Film Review – LIVE AND LET DIE (1973)

Image result for live and let die 1973LIVE AND LET DIE (UK, 1973) ***
      Distributor: United Artists Corporation; Production Company: Eon Productions; Release Date: 27 June 1973 (USA), 5 July 1973 (UK); Filming Dates: 13 October 1972 – 15 March 1973; Running Time: 121m; Colour: Colour; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.66:1; BBFC Cert: PG.
      Director: Guy Hamilton; Writer: Tom Mankiewicz (based on the novel by Ian Fleming); Producer: Albert R. Broccoli, Harry Saltzman; Director of Photography: Ted Moore; Music Composer: George Martin; Film Editor: Bert Bates, Raymond Poulton, John Shirley; Casting Director: Weston Drury Jr.; Art Director: Syd Cain; Set Decorator: Simon Wakefield, Frederic C. Weiler (both uncredited); Costumes: Julie Harris; Make-up: Paul Rabiger; Sound: Ken Barker, John W. Mitchell; Special Effects: Derek Meddings; Visual Effects: Charles Staffell.
      Cast: Roger Moore (James Bond), Yaphet Kotto (Kananga / Mr. Big), Jane Seymour (Solitaire), Clifton James (Sheriff Pepper), Julius Harris (Tee Hee), 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).
      Synopsis: 007 is sent to stop a diabolically brilliant heroin magnate armed with a complex organization and a reliable psychic tarot card reader.
      Comment: Moore’s debut appearance as 007 continues the series’ shift toward a tongue-in-cheek style initiated in DIAMONDS ARE FOREVER with its glib, sometimes dismissive, approach. Comedic overtones begin to emerge at the expense of suspense, notably in the flying school action sequence. James’ Sheriff JW Pepper proved popular with cinemagoers, if not serious Bond fans, and would return in the next film in the series. This is also the point at which the Bond films started to follow trends rather than set them. The Blaxploitation genre had exploded by this time and the themes, locations and characters presented here capitalise on this. Kotto makes for a more down to earth and formidable villain than had been the case in those 60s Bonds, but as a result, the threat seems more subdued. The film does at least boast one of the series’ strongest theme songs (courtesy of Paul & Linda McCartney) and a well-staged, if slightly overlong, boat chase. Followed by THE MAN WITH THE GOLDEN GUN (1975).

Film Review – TROUBLE MAN (1972)

Trouble Man (1972; USA; Colour; 99m) ***  d. Ivan Dixon; w. John D. F. Black; ph. Michel Hugo; m. Marvin Gaye.  Cast: Robert Hooks, Paul Winfield, Ralph Waite, William Smithers, Paula Kelly, Julius Harris, Bill Henderson, Wayne Storm. Things begin to unravel when a supercool black fixer is hired to straighten out some crooks. Typical example of the blaxploitation cinema that dominated the early 1970s. Hooks is the supercool Mr. T, whose attitude carries more than a hint of SHAFT – on which both producer Joel Freeman and writer/exec producer Black had worked. The script is fairly routine as is the violence and mayhem, but there is a sense of style in Dixon’s direction. Gaye provides the funky score. [15]