The James Bond Bedside Companion (68 page)

Mankiewicz told
Bondage
magazine that he had written the script before he knew Roger Moore was going to play Bond. He had been told by the producers and United Artists president David Picker that the new film must be an entertaining, action-packed film, no matter
who
was going to play Bond. Therefore, Mankiewicz injected the set-piece formula into the script in such a way that the film basically jumps from stunt to stunt.

As usual, Fleming's original story was thrown out. Because it was felt that the novel's treatment of blacks was patronizing, the filmmakers decided to create a high-class criminal organization as opposed to Fleming's group of second-rate crooks. The result was a SPECTRE-like organization operating from the Caribbean island of San Monique. The prime minister of the island, Dr. Kananga, is attempting to smuggle heroin into the states via a chain of restaurants in New Orleans and New York. While in New York, Dr. Kananya masquerades as
Mr. Big in order to instill fear in his underlings. Gone is Bloody Morgan's pirate hoard, as well as the fascinating character of Mr. Big himself. Kananga's Mr. Big is inconsequential.

Mankiewicz does retain some of the original elements and characters: Solitaire, the Bond-girl with telepathic powers; Felix Leiter; Tee-Hee, one of the black hoods; and Baron Samedi, the Prince of Darkness. The voodoo motifs are also used in the film, as well as a deck of tarot cards which becomes the design metaphor for the picture. Several new characters are created: Rosie Carver, a black CIA agent helping Bond in the Caribbean; J. W. Pepper, comic relief in the form of a redneck Southern sheriff; and other assorted black hoodlums. Samedi is made an actual character who also serves as a visual metaphor in the film.

The
Live and Let Die
script is witty and entertaining, but not very original. When compared to the novel, it is second-rate. Fleming's story is one of his best, and it is preposterous that the filmmakers discarded the superior plot of the book. Several of Fleming's scenes would have translated wonderfully to the screen: Bond and Leiter's barhopping in Harlem; Bond and Solitaire's train ride to Florida (this location was changed to New Orleans in the film); the loss of Leiter's hand and leg; the fight in the fish warehouse; Bond's swim through Shark Bay; and several others. Granted, changing the villains' operation to smuggling heroin is more timely, but that would have worked in the context of the original story. As it is,
Live
and
Let Die
operated on a totally visual level—full of stunts, exotic locales, and a hell of a lot of destruction of public property. As a story, though, the film is limp.

The pre-credits sequence does not even feature James Bond. Usually, this traditional device tells a complete story in itself, whether it is related to the main plot or not. In
Live
and
Let Die,
we see three British men murdered by blacks—one at the United Nations, one on a New Orleans street corner, and one on the island of San Monique. The scenes do not grab the audience, and this pre-credits sequence is therefore the weakest of the series.

The opening scene of the film proper takes place at James Bond's flat. We see him in bed with a girl, where he is rudely awakened by none other than M at his front door. The scene provides a few laughs, especially when Miss Moneypenny catches the semi-clad girl attempting to hide in Bond's closet. But in the past, Bond has always been
summoned
to the office in a matter of emergency. Why would M and/or Miss Moneypenny bother to travel to Bond's house so early in the morning? The idea
is ridiculous. But if one forgets this, the
scene is one of the more enjoyable in the film.

Roger Moore as Bond rescues Solitaire (Jane Seymour) from a voodoo ritual in
Live and Let Die
. (UPI Photo.)

None of the characters is particularly well-written. Most disappointing is the development of Solitaire, who could have been used to much greater advantage. The Kananga/Mr. Big confusion doesn't work, and the Rosie Carver business is just another variation on the female villain ploy. Moore is provided with some funny lines, but isn't given ample opportunity to show any depth of character.
Live and Let Die
is a situation comedy with several outdoor action scenes.

DIRECTION

G
uy Hamilton is in charge again, and lends his usual fast-paced, light touch to the proceedings. But this time there is no bite to the film.

Hamilton's tarot card motif does give the film visual unity. Throughout the picture, especially when Bond is traveling from one country to another, Solitaire's voice is dubbed over the action. We see her hands turning over tarot cards superimposed on the screen, as she explains what the future will bring. Additionally, Hamilton and Mankiewicz gave several characters representative tarot cards: Solitaire is "The High Priestess," Rosie Carver is "The Queen of Cups," and Bond himself is "The Fool." The image of Baron Samedi in appearances throughout the film also gives the story a symbolic continuity. Samedi represents death, and he appears several times in bizarre costume and makeup. One particularly striking image is the shot of Samedi, in rags, sitting by a tombstone in a cemetery playing a wooden flute. The final image of the film is that of Samedi, riding on the back of the train carrying Bond and Solitaire to New York. With his demonic laugh filling the theater, the image reminds us that death will always be following close behind wherever we go.

One sequence does manage to deliver some impact Bond is sitting in a New Orleans nightclub when his table drops through the floor and into the room below (this scene is similar to the one in the novel at Table Z). Tee-Hee, who in the film has a mechanical pincer in place of one arm, is ordered to snap off Bond's little finger if Solitaire cannot correctly name the serial num
ber on the back of Bond's watch. (Kananga suspects that Solitaire has lost her telepathic powers as a result of losing her virginity to Bond.) There is a tense moment as Solitaire makes a wild guess, and Bond is released. He is taken away, and it is then revealed that Solitaire was wrong about the number. As Kananga chastises her, Baron Samedi sits in the corner of the room, laughing and overturning tarot cards. Hamilton has provided this scene with a bit of tension.

