Live and Let Die (1973) **½

I'm going to borrow a line from Seinfeld (which I will do often). Live and Let Die is a solid 2.5, right in that meaty part of the curve of the Bond canon, not showing off, not falling behind. With Sean Connery's second departure from the role, the producers decided on Roger Moore, who had previously been a serious contender for both Dr. No and On Her Majesty's Secret Service, to take on the James Bond character. With Moore's ascension to the role, the Bond persona is altered to be more in tune with Moore's own personality. This coincides with the addition of more overt humor introduced into the plot of Diamonds are Forever. While trying to avoid some of the trappings of the Bond franchise in order to bring a fresh approach to the eighth film in the series, the film also disregards the established motifs that the audience have come to love.

Bond is no longer a globe-hopping secret agent who visits exotic locales but travels to two United States cities, New York and New Orleans, and a return trip to Jamaica (previously seen in Dr. No) standing in as the fictional island of San Monique. Moore's introduction is played very low-key and we are introduced to our new Bond as he sleeps in bed. He's not even featured in the teaser and its obvious the producers, by understating his introduction, are attempting to show that nothing has changed. I think they should have embraced their new Bond and shown that he is different than Connery and will bring his own approach to the role. We are then greeted with M and Moneypenny stopping by Bond's house to bring him his new assignment. Why his superior would stop by unannounced is bad enough, but then the situation plays out over a juvenile scheme to hide Bond's girl from his boss. The Bond/Moneypenny banter is also missing and it is a shame seeing as how Lois Maxwell and Roger Moore are good friends in real life with a long history. Q is also missing as it was decided to put a limit on the gadgetry and Desmond Llewelyn was off promoting the previous film. I'm still confused as to why the British Secret Service was investigating a Caribbean dictator who was involved with an American gangster and the villain's scheme seems unworthy of Bond's attention. It was decided to make the film topical and focus on the themes of blaxploitation films that were popular at the time and drug smuggling appeared to be the best fit.

The film does have its positive aspects however as the music score is infectious and enthralling. The first Bond film to be scored without any input from John Barry, George Martin was able to deliver the first James Bond theme song to be Oscar nominated. Music is used sparingly throughout the film but when it is utilized it complements the action on screen and excites the audience to see what happens next. A perfect example would be the climax of the boat chase where no music had been heard aside from the very beginning when Bond escapes the crocodile farm. The audience is not distracted from the action taking place on screen but when the music does pick up it piques the audience's anxiety as they know something is about to happen. The whole boat chase is well executed and edited and even Sheriff J.W. Pepper's (Clifton James) comedic subplot of his pursuit of Bond is a welcome addition as the character is played grandiose without going over the top. See how this will be the opposite in the next film. Going back to Bond's escape from the crocodile farm highlights one of the film's best stunts as Bond is forced to rely on his own wits and physicality to escape his predicament as his gadget fails to provide an escape. Once again the scene is done without music as the crocodiles continue to surround Bond and only once he makes his escape do we hear Martin's score which enriches the audience's own fears of relief and elation.

The film also sports a standout supporting cast with particular regards to villain's henchmen. Tee-Hee (Julius W. Harris) is both charming and exudes an air of quiet menace without ever displaying true aggression until his final battle with Bond on the train. Baron Samedi is mysteriously and joyfully played by Geoffrey Holder who the producers strongly considered to bring back for a future appearance. David Hedison portrays Felix Leiter #5 and brings a congeniality and warmth to the role that had been lacking in the previous film. Hedison would return in Licence to Kill and be the only actor (so far) to play the role of Leiter more than once. Yaphet Kotto turns in a solid performance as the chief villain however an unforgettable plot and more captivating underlings overshadow his portrayal as one of Bond's memorable nemeses. His laughable and in poor taste demise also serves to undermine the character. Finally we come to Jane Seymour, who was only 21 at the time of filming, in her first major international role as Bond's leading lady, Solitaire. Seymour is both breathtaking while still exuding a virginal quality necessary for the role. Her character does not get to do much aside from the usual damsel in distress routine, but Seymour plays the role with a sincerity that captures the audience's sympathy from the beginning.

Favorite moment: The finale of the boat chase as previously mentioned begins with the return of Martin's brilliant score and again has Bond relying on his own intelligence in order to escape his pursuer. It could have ended with a spectacular explosion, yet we get to also witness Sheriff Pepper's attempt to arrest Bond after his hopeless pursuit through the bayous of Louisiana. It's comedy that works and would have left a more fond remembrance of the character had that been his last appearance before he surfaces again in The Man with the Golden Gun.

Pepper: What are you? Some kinda doomsday machine boy? Well we got a cage strong enough to hold an animal like you here!
Leiter: Captain, would you enlighten the Sheriff please?
Trooper: Yes sir. J.W., let me have a word with ya. J.W., now this fellow's from London, England. He's a Englishman working in cooperation with our boys, a sorta secret agent.
Pepper: Secret agent? On whose side?