| Photos (See all 51 | slideshow) | Videos (see all 4) |
| Roger Moore | ... | James Bond-007 / James Bond | |
| Yaphet Kotto | ... | Kananga / Mr. Big | |
| Jane Seymour | ... | Solitaire | |
| Clifton James | ... | Sheriff Pepper | |
| Julius Harris | ... | Tee Hee (as Julius W. Harris) | |
| Geoffrey Holder | ... | Baron Samedi | |
| David Hedison | ... | Leiter | |
| Gloria Hendry | ... | Rosie | |
| Bernard Lee | ... | 'M' | |
| Lois Maxwell | ... | Moneypenny | |
| Tommy Lane | ... | Adam | |
| Earl Jolly Brown | ... | Whisper | |
| Roy Stewart | ... | Quarrel | |
| Lon Satton | ... | Strutter | |
| Arnold Williams | ... | Cab Driver 1 | |
| Ruth Kempf | ... | Mrs. Bell | |
| Joie Chitwood | ... | Charlie | |
| Madeline Smith | ... | Beautiful Girl | |
| Michael Ebbin | ... | Dambala | |
| Kubi Chaza | ... | Sales Girl | |
| Brenda Arnau | ... | Singer (as B. J. Arnau) | |
| rest of cast listed alphabetically: | |||
| Robert Dix | ... | Hamilton (uncredited) | |
| James Drake | ... | Dawes (uncredited) | |
| Dennis Edwards | ... | Baines (uncredited) | |
| Stocker Fontelieu | ... | Wedding Guest (uncredited) | |
| Lance Gordon | ... | Eddie, State Trooper (uncredited) | |
| Stephen Hendrickson | ... | Mr. Bleeker (uncredited) | |
| Roy Hollis | ... | Louisiana Sheriff (uncredited) | |
| Dan Jackson | ... | Fillet of Soul Waiter (uncredited) | |
| Della McCrae | ... | Tribal Dancer (uncredited) | |
| Marc Smith | ... | UN Worker (uncredited) | |
| Don Topping | ... | San Monique Emcee (uncredited) | |
| Nikki Van der Zyl | ... | Solitaire (voice) (uncredited) | |
| Gabor Vernon | ... | Hungarian Delegate (uncredited) | |
| Sylvia Kuumba Williams | ... | Crying Woman (uncredited) | |
Directed by | |||
| Guy Hamilton | |||
Writing credits | ||
| Tom Mankiewicz | (screenplay) | |
| Ian Fleming | (novel) uncredited | |
Produced by | |||
| Albert R. Broccoli | .... | producer | |
| Harry Saltzman | .... | producer | |
Original Music by | |||
| George Martin | |||
Cinematography by | |||
| Ted Moore | (director of photography) | ||
Film Editing by | |||
| Bert Bates | |||
| Raymond Poulton | |||
| John Shirley | |||
Casting by | |||
| Weston Drury Jr. | (as Weston Drury Jnr) | ||
Art Direction by | |||
| Syd Cain | (supervising art director) | ||
| Robert W. Laing | (co-art director) (as Bob Laing) | ||
| Peter Lamont | (co-art director) | ||
Set Decoration by | |||
| Simon Wakefield | (uncredited) | ||
| Frederic C. Weiler | (uncredited) | ||
Costume Design by | |||
| Julie Harris | |||
Makeup Department | |||
| Colin Jamison | .... | hairdresser | |
| Paul Rabiger | .... | chief makeup artist | |
| Mike Jones | .... | hairdresser (uncredited) | |
Production Management | |||
| Claude Hudson | .... | production supervisor | |
| Stephen F. Kesten | .... | production manager: USA | |
| Michael Rauch | .... | unit manager: USA | |
| Steven P. Skloot | .... | production manager: USA | |
Second Unit Director or Assistant Director | |||
| Derek Cracknell | .... | assistant director | |
| Alan Hopkins | .... | assistant director: USA | |
| Raymond Becket | .... | second assistant director (uncredited) | |
| Nicolas Hippisley-Coxe | .... | first assistant director: second unit (uncredited) | |
| Richard Jenkins | .... | second assistant director (uncredited) | |
Art Department | |||
| Leon Davis | .... | construction manager | |
| Stephen Hendrickson | .... | art director: USA | |
| Patrick Weymouth | .... | props | |
| Maurice Cain | .... | draughtsman (uncredited) | |
| John Chisholm | .... | props (uncredited) | |
| John Fenner | .... | assistant art director (uncredited) | |
