In the 1960s, Roger Moore was the star of the popular UK series, The Saint. The actor had reportedly been offered the role of James Bond but had to decline. Following On Her Majesty's Secret Service (1969), after George Lazenby assumed that one Bond film would be enough to secure a successful film career (it wasn't), and Sean Connery left the series, believing that 1971's Diamonds Are Forever would be the final time he was to portray 007 (it wasn't), Moore made his Bond debut in 1973 with Live and Let Die.After three British agents, stationed in New York, New Orleans, and San Monique (an island in the Caribbeans), are murdered, James Bond is sent to investigate. The agent in New York had been keeping an eye on Dr. Kananga (Yaphet Kotto), nefarious dictator of San Monique. Bond is eventually led to the Fillet of Soul restaurant, run by a mysterious man known as Mr. Big, who has at least one additional Fillet of Soul in New Orleans (which, as it happens, was being monitored by one of the deceased agents). Bond gets help from Solitaire (Jane Seymour), a psychic who specializes in Tarot cards and whose gift is often utilized by Kananga. The agent must elude henchmen with metal claws, voodoo rituals, snakes, crocodiles, and an exceptionally annoying Louisiana sheriff.
Live and Let Die was released during the run of blaxploitation films -- movies featuring a predominantly black cast aimed at black audiences. The majority of these films highlighted an urban setting, such as Shaft (1971) with Richard Roundtree, Black Caesar with Fred Williamson and Coffy with Pam Grier (both 1973). Julius Harris, who plays Tee Hee (the aforementioned clawed bad guy), starred in a number of movies of this genre, including Black Caesar, Hell Up in Harlem (1973), and Friday Foster (1975), with Grier and Harris' Live and Let Die co-star, Kotto. Live and Let Die is sometimes criticized for exploiting either the black actors or the genre itself. Such an argument, however, overlooks the strong showings from the supporting cast, particularly Kotto, Harris, and even Earl Jolly Brown as Whisper, who earns his nickname by only speaking in a whispering voice.
Jane Seymour is one of my favorite Bond girls. Solitaire is a dynamic, multi-dimensional character, able to play both sides and keep herself moderately safe. And since Kunanga fully believes in her psychic abilities and Bond needs her assistance in locating Kunanga, Solitaire is a woman on whom both the good guy and the bad guy must rely. Seymour is also incredibly beautiful, and Solitaire seems just a bit out of Bond's league, an idea which is strengthened by the fact that 007 has to employ Tarot-card trickery to get the lady to sleep with him.In addition to Bond's deception of Solitaire, Live and Let Die does have its flaws. Clifton James stars as J.W. Pepper, the Louisiana sheriff who tries to stop 007 as the agent is chased by Kunanga's men. Pepper was possibly included to add comic relief, but the comedy falls flat, and the sheriff just proves superfluous to a chase sequence that is already overlong. Likewise, the manner in which Bond disposes of the villain is preposterous.
By Live and Let Die, the Bond formula had been solidified. A pre-credit sequence, followed by a title song performed by a popular artist, in this case Paul McCartney and Wings with a wonderfully memorable tune. A beautiful Bond girl, a wealthy, powerful Bond villain, and baddies with colorful names such as Mr. Big and Whisper. And, unlike Dr. No (last month's Bond Is Forever selection), Bond is equipped with gadgets (although Q (Desmond Llewelyn) does not appear in Live and Let Die, he is mentioned by name as M hands 007 a watch loaded with goodies).There are many familiar faces in this Bond outing. In addition to others mentioned, some viewers may recognize Geoffrey Holder from the 1982 adaptation of Annie. Holder had also starred in commercials for the soft drink, 7-Up, in the 1970s, and was brought back in the '80s after the success of Annie. Fans of the British film studio, Hammer Film Productions, might notice Hammer regular Madeline Smith, who shares Bond's bed at the film's beginning. Smith had significant roles in Taste the Blood of Dracula, The Vampire Lovers (both 1970), and Frankenstein and the Monster from Hell (1974). And perhaps actor Roy Stewart is not well known to Bond fans, but, in Live and Let Die, he is playing Quarrel, Jr., the son of Bond's partner in Dr. No (1962).
