meet CIA agent Felix Leiter (David Hedison). Attempts are made on Bond’s life and other Double-O agents are killed. Bond then travels to the Big Easy, where he discovers that Mr. Big (Yaphet Kotto, again) may have been responsible for the attempt on his life. During his trip to New Orleans, Bond meets Solitaire (Jane Seymour), a beautiful virgin tarot expert who has the uncanny ability to see both the future and remote events in the present. Bond´s first encounter with Kananga results in Bond being attacked, but escaping death a second time.
Next, Bond finds himself in is the Caribbean island San Monique, where Kananga is the dictator. There he finds out someone has checked into the hotel as Mrs. Bond. It turns out to be CIA double agent Rosie Carver (Goria Hendry). Rosie is eventually killed and after that, Bond hires boatman Quarrel Jr. (Roy Stewart), the son of Bond´s boatman Quarrel from Dr. No. The suave British agent soon stacks the Tarot deck and begins a sexual relationship with Solitaire.
Kananga’s (a.k.a “Mr. Big) plan is to become the leader of the world’s biggest drug cartel. He uses his knowledge of voodoo to strike fear into the hearts of those that work for him. Bond discovers that Dr. Kananga and Mr. Big are the same person, but he and Solitare are captured and set up to become sacrifices in a ritualistic voodoo ceremony. A few more events unfold as Bond manages to leave San Monique and ends back up near New Orleans. I’m not going to say anything more here, except this is where Live and Let Die becomes a truly comical exercise. Fort those of you who haven’t seen this Bond adventure, this movie marks one of the most outrageous deaths of the villain in the franchise’s history.
Live and Let Die isn’t the best film of the Bond series by far, but it isn’t the worst either. The film looks extremely dated because much of it was shot on city streets and a lot of emphasis was put on fashions and fads of the day. However, it is still fun to look at the fashions we thought were cool at the time and smile. Despite its numerous flaws, true Bond fans will want to add Live and Let Die on Blu-ray to their personal collections.
I’m starting to feel like a broken record regarding the video transfer of these James Bond releases. MGM and fox have done a terrific job bringing Live and Let Die to Blu-ray. The 1.85:1 picture nicely fills a 16×9 display and is mastered with AVC MPEG-4 compression. The transfer has no real imperfections, apart from a light wash of film grain. The color range here is pretty amazing; while the film has moments of darkness, the action is easy to see and contrast levels are consistent.
The original mono soundtrack has also been remastered into a DTS HD 5.1 lossless audio presentation here. The best element of this soundtrack is the George Martin score and that famous theme song by Paul and Linda McCartney. The front channels feature Wings’ rock-based melodies, complete with plenty of previously unheard accents and flourishes, while Martin’s symphonic accompaniment registers in the rear. It’s all good stuff and may make you want to dust off a copy of the soundtrack or add one to your collection, if you haven’t already.
Live and Let Die finds three commentary tracks under “MI6 Commentary.” The first Commentary by Sir Roger Moore finds the film´s star discussing his involvement in the film and the 007 franchise. The second Commentary by Director Guy Hamilton welcomes back Ian Fleming Foundation personality John Cork as Jane Seymour and numerous others join Hamilton as Cork narrates a large number of interview segments. Cork does a great job at this. The Commentary by Tom Mankiewicz is sans Cork and finds the screenwriter for Live and Let Die talking about the film.
The five familiar subtitles are back for Live and Let Die. The “Declassified: MI6 Vault; three features are found here. Bond 1973: The Lost Documentary (21:41) focuses on the entire Bond franchise up until Live and Let Die and they discuss how Moore was the preferred Bond from Dr. No and finally took the role in the eighth film. Roger Moore as James Bond Circa 1964 (7:44) shows footage from a 1964 television show Mainly Millicent where Moore portrayed Bond long before he took the reins in 1973. The Live and Let Die Conceptual Art (1:39) looks at early conceptual poster art for the film and the Credits complete this section.
“007 Mission Control” sadly returns with its collection of scene jumps based upon whether or not the scene contains “007,” “Women,” “Allies,” “Villains,” “Mission Combat Manual,” “Q Branch” or “Exotic Locations.” The Exotic Locations (4:31) has Maude Adams continue her role as narrator of the various locations used during filming and Live and Let Die gets her assistance as well. The rest of the items contained under the various tree of submenus are simply quick access points to scenes in the film. Another simple submenu for “Special Features” is the “Image Database” which contains an Image Database that holds photographs from the film and production of Live and Let Die.
“Mission Dossier” includes several features. Inside Live and Let Die (29:47) goes into detail about the handing over the reins from Connery to Moore and what was needed to move the James Bond franchise from the 1960s to the 1970s. On Set with Roger Moore: The Funeral Parade (1:42) finds Moore talking about Richard Dix and how his son Bob Dix made a quick cameo in the film. This brief vignette was about that cameo. On Set with Roger Moore: Hang Gliding Lessons (3:58) looks at the film´s hang gliding and talks briefly about the sport and technology of hang gliding.
The final submenu selection not yet covered is the “Ministry of Propaganda.” The “Theatrical Archive” includes only two trailers. Much More… Roger Moore (2:52) introduces Moore as James Bond and markets the new film based upon the new actor. Everything You Ever Loved In a Bond Film (1:47) helps people forget they loved Sean Connery. The “TV Broadcasts” contains three items that begins with the UK Milk Board Commercial (1:01). This is a nice little advertisement for milk. It´s a Matter of Live, It´s a Matter of Death (1:00) and It´s a Matter of Live and Death (:32) are the standard television ads for the film. The “Radio Communication” submenu has two items. Livelier, Deadlier (:33) and All Against One Man (1:01) are the two radio spots included on the Blu-ray disc.
