Several British agents have been murdered and James Bond is sent to New Orleans, to investigate these mysterious deaths. Mr. Big comes to his knowledge, who is self-producing heroin. Along his journeys he meets Tee Hee who has a claw for a hand, Baron Samedi the voodoo master and Solitaire a tarot card reader. Bond must travel to New Orleans, and deep into the Bayou.Written by
Roger Moore suffered an injury during the boat chase. The engine cut out, and the momentum carried him into a boathouse. He cracked some of his front teeth, and twisted his knee. He had to walk on a cane for several days afterward, but was still able to complete the scene, because all he had to do was sit in the boat. See more »
After Bond destroys the fake Baron Samedi and rescues Solitaire, a man rushes towards him with a machete. Bond shoots him twice. There are two errors. The man's shoulder is already covered in Blood before Bond shoots him, and also, the second shot Bond fires appears to not hit the man, yet the man goes flying backwards as if he is shot. See more »
[translating for Hungarian delegate]
... was so ably pointed out by the Secretary General in his opening remarks. But - and I must emphasize this point - no formula can or will ever cover each case. For instance...
[audio feed is unplugged]
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The End of Live and Let Die James Bond will return in The Man with the Golden Gun See more »
In 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?". See more »
Roger Moore's debut as 007 was a bit wan but, in retrospect, probably his best outing. He looked pretty lean and mean for a 45 year-old. For a British audience, Moore (The Saint, The Persuaders) was the natural successor to Sean Connery.
Director Guy Hamilton makes this an expertly staged but somehow lacklustre affair. While the background voodoo theme is suitably bizarre, the main McGuffin about drugs smuggling is rather under-whelming for a Bond movie. Yaphet Kotto is a potentially strong baddie but has too little to do amid the familiar carnage and boat chases. And the introduction of the series' first out-rightly comic character in Sheriff JW Pepper presaged the self-defeating lapse into self-spoofing the films would increasingly take.
Nor does a heavy-handed score by Beatles producer George Martin help. Unlike regular Bond composer John Barry's music, Martin's is ponderous, overlaid onto the action rather than organic to it.
Still, Paul McCartney's blistering title-song really jolts Bond into the 70s. And Live and Let Die does have one of the best jokes in the entire series, in the opening sequence when a CIA agent, watching a New Orleans jazz funeral, innocently asks a nondescript fellow bystander: "Who's funeral is it ?"
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