Live And Let Die’s 40th: the post-Connery era truly begins

Live And Let Die's poster

Live And Let Die’s poster

For the eighth James Bond film, star Sean Connery wasn’t coming back. Three key members of the 007 creative team, screenwriter Richard Maibaum, production designer Ken Adam and composer John Barry, weren’t going to participate. And producers Albert R. Broccoli and Harry Saltzman were mostly working separately, with this movie to be overseen primarily by Saltzman.

The result? Live And Let Die, which debuted 40 years ago this year, would prove to be, financially, the highest-grossing movie in the series to date.

Things probably didn’t seem that way for Eon Productions and United Artists as work began. They had no Bond. Broccoli and Saltzman didn’t want Connery back for 1971′s Diamonds Are Forever. The studio didn’t want to take a chance and made the original screen 007 an offer he couldn’t refuse. But that was a one-film deal. Now, Eon and UA were starting from scratch.

Eon and UA had one non-Connery film under their belts, 1969′s On Her Majesty’s Secret Service. They had tried the inexperienced George Lazenby, who bolted after one movie. For the second 007 film in the series not to star Connery, Eon and UA opted for a more-experienced choice: Roger Moore, former star of The Saint television series. Older than Connery, Moore would eventually employ a lighter touch.

Behind the camera, Saltzman largely depended on director Guy Hamilton, back for his third turn in the 007 director chair, and writer Tom Mankiewicz. Mankiewicz would be the sole writer from beginning to end, rewriting scenes as necessary during filming. In a commentary on the film’s DVD, Mankiewicz acknowledged it was highly unusual.

Perhaps the biggest creative change was with the film’s music. Barry had composed the scores for six Bond films in a row. George Martin, former producer for the Beatles, would take over. Martin had helped sell Saltzman on using a title song written by Paul and Linda McCartney. The ex-Beatle knew his song would be compared to the 007 classic title songs Barry had helped write. McCartney was determined to make his mark.

Albert R. Broccoli and Harry Saltzman pose with their new star, Roger Moore, during filming of Live And Let Die

Albert R. Broccoli and Harry Saltzman pose with their new star, Roger Moore, during filming of Live And Let Die


Saltzman liked the song, but inquired whether a woman singer would be more appropriate. Martin, in an interview for a 2006 special on U.K. television, said he informed Saltzman if Eon didn’t accept McCartney as performer, the producer wouldn’t get the song. Saltzman accepted both.

Live And Let Die wasn’t the greatest James Bond film, despite an impressive boat chase sequence that was a highlight. The demise of its villain (Yaphet Kotto) still induces groans among long-time 007 fans as he pops like a balloon via an unimpressive special effect. Sheriff J.W. Pepper, up to that time, was probably the most over-the-top comedic supporting character in the series. (“What are you?! Some kind of doomsday machine, boy?!”)

But Live And Let Die is one of the most important films in the series. As late as 1972, the question was whether James Bond could possibly continue without Sean Connery. With $161.8 million in worldwide ticket sales, it was the first Bond film to exceed the gross for 1965′s Thunderball. In the U.S., its $35.4 million box office take trailed the $43.8 million for Diamonds Are Forever.

Bumpy days still lay ahead for Eon. The Man With the Golden Gun’s box office would tail off and relations between Broccoli and Saltzman would get worse. Still, for the first time, the idea took hold that the cinema 007 could move on from Connery.

Many HMSS editors CRITICIZED THE MOVIE AND ITS STAR in a survey several years ago. But the film has its fans.

“I vividly remember the first time I saw one of the Bond movies, which was Live And Let Die, and the effect it had on me,” Skyfall director Sam Mendes said at a November 2011 news conference. Whatever one’s opinions about the movie, Live And Let Die ensured there’d be 007 employment for the likes of Timothy Dalton, Pierce Brosnan and Daniel Craig.