George Martin, who produced nearly everything The Beatles recorded, also produced the title song and handled the film's score (which may explain why McCartney's song is incorporated throughout the film). This was the first Bond film not scored by John Barry, who would return the following year for The Man with the Golden Gun. The song, "Live and Let Die", was covered by rock band, Guns n' Roses, for Use Your Illusion I in 1991. The single was a hit, although not as much as the original.By 1973, David Hedison was the fifth actor to portray CIA agent and Bond friend, Felix Leiter. However, Hedison reprised the role in Licence to Kill in 1989 and, aside from actor Jeffrey Wright (who has starred in 2006's Casino Royale and 2008's Quantum of Solace with Daniel Craig), is the only actor to play Felix more than once.
I would love to hear other people's thoughts on Live and Let Die. Any Solitaire fans? And how about Connery vs. Moore as 007?
Bond Is Forever will return next month with From Russia with Love (1963).
Sark, you've already addressed many of my comments with your in-depth, fact-filled post! LIVE AND LET DIE ranks near the bottom of the Bond films for me—but I do admire that the producers tried to do something different with it. Instead of the prototypical take-over-the-world villain, Kananga is concerned with monopolizing the drug trade. Sure, his plan is somewhat similar to Goldfinger’s (i.e., make a fortune by manipulating supply and demand) and foreshadows LICENCE TO KILL with its focus on the drug trade. But, as you pointed out, the plot certainly fits alongside the urban street films popular in the early in the mid 1970s. Yaphet Kotto makes a pretty good villain, though his role could have been bigger (pun intended and, hey, he had more screen time than Joseph Wiseman as Dr. No). I thought Geoffrey Holder was way over the top as Kanaga’s main henchman (it didn’t help that I keep hearing him doing his “uncola” commercials for 7 Up). And, well, let’s just say that I’ll never know why they brought back the J.W. Pepper character for THE MAN WITH THE GOLDEN GUN. As for Roger Moore, I’ve always enjoyed his Bond—though Connery is still my top choice. Even before Roger got the part, my family used to watched him in THE SAINT and remark that he’d make a good 007. Critics contend that his Bond is not as tough as Connery's. That's probably true, but he's also more polished and there is an edge about him. As you said, he showed little remorse into tricking Solitaire into bed. I agree that Solitaire has more depth and is more essential to the plot than most Bond heroines. But once things go bad, she seems to stand around a lot. I wouldn't put her in the same league with the stronger female leads played by Diana Rigg, Honor Blackman, and Carey Lowell. This was a superb write-up, Sark, and I look forward to more discussion on LIVE AND LET DIE.
ReplyDeleteMy write-up doesn't make it very clear, but LIVE AND LET DIE is one of my favorite Bond films. I acknowledge its flaws, but, as Rick said, I can appreciate that the producers were trying something different. But they were able to retain the Bond style throughout. Just look at the song. Most of the previous Bond title songs could be classified as jazz, a genre of music often paid a great deal of respect. "Live and Let Die" is usually called a rock song, a somewhat drastic shift of genres. But listen to the piano, the weeping guitar, the background singers. It's a solid, sophisticated tune, and it sounds like what it is: a Bond song.
ReplyDeleteI also agree with Rick that Solitaire eventually latches onto 007 and almost becomes useless. But she's still an important character to the story. Plus, she's really, really pretty. And thanks for your terrific comments, Rick!
Sack, and Rick, What can I add to your insightful comments? Not To Much. Like Rick this tis is near the bottom (*with View To a Kill) of the Bond films. To me the productor's were trying to hard to keep the Bond francise in tact and remove all trace of Sean. Look No John Barry score, Sorry Sark ,The past songs were more POP MOR(middle of the road) than jazz. With Paul's score (helped Big time by George Martin) it was the first of the " rock songs " with more to follow .
ReplyDeleteThere was no need to remove all traces of Sean. When he was recast, he was completely gone. The fact that someone else is playing 007 doesn't change the entire scope of the series. The producers always shook things up when there was a new Bond. Would it be better if they cast an actor who imitated Sean? I don't think so. With a new face comes a new James Bond, and things change, but as I said, it's still a Bond film, and I think Harry Saltzman and Albert "Cubby" Broccoli did a great job of maintaining that style. And I still say the title songs were reminiscent of jazz, more specifically jazz vocalists. Shirley Bassey, Tom Jones, Nancy Sinatra. And a few rock songs followed, but the very next movie had Lulu, then Carly Simon, then Shirley for the third time!
