Directed by:
Guy HamiltonScreenplay:
Tom MankiewiczCinematography:
Ted MooreCast:
Roger Moore, Yaphet Kotto, Jane Seymour, Clifton James, Julius Harris, Geoffrey Holder, David Hedison, Gloria Hendry, Bernard Lee, Lois Maxwell, Madeline Smith (more)VOD (2)
Plots(1)
When James Bond (Agent 007) investigates the murders of three fellow agents, he soon finds himself a target, evading vicious assassins as he closes in on the powerful Kananga. Known on the streets as Mr. Big, Kananga is coordinating a globally threatening scheme using tons of self-produced heroin. As Bond tries to unravel the mastermind's plan, he meets Solitaire, the beautiful Tarot card reader whose magical gifts are crucial to the crime lord. Bond works his own magic on her, and embarks on a series of adventures, involving voodoo, hungry crocodiles and turbo-charged speedboats. (official distributor synopsis)
(more)Videos (1)
Reviews (7)
Roger Moore's first Bond film didn't quite work out. Moore was trying to be as tough as Connery in the early Bond films, the script was trying to pretend it was better than it was, Jane Seymour was trying to look like a virgin, and Gloria Hendry wasn’t trying to do anything at all, so the result was as lackluster as you’d expect.
()
The beautiful theme song by Paul McCartney and the lovely Jane Seymour, who is another one of my favorite, now slightly older beauties. For me, Roger Moore is probably my favorite actor in the James Bond role because his charisma, charm, and British dry wit just resonate with me. It's a bit more immediate than even Sean Connery's portrayal. Moreover, this older Bond film, predating Brosnan's era, is probably the one I know best. The opening with the deaths of the agents is quite well-executed. And then it goes on. Mr. Big and Tee Hee running on crocodiles is a simply iconic scene.
()
007__#8__This film does have a few clever scenes (the crocodiles, the boat chase), but they are not incorporated into the story in such a way as to create a compact spectacle that is not boring and the whole does not feel so confusing. Personally, I consider Hamilton one of the weakest Bond directors (except for his Goldfinger). But we can say with satisfaction that the character of Agent 007 has a worthy successor after Connery. And the boorish Sergeant Pepper irritated me to no end with his overacting.
()
With the new Bond came a commendable new concept to keep the old man's finger on the pulse of the times. And given the blaxploitation boom at the time, it was decided that Agent 007's next trouble would be solved in the pimp bars of Harlem and the jazz clubs of New Orleans. The move worked, especially because of the contrast of the dry British old-timer with the wildly dressed swinging blacks, who strip the whole film of its otherwise quite proffered decrepitude. The latter is carefully represented here by the central duo, with Roger Moore acting as a dummy who fires off a dry line in a robotic voice at the touch of a button, and the terrifying Jane Seymour, who gives such a good impression of a wooden plank here that depriving her of her virginity feels like Bond's most decidedly challenging mission yet. The amusing scenes built on contrasts like "the well-dressed James Bond goes into a seedy Harlem bar to discreetly find out information about a drug lord" then work mainly in the way that you can imagine how good and proud they looked on paper before Moore's performance let them implode into his woodenness. In any case, the approach of producers Saltzmann and Broccoli in not repeating the same successful formula installment after installment and continually renewing the spirit of the series (apart from the bad guys, for example, they insisted on limiting Bond gadgets here, so we only rarely see Q) should be framed by the producers of today's blockbuster franchises instead of their annual bonuses.
()
Embarrassingly wannabe experimental 1970s full of voodoo, Harlem, crazy costumes, period hits, with a hopeless attempt at modern visuals. It all comes off as a farce, and Roger Moore in the lead role is a step back compared to Sean Connery and George Lazenby, a woefully unremarkable actor. Only Jane Seymour as the Bond girl is nice to look at. Unfortunately, even the action scenes have suffered a noticeable qualitative decline – where are the raw fights with Connery on the train (From Russia with Love)? After all those years, progress is warranted.
()
Ads