Live and Let Die

1973

Action / Adventure / Thriller

140
Rotten Tomatoes Critics - Certified Fresh 66%
Rotten Tomatoes Audience - Upright 65%
IMDb Rating 6.8 10 83218

Synopsis


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Director

Cast

Jane Seymour as Solitaire
Roger Moore as James Bond
Geoffrey Holder as Baron Samedi
Yaphet Kotto as Kananga / Mr. Big
720p.BLU 1080p.BLU
900.07 MB
1280*720
English
NR
23.976 fps
2hr 1 min
P/S 4 / 16
1.80 GB
1920*1080
English
NR
23.976 fps
2hr 1 min
P/S 4 / 18

Movie Reviews

Reviewed by cinemajesty 7 / 10

Bond Eight

Movie Review: "Live And Let Die" (1973)

Director Guy Hamilton (1922-2016) exceeds himself with the third James Bond movie under his direction by cutting back on the overloaded special effects spectacle from 1971 with "Diamonds Are Forever". Film producers Albert R. Broccoli (1909-1996) and Harry Saltzman (1915-1994) manage to keep the production budget steady at 7 Million U.S. Dollar, when introductions with 45-year-old actor Roger Moore (1927-2017) as the "New Bond" takes place at the main character's private London apartment. MI6 headmaster "M", performed with wit, humor and focus by actor Bernard Lee (1908-1981) arrives with secretary Moneypenny for a morning coffee, while "007" hides a short-lived love interest in the closet.

The mission briefing by "M" sends "007" on a trail of a new menace after "Blofeld", out-going from the one and only "James Bond" appearance on the streets of New York City to this very day, finding narcotics-trading underworld boss Kananaga aka Mr. Big, given face by actor Yaphet Kotto in an highly motivated performance as Bond nemesis in the realm of shifting restaurant walls, gun-disabling metal claws by the antagonist's sidekick and an ambience of mystical themes surrounding the art of tarot and dark forest voodoo celebrations to finish with the 2nd interior moving train action scene that makes "Live And Let Die" already one of the best "Bond" pictures out of total seven appearances for an very British and elegant-looking actor Roger Moore as "007".

The title song nominated by the Academy of Motion Pictures Arts and Science (AMPAS) composed by Paul and Linda McCartney and performed with the band "Wings" brings high emotions with classic credit titles embedded in feminine faces, dance, skulls and fire, when the character of James Bond once again keeps his footing down to earth with a minimum usage of gadgets by "Q" branch.

"Live And Let Die" becomes the first James Bond movie to be released on U.S. domestic market in the Summer of 1973 on June 27th, a week before the official European premiere to count another increase of 8.5% in worldwide revenues for Eon productions and their successfully-transcended new face of "007" for the next 12 years to come.

© 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC)

Reviewed by Movie_Muse_Reviews 6 / 10

Some distinctive features, and a fresh face, help "Live and Let Die" overcome the formula

"Live and Let Die" is one of the more deceiving "James Bond" films. The face of the franchise may have changed with Roger Moore assuming the mantle of 007, but everything below the neck is fairly familiar. So what seems like a reboot is more like a facelift, albeit a needed one.

Moore comes to the role of Bond with an energy that Connery clearly lacked by the end of his tenure, despite Moore being in his forties (and three years older than Connery period) when beginning what would become a seven-film run. He definitely feels like an "elder statesman" Bond, with his charm and cunning his greatest assets. Nevertheless, he seems excited to slide into the familiar "Bond" scenarios and dialogue and make them his own.

These "Bond" elements are familiar because of the return of "Diamonds are Forever" writer Tom Mankiewicz and director Guy Hamilton. That film was a disaster in many respects, so the fact that "Live and Let Die" is an improvement is no small feat. (Then again, Hamilton did helm "Goldfinger," so who knows?) Like "Diamonds," the story keeps Bond predominantly on American soil after a few British agents are compromised in New York City, New Orleans and the fictional island of San Monique. The connection between them all is the superstitious crime syndicate leader and heroine kingpin Dr. Kananga (Yaphet Kotto) and his lackeys Tee Hee (Julius Harris), Baron Samedi (Geoffrey Holder) and tarot card reader Solitaire (Jane Seymour).

The film's release during the era of Blaxploitation films in cinema makes the black villain and various other black characters particularly interesting to say the absolute least. On the one hand, the film features black actors in key roles in an action franchise that in many ways couldn't be whiter. On the other, almost all the black characters are sinister, and Bond heads off into the sunset with the doe-eyed fair-skinned British lady who is clearly out of place, even if she's engaging to watch. At least Bond doesn't go blackface, i.e. this film avoids the social misfire of "You Only Live Twice."

Regardless of how the black cultural and voodoo cultural elements were handled, they certainly make "Live and Let Die" a more memorable "Bond." The jazz funeral/second line sequences are unforgettably brilliant, the night club trick tables are pretty clever too and Bond's crocodile escape is surprisingly harrowing given the legitimate stuntwork. And while Q may be absent, the magnet watch features prominently and creatively throughout the film. These touches are truly what make "Bond" films memorable and fun and there's more hits than misses, unlike Mankiewicz's work on "Diamonds."

"Live and Let Die" is probably a masterpiece compared to "Diamonds," but objectively, it's merely a good "Bond" entry and a necessary course-correction. The film relies way too much on formula, with predictable chase sequences involving unusual vehicles and a last-second plot to kill James in the epilogue, to name examples. "LALD" has Bond operating a propeller plane, double-decker bus and a speedboat (one of the lengthiest and most tiresome "Bond" chases with barely enough payoff). Hamilton continues his preferred style of filming all these sequences with slapstick in mind rather than making them feel dangerous or suspenseful. Then there's the film's J.W. Pepper problem — the unnecessary caricature of a Louisiana sheriff is worth knocking the whole film down a peg.

Anchoring "Live and Let Die" is Paul and Linda McCartney's title track, which one-off "Bond" composer George Martin wisely builds into the film's score at some needed moments. A mostly uptempo rock song, it's uniqueness helps accent the many ways in which "Live and Let Die" stands out among the "Bond" canon, in spite the many ways it still heeds to formula and shares qualities with some of its lesser "Bond" peers.

~Steven C

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Reviewed by mark.waltz 7 / 10

The most sinister of the Bond's.

A combination of a 1930's serial mentality mixed in with deliciously silly comedy, this entry (the first of 7 with Roger Moore) goes back to the ideas first seen in "Dr. No". It has no limit to the outrageousness, having an opening where three agents are killed in nefarious ways, making Bond the next target. The world of black magic is explored, but there's much more to it than that. Bond faces some nefarious foes, including snakes, sharks and distantly related crocodiles and alligators, always in the most hysterical of ways.

Joining Moore here is the beautiful Jane Seymour as a tarot card reader named Solitaire and Yaphet Kotto as a particularly sinister bad guy with some diabolical ways of dispatching his enemies. From the FDR Drive in Manhattan to the streets of New Orleans to the bayou (for a most delightful boat chase involving hick sheriff Clifton James), this will have you both laughing and on the edge of your seat. This is a crowd pleaser for sure, with the scene stealing Geoffrey Holder literally getting the last laugh.

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