Vivre et laisser mourir

Although I have always regarded Sean Connery as the best of the actors to play Bond, I have never (unlike some Connery diehards) regarded the casting of Roger Moore as his successor as a mistake. Moore brought a different interpretation to the role, one which owed something to parts he had played in two adventure series on television, Simon Templar in "The Saint" and Brett Sinclair in "The Persuaders". Whereas Connery's tough, gritty Bond allowed something of the hard man below the surface to show through, Moore played the character much more as a suave, sophisticated English gentleman. (Connery's Bond, like the actor himself, was definitely Scottish).

The villain of "Live and Let Die" is Kananga, the leader of the small Caribbean island of San Monique. (Shouldn't that be Sainte Monique?) For a Bond villain, Kananga's ambitions are surprisingly limited, with no scheme for world domination. He has, however, close links to the New York underworld, and has hatched a plot to flood the American market with heroin. Kananga is deeply superstitious, and employs the services of Solitaire, a beautiful young woman with the power to foretell the future through the use of tarot cards. As with a number of the other films, much of the plot of this one revolves around Bond's ability to win over the villain's female accomplice.

The Bond films, of course, are all dependent upon a stylised formula involving adventure (especially chase sequences), exotic locations, beautiful women, evil villains, memorable music and a generous (but preferably not too generous) helping of humour. When all the elements of the formula come together, the result can be a highly enjoyable piece of entertainment. "Live and Let Die" has, by and large, got most of the elements right. Its main asset is the lovely Jane Seymour, one of the most beautiful as well as one of the most talented of the Bond Girls, as Solitaire. She was one of the youngest of the Bond Girls, being only 22 a the time the film was made (Honor Blackman and Maud Adams, for example, were both in their late thirties when they starred in a Bond film), but despite her lack of experience turns in a very good performance. Her Solitaire is not a strong action heroine like Pussy Galore or Anya Amasova, but a passive figure, melancholy and fatalistic, troubled by her psychic powers but at the same time frightened of losing them. As such she has rather more depth than the average Bond heroine.

Roger Moore is also good in this film; in 1973 he was still clearly youthful enough to be convincing in the role and makes the most of it. As the villainous Kananga Yaphet Kotto is adequate, but he does rather suffer the fate of being outshone by the two secondary villains, his henchman Tee Hee (the man with the metal arm and claw for a hand ) and Baron Samedi with his demonic peals of laughter. (Curt Jurgens suffered a similar fate in "The Spy who Loved Me", where Richard Kiel's Jaws turned out to be more memorable than his own Stromberg). There are some exciting chase sequences, particularly the one in the old bus across San Monique, and the waterborne one through the Louisiana bayous. I didn't much care for the character of J W Pepper, a rather stupid redneck Louisiana sheriff with a thick Deep South accent who was obviously intended as the film's main comic relief. (He makes another appearance in "The Man with the Golden Gun"). Nevertheless, there was some successful use of sardonic humour, such as the scene where a man, watching a traditional New Orleans jazz funereal, asks "Whose funeral is it?" and is told "Yours" immediately before being stabbed to death. The music was also good, especially Paul McCartney's brilliant theme song. My overall view is that this is, together with "For Your Eyes Only", the best of the Roger Moore Bond films. 7/10

Several British agents are killed in America and in the Caribbean. Despite the difference in how the murders occur they seem linked together by drugs. Bond begins to investigate and finds links between the American drug dealer Mr Big and the mysterious owner of a Caribbean island Kananga. While investigating Bond falls foul of both despite gaining the affections of Kananga's beautiful mistress Solitaire.

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.

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.

Live and Let Die was Roger Moore's debut as 007 in 1973.

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.

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.