| Fred Hole | .... | chief draughtsman (uncredited) | |
| Brian Payne | .... | props (uncredited) | |
| Ron Quelch | .... | production buyer (uncredited) | |
| Danny Skundric | .... | props (uncredited) | |
| Simon Wakefield | .... | set dresser (uncredited) | |
Sound Department | |||
| Ken Barker | .... | sound recordist | |
| Christopher Lancaster | .... | dubbing editor (as Chris Lancaster) | |
| Teddy Mason | .... | dubbing editor | |
| John W. Mitchell | .... | sound recordist (as John Mitchell) | |
| Jim Shields | .... | dubbing editor (as Jimmy Shields) | |
| Ron Butcher | .... | sound maintenance (uncredited) | |
| Graham V. Hartstone | .... | sound re-recording mixer (uncredited) | |
| Keith Pamplin | .... | boom operator (uncredited) | |
| Trevor Rutherford | .... | sound camera operator (uncredited) | |
Special Effects by | |||
| Derek Meddings | .... | special effects | |
| Rick Baker | .... | special effects (uncredited) | |
| Peter Biggs | .... | special effects engineer (uncredited) | |
| Ian Wingrove | .... | special effects assistant (uncredited) | |
Visual Effects by | |||
| Timothy Kiefer | .... | damage artist: pristine digital restoration: Lowry Digital Images a DTS company (restoration) (as Tim Kiefer) | |
| Scott Martin | .... | damage artist: pristine digital restoration: Lowry Digital Images a DTS company (restoration) | |
| Julie Ornburn | .... | damage artist: pristine digital restoration: Lowry Digital Images a DTS company (restoration) | |
| Bruce Peecher Jr. | .... | damage artist: pristine digital restoration: Lowry Digital Images a DTS company (restoration) | |
| Charles Staffell | .... | optical effects | |
Stunts | |||
| Bill Bennet | .... | stunts co-ordinator | |
| Joie Chitwood | .... | stunts co-ordinator | |
| Jerry Comeaux | .... | stunts co-ordinator | |
| Ross Kananga | .... | stunts co-ordinator | |
| Bob Simmons | .... | stunts co-ordinator | |
| Eddie Smith | .... | stunts co-ordinator | |
| Vic Armstrong | .... | stunt double: Roger Moore (uncredited) | |
| Vic Armstrong | .... | stunts (uncredited) | |
| Peter Brayham | .... | stunts (uncredited) | |
| Alonzo Brown Jr. | .... | stunts (uncredited) | |
| Jophery C. Brown | .... | stunts (uncredited) | |
| Joie Chitwood | .... | airplane stunt driver (uncredited) | |
| Joie Chitwood | .... | stunt driver (uncredited) | |
| Brian Chung | .... | stunt pilot (uncredited) | |
| Murray Cleveland | .... | stunt boat driver (uncredited) | |
| Jerry Comeaux | .... | stunt boat driver (uncredited) | |
| Jack Cooper | .... | stunts (uncredited) | |
| Leslie Crawford | .... | stunt double: Roger Moore (uncredited) | |
| Leslie Crawford | .... | stunts (uncredited) | |
| Bill Cummings | .... | stunts (uncredited) | |
| Eddie Eddon | .... | stunts (uncredited) | |
| Reg Harding | .... | stunts (uncredited) | |
| John Koerner | .... | stunt boat driver (uncredited) | |
| Jimmy Lodge | .... | stunts (uncredited) | |
| Bob Minor | .... | stunts (uncredited) | |
| Maurice Patchett | .... | stunt driver (uncredited) | |
| Allen Pinson | .... | stunts (uncredited) | |
| Eddie Powell | .... | stunts (uncredited) | |
| Nosher Powell | .... | stunts (uncredited) | |
| Doug Robinson | .... | stunts (uncredited) | |
| Rick Seaman | .... | stunt driver (uncredited) | |
| Colin Skeaping | .... | stunts (uncredited) | |
| Eddie Smith | .... | stunt boat driver (uncredited) | |
| Roy Street | .... | stunts (uncredited) | |
| Chris Webb | .... | stunts (uncredited) | |
| Paul Weston | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| George Bouillet | .... | camera operator: USA | |
