Despite the enormous success of Diamonds Are Forever, Sean Connery repeated his oft-statedintention never to return to the role of 007. United Artists made various attempts to lure Connery back into Bondage again, while a screenplay was already being penned to allow filming to commence on schedule in October, 1972. As the casting of Bond was uncertain, the script alluded to a generic concept of Bond that would not be tailored to a particular actor or style. When it became obvious that Connery would not return, the producers decided to employ the services of another bona fide star rather than a novice, à la George Lazenby.

United Artists wanted an American superstar, while the producers insisted that 007 be played by an Englishman. Cubby Broccoli resurrected the name of Roger Moore, but this time, it was Harry Saltzman who was not overly enthused about the choice. As the studio applied pressure to pursue names like Burt Reynolds, Paul Newman and Robert Redford, Saltzman began to relent. Cubby advised Moore to lose some weight and have his long hair cut and shaped onto a Bondian style.

The script is limited, and Live and Let Die is not the epic its predecessors were. Bond is simply assigned to resolve a series of murders, linked to Kananga’s plot to cultivate a bumper crop of heroin and distribute it free through his confederate Mr. Big, a Harlem drug dealer. This will force competitive drug distributors out of business while increasing the number of addicts. Kananga will then use his monopoly of the heroin market to excessively raise prices. The plot seems hardly larger than life, but it is refreshing in that it allows Bond to tackle an assignment with roots in a real social problem.

More satisfactory is Julius W. Harris as Kananga’s gleeful giant henchman Tee Hee, who uses a hook for a hand, with often deadly results. In a memorable scene he has Bond locked into a chair and threatens to snip off 007’s fingers. When he fumbles a bit, Moore gets off one of his better wisecracks by muttering "butterhook".Positive elements include Jane Seymour’s portrayal of Solitare, Kanaga’s personal psychic. But her powers only last as long as her virginity. With our James on the scene, it isn’t long before both are a thing of the past. Seymour is not only beautiful, but also is skilled enough to reflect a genuine sense of innocence.

A notable scene-sealer is the international choreographer Geoffrey Holder as Baron Samedi, a mystical henchman of Kananga, revered and feared for his alleged voodoo powers over the populace of the Haiti-like island of San Monique. The script wisely restricts Samedi’s appearances, thus keeping him shrouded in an air of mystery.The most conspicuous reservation is the unforgivable absence of Desmond Llewelyn’s "Q". On the plus side, Bernard Lee and Lois Maxwell as welcome sights and help ease the transition of the new Bond (Mr. Lee was ill prior to shooting and his role was almost assumed by Kenneth More).

Critics were indifferent to Moore’s Bond, although the film grosses were quite impressive. Audiences would eventually embrace Roger Moore as much as they had Sean Connery. The only difference was that his James Bond truly seemed to enjoy going also for the ride.