The Good, The Bad and The Critic

Established on March 19th, 2012 and pioneered by film fanatic Michael J. Carlisle. The Good, The Bad and The Critic will analyze classic and contemporary films from all corners of the globe. This title references Sergei Leone's influential spaghetti western The Good, The Bad and the Ugly.

Sunday, April 21, 2024

Live and Let Die (1973) Review

Title: Live and Let Die
Year: 1973
Director: Guy Hamilton
Country: UK
Language: English



In the early 1970's, the movie industry underwent a boom of films featuring African American leads and stories about their experiences. Starting with Shaft (1971), the era catapulted the careers of newfound stars like Pam Grier, Richard Pryor and Morgan Freeman. Live and Let Die (1973) would maintain the relevancy of the Bond franchise by participating in this change in cinema culture. 



James Bond (Roger Moore) is sent to stop a diabolically brilliant heroin magnate (Yaphet Kotto) armed with a complex organisation and a reliable psychic tarot card reader named Solitaire (Jane Seymour).


Around this time in history, the media popularized the  infamous term "the war on drugs". This was based on American president Richard Nixon's public statement about how drug abuse was "public enemy number one." The main villain's scheme revolving around heroin addiction was essential in bringing the Bond franchise into the 1970's. 


Live and Let Die (1973) is the first Bond film for Roger Moore. The producers initially wanted Burt Reynolds, but he refused, saying that Bond should be played by an English actor. Moore was a great casting decision. I've stated before that he is my favourite Bond. Speaking of casting; Geoffrey Holder steals the show as the evil Baron Samedi. He is full of charisma and has a personality that leaps off the screen. This is easily my favourite henchman of the series. 


Live and Let Die is an incredible entry into the 007 franchise that oughted to be viewed with the same admiration as Goldfinger. There is so much from this film that is imitated and satired; modern films owe a lot to this Moore flick. 


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