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Roger Moore makes his debut as James Bond in Live and Let Die, a weird blend of voodoo magic and blaxploitation that stands apart from any other entry in the Bond oeuvre. The script by Tom Mankiewicz has Bond investigating the murders of several secret agents to discover that an international drug cartel is the culprit. As he closes in on the drug lord, Bond takes on a second objective — to rescue a fortune-teller (Jane Seymour) from the cartel’s forced servitude.

Moore does a respectable job taking over for Sean Connery. Instead of imitating Connery’s swagger, Moore leans into his comic instincts. The result is a less dangerous and unpredictable Bond, but still an entertaining one. Live and Let Die isn’t as cinematically polished as some of the previous films, and the stakes feel pretty low by comparison, but it’s still fun for fans of the franchise. Highlights include Bond’s escape from an alligator farm and a long, well-choreographed speedboat chase through the Louisiana swamps. The colorful supporting cast includes Yaphet Kotto as the villainous drug lord, Clifton James as a bumbling bayou cop, and Geoffrey Holder as a towering, laughing master of voodoo ceremonies. John Barry’s musical touch is sorely missed (George Martin picks up the scoring duties), but Paul McCartney and Wings serve up one of my favorite Bond theme songs.

Directed by Guy Hamilton (Goldfinger, Diamonds are Forever). With Julius Harris, Gloria Hendry, Bernard Lee, and Lois Maxwell.

Oscar Nomination: Best Song