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Live and Let Die (1973) is the eighth film in the EON
James Bond film series. The film stars Roger Moore as James
Bond, and co-stars Jane Seymour. The score is composed by
George Martin, and the title song performed by Paul McCartney
and Wings. ***
Following the death of an American agent, James Bond
is sent to America to investigate in Harlem. He soon crosses
paths with Mr. Big, the leader of an underground crime syndicate
and a follower of Voodoo. He crosses paths with a young
fortune teller and joins forces with American agents in
an effort to bring down this strange new nemesis. ***
It’s amazing what a few years and sequels can do to
a film franchise. When the sixties ended, James Bond became
a hit-and-miss series. The final film of that decade, On
Her Majesty’s Secret Service, was one of the best in the
series. The follow-up, Diamonds are Forever, on the other
hand, was a campy farce that should never have been made.
If Diamonds are Forever pushed James Bond into a pit of
despair, Live and Let Die is Bond hitting the bottom of
that pit. ***
One of my biggest gripes with the James Bond franchise
has always been that the producers have insisted on integrating
popular elements of the day into the films, in an effort
to seem more modern. Ironically, the end result makes the
films look more dated several decades later. In the case
of Live and Let Die, Blaxploitation elements make an appearance.
African-Americans as foes, and pimpmobiles around every
corner, for instance. And Blaxploitation elements are just
ONE thing wrong with this film. ***
It’s also worth noting that this was Roger Moore’s
first film as James Bond, a man who would hold the role
longer than any other actor and star in more films. Moore
is a fine James Bond, but he was just too old for the role,
and he lacks the gritty realism in an action scene that
made Sean Connery so great. Still, he had his share of moments
in this role, even if his films are some of the most hit-and-miss
in the franchise. ***
My big complaint with the film is that it continues
in the campy direction the series began going in with Diamonds
are Forever. We’ve got Bond jumping across crocodile heads,
a man’s body being ludicrously inflated until he explodes
and dies, unmemorable villains and Bond Girls, no Q (this
is the ONLY film from 1963-1999 in which Desmond Llewelyn
doesn’t appear in the role), and an all-around campy storyline
that screams out “bad film.” Many of the good elements of
the novel had to be toned down, and some were subjugated
to use in other films. And don’t me started on the Voodoo
stuff… Perhaps the greatest irony is that the novel on which
this film is based is one of Fleming’s best Bond novels!
If only they’d followed it more closely… ***
The only thing good about this movie is the music.
George Martin scores his first and only James Bond film,
and former Beatle Paul McCartney delivers one of the most
memorable title songs in the history of the franchise. It’s
the only Bond title song you’ll still hear on the radio
on a regular basis today, and with good reason.
*** Live and Let Die is a dark day for the James Bond
franchise. Yes, the franchise has had its share of hits
and misses, but few James Bond adventures suck as hard as
this one. The crew didn’t learn their lesson after Diamonds
are Forever, and make the same mistakes to an even greater
extent. Skip this one. Live, and let this film die once
and for all. 1 star out of 5. ---
Image and Sound:
Several years ago, the James Bond movies (which had
seen a ton of home video releases already) underwent an
extensive, frame-by-frame restoration. A good deal of print
damage and dirt were removed in an effort that took several
years to complete. ***
The end result is, to put it simply, well worth it.
***
Lowry Digital Images knows how to restore movies. Their
restoration of the James Bond back catalogue is, hands down,
the greatest restoration job this reviewer has EVER seen.
This film is no exception. They have taken movies, that
are in some cases, nearly half a century old, and made them
look as good as they day when they premiered in theatres,
if not better. The image is clear throughout, without any
sort of issue. From what I can tell, no DNR was used in
these transfers, and there is a staggering amount of detain
not noticeable in any standard-def release of the movie.
Lowry did one hell of a job restoring this franchise. ***
As if the image restoration wasn’t enough, the films
now have lossless audio tracks. If you’ve got a speaker
set, you’ll be able to experience these films (both audio
and visual-wise) like you never have before.
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