| John Harris | .... | cameraman: second unit | |
| Bob Kindred | .... | camera operator | |
| Warren Rothenberger | .... | camera operator: USA | |
| Bert Bosher | .... | electrical supervisor (uncredited) | |
| Colin Davidson | .... | clapper loader (uncredited) | |
| Vinnie Gerardo | .... | assistant camera (uncredited) | |
| Mike Roberts | .... | focus puller (uncredited) | |
| Ted Underwood | .... | camera grip (uncredited) | |
| George Whitear | .... | still photographer (uncredited) | |
| David Wynn-Jones | .... | first assistant camera (uncredited) | |
Casting Department | |||
| Allan Foenander | .... | casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Laurel Staffell | .... | wardrobe supervisor | |
| John Hilling | .... | wardrobe master (uncredited) | |
| Colin Wilson | .... | wardrobe assistant (uncredited) | |
Editorial Department | |||
| John J. De Santis Jr. | .... | 4K film scanning: pristine digital restoration: Lowry Digital Images a DTS company (restoration) (as John DeSantis Jr.) | |
| Marion Grau | .... | colorist: pristine digital restoration: Lowry Digital Images a DTS company (restoration) (as Marian A. Grau) | |
| Steve Cuiffo | .... | negative cutter (uncredited) | |
| Les Healey | .... | assistant editor (uncredited) | |
| Margaret Miller | .... | assistant editor (uncredited) | |
Music Department | |||
| Monty Norman | .... | composer: The James Bond theme | |
| Don McVay | .... | musician (uncredited) | |
Transportation Department | |||
| John Koerner | .... | boat driver (uncredited) | |
Other crew | |||
| Maurice Binder | .... | title designer: main title | |
| Albert R. Broccoli | .... | presenter | |
| William Grefe | .... | shark scenes: USA | |
| Bernard Hanson | .... | location manager | |
| Geoffrey Holder | .... | choreographer | |
| Harry Saltzman | .... | presenter | |
| Elaine Schreyeck | .... | continuity | |
| Jack Weis | .... | location coordinator: USA | |
| Brian Bailey | .... | production accountant (uncredited) | |
| James Barclay | .... | unit runner (uncredited) | |
| Maureen Campbell | .... | publicity secretary (uncredited) | |
| Derek Coyte | .... | publicity director (uncredited) | |
| Lorraine Fennell | .... | studio liaison (uncredited) | |
| Scott Hamilton | .... | assistant unit publicist (uncredited) | |
| Bobbie Johnson | .... | assistant production accountant: UK (uncredited) | |
| Jordan Klein Sr. | .... | underwater special shark scenes (uncredited) | |
| John Koerner | .... | boat coordinator (uncredited) | |
| Jane Oscroft | .... | production secretary (uncredited) | |
| Sue Parker | .... | secretary: Mr. Saltzman (uncredited) | |
| Charles Russhon | .... | police liaison: New York (uncredited) | |
| Dan Slater | .... | publicist (uncredited) | |
| Doris Spriggs | .... | assistant unit publicist (uncredited) | |
| Doris Spriggs | .... | assistant: Roger Moore (uncredited) | |
| Christine Talmage | .... | accounts secretary (uncredited) | |
| Paul Tucker | .... | assistant production accountant (uncredited) | |
| Michael G. Wilson | .... | EON productions: legal and administration (uncredited) | |
| Jean Winbolt | .... | secretary: Mr. Broccoli (uncredited) | |
Thanks | |||
| Fergus Hall | .... | the producers gratefully acknowledge the assistance and co-operation of: tarot cards by, courtesy of Portal Gallery, London | |
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| Moonraker | Dr. No | The Spy Who Loved Me | GoldenEye | On Her Majesty's Secret Service |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb UK section |
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.