007 wird geschickt, um einen teuflisch brillanten Heroin-Magnaten zu stoppen, der mit einer komplexen Organisation und einem zuverlässigen psychischen Tarotkartenleser ausgestattet ist.007 wird geschickt, um einen teuflisch brillanten Heroin-Magnaten zu stoppen, der mit einer komplexen Organisation und einem zuverlässigen psychischen Tarotkartenleser ausgestattet ist.007 wird geschickt, um einen teuflisch brillanten Heroin-Magnaten zu stoppen, der mit einer komplexen Organisation und einem zuverlässigen psychischen Tarotkartenleser ausgestattet ist.
- Für 1 Oscar nominiert
- 3 Gewinne & 3 Nominierungen insgesamt
- Tee Hee
- (as Julius W. Harris)
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Roger Moore's first Bond is one of his best. The film wisely steps away from those regular bad guys the Russians and gets a new feel by actually having non-white main characters. The plot is pretty good and doesn't have the usual `take over the world' feel to it. There is plenty of silly stuff of course but the stunts are quite good and Bond has a new line in `eyebrow raised' humour.
Moore will never be the best Bond but he did make the role his own adding an element of self-deprecating humour to the role. Yaphet Kotto is a good actor and makes a good bad guy. Jane Seymour isn't convincing as the mystic property of Kananga she really should have been played by a black actress and it shows a lack of bravery on the side of the producers that they went with a white face as the lead Bond girl. Julius Harris is good as Tee Hee and Clifton James adds some comedy value as J.W. Pepper.
Overall this is one of Moore's best Bond movies and certainly stands out from previous films with numerous Russian baddies. Also the theme music is a really fun song from Wings.
Those sharks don't need any frickin' laser beams on their heads to get you to smell the Austin. Moore gets a lot of blame for turning the Bond movies into weakly-plotted farces, ignoring that the series had been moving in that direction since "Goldfinger" and that the previous installment, Sean Connery's final EON bow "Diamonds Are Forever," was every bit as goofy. Also, Moore could deliver a more serious Bond when the script allowed, and two of the finest Bonds ever, "The Spy Who Loved Me" and "For Your Eyes Only," were his.
But there's no getting around this, "Live And Let Die" is a dumb movie. The gadgets are silly, the villain's scheme is ill-defined, the storyline is frenetic and unengaging, the action is plodding and overlong. Moore starts out not quite know how to play Bond here, while the movie requires him to play the fool sauntering through Harlem in a double-breasted suit like the Prince of Wales waiting for some natives to show him around.
But this film makes me smile, in part because I'm young enough to remember what it was all about when it came out. If this was Bond for the cheap seats, it at least delivered the goods, with some vivid supporting characters, a knockout visual style, amazing title music from Paul McCartney, and most importantly for Moore's future in the series, drop-dead quips. My favorite is when the nasty Tee Hee twists his pistol muzzle out of shape with a metal pincer arm, then giggles when he hands it back: "Funny how the least little thing amuses him."
Julius Harris is menacing but charming as Tee Hee, mostly mute except when he sticks Bond in a gator pond and suggests the best way to disarm the beasts is to try and pull out their teeth. Chief villain Yaphet Kotto has his moments, too, but with odd shifts of character. In the beginning, he's stone-cold Ron O'Neal in "Superfly," and at the end, he's plummy Charles Gray in "Diamonds Are Forever." Jane Seymour is Bond's love interest, and why she goes off with him is another of those things best not thought about long.
There are two great characters in this movie, though, bigger than just about anything seen in a Bond movie before who kind of work in tandem in overhauling any objections about this film being too "cartoony." Clifton James is redneck sheriff J.W. Pepper, who throws off one madman line after another while Bond is off on one of his long silly chase scenes. James mugs through every scene he's in, rolling his tongue around, playing off everyone and everything, and delivering every hackneyed Southern stereotype to such righteous perfection it's enough to make cotton sprout out of his ears. Bond purists who whine should just take their vodka martinis shaken not stirred and let the rest of us enjoy the craziness. The series is supposed to be fun; if you want serious espionage go watch "Smiley's People." (I grant you Pepper shouldn't have returned in the next Bond film; that was a mistake.)
The other great outsized character is Geoffrey Holder as perhaps the most mysterious figure in the whole series, Baron Samedi. Is he supernatural? Is he just crazy from the heat? He's certainly different, a guy who sides with the bad guys without quite being one of them. The always-eerie quality of his appearances, either dancing in a big hotel production number or quietly sitting in a cemetery playing a flute, make you question whether there ain't something to that voodoo after all.