ReplyDeleteSark ,as a old college radio music director, none of the people you just listed have anything to do with jazz. I do think that "The Ghost Of Sean" was on the mind of Harry & Cubby. How could he not be? Out Of Sight out of Mind? And After Shirley, we got Duran, Duran .
ReplyDeleteSark, I really enjoyed reading your meticulously researched and excellently written post. I think Jane Seymour made a beautiful Solitaire. Since no one has taken you up yet on the Connery vs. Moore issue, I will. I prefer Roger Moore as James Bond, though I suspect I am in the minority. Each actor gives a very different take on the role but Connery's Bond is often cocky and cold and Moore's is quick-witted and more gentlemanly.
ReplyDeletePaul, I know they had nothing to do with jazz. That's why I used the word "reminiscent," because it reminds me of the style of a jazz vocalist. I can tell that without being an old college radio music director because I have ears. And after Shirley, there was Sheena, Rita and then Duran Duran. That's a single rock song you're complaining about.
ReplyDeleteThank you, toto. I'm glad there are Roger Moore fans out there!
ReplyDeleteWith a couple of exceptions (e.g., "From Russia With Love", "All Time High"), I think there's a remarkable similarity among the Bond tunes...and I like that. "Live and Let Die" doesn't have the full orchestral arrangement--specifically the horns and strongs--of John Barry's work, but it still sounds "Bondian." By the way, I'm a big fan of "A View to a Kill" as well. The John Barry-Duran Duran collaboration ranks with the all-time musical odd couples, but the sound is both prime Barry and yet very commercial for its time. (I once a saw a highly entertaining interview with John Barry and Simon Le Bon on THE TODAY SHOW.) Barry, by the way, studied jazz early in his career and had a rock band, too (check out the groovy guitar on the title track to "Beat Girl" on YouTube).
ReplyDeleteAlso, Sark, I had forgotten Madeleine Smith was in LIVE AND LET DIE until I watched it again in prep for this discussion. But, hey, she needed a bigger role! It was cool to see LIVE AND LET DIE back-to-back with DR. NO because otherwise I wouldn't have picked up on the two Quarrel connection. And I do want to mention this has one of my favorite Bond movie quotes: "Names is for tombstones, baby!"
ReplyDeleteI am partial to Sean Connery as Bond myself, but I saw Live And Let Die and recognized Jane Seymour-"That's Dr. Quinn, Medicine Woman!" And Roger Moore was good looking, but if I was a Bond Girl, I wouldn't sleep him even if meant saving the world!
ReplyDeleteSark I'm not complaining about anything except may Ah ha's song. Anyway the next Bond Film is one of my favorites, From Russia With Love.
ReplyDeleteSark, I enjoyed reading your Awesome post. I also thought Jane Seymour made a beautiful Solitaire. My favorite James Bond is, Sean Connery. Moore, does seem to have a better sense of humor and is more politically correct. But... I really do not want that in my spy's. With that said, I did enjoy, LIVE AND LET DIE. I thought was the funniest Bond I've seen. To see James Bond a British secret agent in 1973 Harlem. He looks so out of place. How about the scene where he enters the Fillet of Soul. Bond talks to the waiter and as he asks him for information, the wall revolves with Bond still at the table and the waiter walking away drinking Bonds drink. The look on his face, priceless.
ReplyDeleteDawn, you're right about Roger's gift for unexpected humor (such as his look when the table traverses in the wall). That's something unique he brought to the role.
ReplyDeleteSark, I like both Sean and Roger as James Bond. They play Bond a little diffently, but they are different actors. I love the Bond movies period. Sean and Roger are bother rather dashing I think. I did miss the usual Bond music but have Live and Let Die on my iPod. Jane Seymour is still beautiful and I enjoyed her in the Dr. Quinn TV series. As for Roger, he is awesome in anything he does. As Toto said, he is such a gentleman. This is an outstanding post and I enjoyed it very much. You did a lot of research on it.
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