A fake Fabergé egg, and a fellow Agent's death, lead James Bond to uncover an international jewel-smuggling operation, headed by the mysterious Octopussy, being used to disguise a nuclear attack on N.A.T.O. forces.
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
Clifton James and Roger Moore died within 38 days of each other in 2017. See more »
When Felix says Kananga has returned to his Embassy; he should have said that Kananga has returned to his UN Mission. 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 »
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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