The most annoying aspect of the film is its leaning toward juvenile humor. The introduction of Sheriff J. W. Pepper is the first in what would grow to be a very damaging element of the series. Basically a variation on the redneck Las Vegas sheriff in
Diamonds
Are Forever
,
Louisiana Sheriff Pepper joins the speedboat chase in order to catch Bond; he is unaware that Bond is a British secret agent. Though the boat stunts are spectacular, this section of the film regresses to Three Stooges–style violence and absurdity. What could have been a truly exciting boat chase is undercut by this so-called humor.

Finally, the film stays on one level throughout. The climax is flat and predictable, and the death of Kananga is particularly silly. Bond shoves a gas pellet from a shark gun into Kananga's mouth. Kananga inflates like a balloon, floats to the ceiling, and bursts. Bond purists the world over surely hid their heads in embarrassment during this sequence.

ACTORS AND CHARACTERS

R
oger Moore has always approached the role of James Bond with a light and humorous attitude, emphasizing the sophistication and intelligence of the character, relying on his smooth voice, agile charm, and good looks to carry him through. The actor's
James Bond Diary,
written during the filming of
Live and Let Die
, reveals how Moore perceives his role. He constantly refers to the character as "Jimmy" Bond, and enjoys telling the story of how he attempted looking mean for several days.

In a press conference held when
For Your Eyes Only
was released, Moore admitted what little preparation he does for the character:

Q: How much Fleming do you need to read to keep in touch with the character?

Moore: It's very difficult to get in touch with the character by reading Fleming, because there's very little about Bond—about the person that he is, only what he's doing.

Q. But, even when you started back in '73 . . .

Moore: Ah, yes, I sort of did a quick sifting through all the books to try and find out what he was like. I only found one thing and that was that he had a scar on his cheek and looked like Hoagy Carmichael. And the only other key to the character was that he had come back from Mexico where he had eliminated somebody. He didn't particularly like killing, but he took pride in doing his job well. That was the only thing I could find out about Bond.

Q: So you based your characterization on those two facts.

Moore: Yes. I don't like killing, but I'm pleased that I do it well.

(From "The For Your Eyes Only Press Conference,"

by Richard Schenkman;
Bondage,
Number 11)

Apparently, the producers' direction and Roger Moore's approach toward his role blended smoothly to create what could be called the "James Bond Comedies."

Actually, Roger Moore's performance in
Live and Let Die
is in an experimental stage. There are moments when Moore attempts a bit of cynicism. He's very convincing in the scene with Rosie Carver in the jungle of San Monique. Stopping for a picnic, they spread a blanket, rest from their search for Kananga's hideout, and make love. Afterwards, Bond pries her for information. (He had received a warning that Rosie is a traitor.) Rosie, shocked when Bond threatens her, asks, "You mean you'd kill me after . . .?" To which Bond (with Moore being as nasty as possible) replies, "You don't think I'd kill you before, do you?"

In the final analysis, Roger Moore's main problem with playing Bond is a lack of dynamics. A tough side essential to the character is missing.

Yaphet Kotto portrays Dr. Kananga/Mr. Big. Why Mankiewicz chose to confuse the issue by having the villain masquerade as another one is unclear. Kotto's makeup is unconvincing and looks rather silly, but he is a fine actor. He approaches the role seriously and exudes power in his speeches. It's too bad the material he has to work with creates a totally unbelievable character.

Jane Seymour, as Solitaire, is lovely to look at and is an extremely talented actress who has gone on to an illustrious career since her debut in
Live and Let Die
. But her character, too, suffers from a poor script. In the novel, Solitaire is mysterious, frightened and vulnerable, but also proud. There is an attempt on Miss Seymour's part to communicate these traits, but the script provides her nothing with which to work. As a result, Solitaire comes off as an unintelligent little girl.

Felix Leiter is
given
a fair characterization, for
once,
by David Hedison, an American actor familiar to television audiences via
Voyage to the Bottom of the Sea
. He's miscast, and the character is totally wrong, but he's the best Leiter next to Rik Van Nutter. If more humor had been injected into his character rather than Bond's, we might have had something. Another disappointment.

Gloria Hendry gives an impressive performance as Rosie Carver, a double agent working for the CIA. The sections involving her character do not advance the plot much; they simply provide another Obligatory Sacrificial Lamb. She has been ordered by Kananga to kill Bond; she falls for him instead, and fails her task. She is then shot by a voodoo scarecrow in the jungle while fleeing from the angry Bond. Her character is unbelievable—why would the CIA send Bond a girl who seems so obviously inexperienced?

Since the Quarrel character was killed by the dragon in
Dr. No
, the filmmakers created an improbably adult Quarrel Jr. for
Live and Let Die
. Played by Roy Stewart, Quarrel Jr. has little dialogue, and is included only for plot mechanics. He pitches in by setting the explosives at Kananga's poppy field.

Kananga's gang of black crooks include Baron Samedi, a weirdo who uses costume and makeup to become the evil Prince of Darkness. Played by Geoffrey Holder (who also choreographed the dance sequences), Samedi is one of the most successful characters in the film. Holder gives an electric performance, and practically steals the show. Mostly, Samedi is seen in various locations, hovering over the action. Holder's volcanic laugh is terrific, and his extremely tall frame is godlike.