It's silly bashing Pepper but praising Samedi, they are both equally so unreal, in a way that's in tune with the rest of the movie. The best thing to do is enjoy the different kinds of fun on offer. Frankly, not having these guys around might push this film on the bad side of Spinal Tap's "fine line between stupid and clever," the side where "A View To A Kill" and "Moonraker" are on.
But "Live And Let Die" is a winner. It's a fun movie that brings me back to younger days, when my heart was an open book. It's a nice transitional film for the series in that Moore managed a mostly smooth entrance to the role of Bond. And it has one of the best final shots in movie history. That's all I'll say there; you know it if you saw it.
As a whole, it's not a bad movie. Moore is okay in his first outing as James Bond, but the role was still written with Connery in mind. It would take two more films before Moore really settled in the role.
The storyline isn't that good and the villain isn't very convincing, nor is the Bond-girl Seymour.
But the great stunts make up for something and the fun that Moore brings to the role, makes that Live and Let Die is way better than Diamonds Are Forever.
It's fun to note that though Moore was in '73 already 5 years older than Connery was in '71. Still, Moore looks younger. A new era has begun.
Sir Roger Moore as a new James Bond is cool , lacked coldness and toughness characterized by Sir Sean Connery ; however , earning in irony , suavity and smoothness . Sean Connery turned down the then astronomical sum of five and a half million dollars to perform James Bond. Sean Connery gave Sir Roger Moore his personal seal of approval for inheriting his character , calling him "an ideal Bond¨ and making him the oldest actor to do so. The youngest was George Lazenby , who was twenty-nine in 007 On Majestic's secret service (1969). It contains spectacular and exciting final confrontation between Bond and enemies in the underground cave that was paced in moving and stimulating manner . Agreeable and catching title song sung by Paul McCartney and his band Wings , and sensational musical score by George Martin. Colorful and brilliant cinematography by Ted Moore. The movie was well directed by Guy Hamilton who also made other James Bond films.
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- WissenswertesIt took crocodile wrangler and stuntman Ross Kananga (the villain in the movie was named after him) 6 takes to complete the scene were he doubles for Sir Roger Moore when Bond flees the bad guys by running across the backs of 3 crocodiles in a swamp. Kananga received $60,000 for the stunt, filmed at Swamp Safaris, his 350 acres of mangrove swamp on Jamaica's north coast, where he kept a herd of over 1000 crocodiles. In a 1973 interview, he explained; "something like that is almost impossible to do. So, I had to do it six times before I got it right. I fell five times. The film company kept sending to London for more clothes. The crocs were chewing off everything when I hit the water, including shoes. I received one hundred ninety-three stitches on my leg and face."
- PatzerIn order for Tee Hee to be able to break the gun, he would need to have quite a bit of strength in both his claw and his real hand equally, otherwise the gun would just slip out of his hand when he tried to bend it.
If there were enough strength within Tee-Hee's claw to crimp the gun hard enough, he would not need an equal amount of strength in his own organic hand for it to bend.
- Zitate
Sheriff J.W. Pepper: There's that son of a bitch. I got him.
[to Bond]
Sheriff J.W. Pepper: What are you? Some kinda doomsday machine, boy? Well, *we* got a cage strong enough to hold an animal like you here!
Felix Leiter: Captain, would you enlighten the Sheriff, please?
State Trooper: Yessir. J.W., let me have a word with ya. J.W., now, this fellow's from London, England. He's a Englishman workin' in cooperation with our boys, a sorta... secret agent.
Sheriff J.W. Pepper: Secret agent? On whose side?
- Crazy CreditsThe End of Live and Let Die James Bond will return in The Man with the Golden Gun
- Alternative VersionenIn the chase scene where Sheriff J.W. Pepper passes a slow-moving truck and shouts "Did you ever think of getting a driver's license, boy?", some TV versions have the line replaced with "Why don't you build a fence around it?".
- VerbindungenFeatured in James Paul McCartney (1973)
- SoundtracksLive and Let Die
Music by Paul McCartney
Lyrics by Linda McCartney
Performed by Paul McCartney and Wings
Top-Auswahl
Details
- Erscheinungsdatum
- Herkunftsländer
- Sprachen
- Auch bekannt als
- James Bond 007 - Leben und sterben lassen
- Drehorte
- 826 Chartres Street, French Quarter, New Orleans, Louisiana, USA(Fillet of Soul restaurant)
- Produktionsfirma
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 7.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 35.377.836 $
- Weltweiter Bruttoertrag
- 35.384.098 $
- Laufzeit2 Stunden 1 Minute
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1