007: Vive y deja morir

After all the physical stuff with Sean Connery, Roger Moore will always be the true James Bond to me. Understated humour and a lot of Britishness. I love it. And, needless to say, Jane Seymour is positively enchanting.

Various agents MI6 have dead . M (Bernard Lee) sends 007 (Roger Moore , he was forty-five when he made this his debut as Bond) with license for kill to investigate it . Suspicion lead to Doctor Kananga (Yaphet Kotto at 33 as Big/Dr. Kananga is the youngest actor to play a main Bond villain) whose public image is a humanitarian person who defends his country in the United Nations . He governs tyrannically the island of San Monique . There lives Solitaire (Jane Seymour) , being totally submitted from infancy by Kananga. She is a tarot-cards reading psychic and doesn't know about life and acts as a marionette , craving her own way of life. His tutor (Kotto) believes that her virginal state originates to her a sixth sense and he trusts this quality as an expert guesser to dodge the law enforcement . Others characters appear in the film are the followings : Baron Samedi (Geoffrey Holder) . He's a Voodoo's chaman who controls the San Monique people for executing the Kananga's orders . He takes his name of death's Voodoo God . The villainous Tee Hee (Julius Harris) , a giant killer , posteriorly copied in other Bond films (Richard Kiel in ¨Spy who loved me¨) . He deeply enjoys murdering with his steel arm that hooks the victims . Rosie Carver (Gloria Hendry) is an explosive and sexy CIA agent who brings to Bond towards the lush jungle of the perilous island. James Bond will confront numerous dangers , odds ,risks , as the taking on starving crocodiles located on a breeding place where there's a poster captioning : ¨Trespassers will be eaten¨. Besides, a breathtaking speedboat pursuit by leaps and bounds , developed on everglades (in New Orleans , Louisiana) , including intervention a headstrong sheriff (Clifton James) who pursues them by a police car . As always , 007 will use several gadgets delivered by ¨Q¨ (Desmond Llewelyn) , such as : a prodigious as well as magnetic wristwatch , Roger Moore's personal favorite , and air bombing cartridges, both objects with special importance in the film.

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.

Was Roger Moore channeling Austin Powers in 1973? There's a scene in this, his first go-round as 007, where Bond is tied up and his arm is cut to draw blood and attract some hungry sharks swimming below. Moore twitches his eyebrow and asks: "Perhaps we can try something in a simpler vein."

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.

It has it all. Most stunning actress (Jane Seymour), a totally carefree and composed Bond (Roger Moore), an incredible array of supporting actors and characters, the best chase scene (boats), moments that have me laughing in hysterics "secret agent... on whose side?"... I could go on and on, but it's one of my favourite films of all time!

Ignoring a Roger Moore who presents a bit of a distraction for viewers watching the series in order, Live And Let Die is an excellent example of how pop culture helps the Bond series survive throughout the decades. The growing concern of a drug-using society at the time is featured, and an immensely popular Paul McCartney does the title theme - indicating that the Bond series need not be rooted solidly in the three-piece suit days of 1962. Jane Seymour gives an excellent performance in her "introductory" role (although it was her fourth film). A bit of black magic and voodoo intertwined with gadgetry and high-tech machinery will have the viewer wondering if, indeed, there was magic in the movie after all - indeed, the cards WERE always right under Solitaire's power. Magical or not, Live and Let Die provides an interesting doorway to the other five Moore pictures - J.W. Pepper returns and Tee Hee seems to be Jaws' forerunner.