FEBRUARY 2012 POST: LIVE AND LET DIE, A REAPPRAISAL

JANUARY 2010 POST: 1973: TIME PROFILES THE NEW JAMES BOND

JANUARY 2010 POST: 1973: TIME CALLS 007 A `RACIST PIG’

HMSS talks to Jon Burlingame about his 007 music book

Image of the cover of The Music of James Bond from the book’s Amazon.com page (don’t click it won’t work here; see link at bottom of this post).

Jon Burlingame, who has written extensively about film and television music, is coming out with a new book, The Music of James Bond. He’s come up with some research that should intrigue 007 fans. Example: one of the singers of Mr. Kiss Kiss Bang Bang, originally intended to be Thunderball’s title song was involved in a lawsuit to try to stop release of the fourth James Bond film.

We did an interview by e-mail. He provided a preview of his book. The author didn’t want to give away too much in our interview, including identifying which Mr. Kiss Kiss Bang Bang singer was involved. Both Shirley Bassey and Dionne Warwick performed the song before Eon Productions went with Tom Jones singing Thunderball.

Anyway, the interview follows:

HMSS: Did you come across information that you found surprising? If so, what was it?

BURLINGAME: I was able to piece together the chronology of what happened with “Mr. Kiss Kiss Bang Bang” — the unused theme for THUNDERBALL — which had always eluded previous writers and researchers. And I discovered that one vocalist was so incensed about the failure to use her recording that her company sued the producers to attempt to stop distribution of the film in late 1965. (She didn’t succeed, of course.) It was a stunning new discovery and, to me, one of the most fascinating stories in the book.

I also got Paul Williams to recall many of his unused lyrics for MOONRAKER and Johnny Mathis to confirm that he recorded that song, which no one has ever heard. I successfully unraveled the story of the missing Eric Clapton recordings for LICENCE TO KILL and the sad and unfortunate tale of why John Barry was ready to score TOMORROW NEVER DIES and how studio politics derailed it. I obtained new details about the aborted Amy Winehouse song for QUANTUM OF SOLACE and finally got to the bottom of the story involving “No Good About Goodbye,” which has always been rumored to be an unused QoS song.

HMSS:How long did it take to prepare The Music of James Bond? How many of the principals were you able to interview directly?

BURLINGAME: It took eight months to write — and about 45 years of intense interest before that. I signed the contract with Oxford in May 2011 and delivered a final manuscript in December. Like any film-related history that covers several decades, it required considerable research as well as interviews with those key players who were still with us. I had interviewed John Barry often since the late 1980s, so I had material from him prior to his passing.

New interviews included Monty Norman, Vic Flick, Leslie Bricusse, Don Black, Hal David, producer Phil Ramone (OHMSS), engineers Eric Tomlinson and John Richards, Sir George Martin, Marvin Hamlisch and Carole Bayer Sager, Paul Williams, Bill Conti, Tim Rice, Michel Legrand and Alan & Marilyn Bergman, Maryam d’Abo, Narada Michael Walden and Diane Warren (LICENCE TO KILL), Eric Serra (GOLDENEYE), David Arnold, conductor Nicholas Dodd (the Arnold films), and Madonna (DIE ANOTHER DAY), among others. {plus extensive, previously unused interviews I had done with Michael Kamen (LICENCE TO KILL) and Michel Colombier (DIE ANOTHER DAY) before each passed away.

HMSS: What is your view of the disputes related to the creation of The James Bond Theme? To some laymen, it really does sound like Barry at the very least added a lot to Monty Norman’s work.

BURLINGAME: He did. The story is very, very complicated, as anyone who followed the London court case should understand. The creation of a piece of music for a film — whether in 1962 or in 2012 — can be a complex process involving a melody line, the addition of rhythm and countermelodies, bridges, etc., and performance issues related to what instruments are being used and how. So it started with Monty Norman and an unused song from an unrealized production; passed through the hands of his own orchestrator; reached John Barry, who undertook what one expert witness at the trial called an “extreme” arrangement; and when Barry called in guitarist Vic Flick, he added his own special touches before the theme was recorded for the first time. To his credit, Norman — despite his differences with Barry over the years — continues to credit Barry with the definitive orchestration of his theme.

I would urge Bond fans to read my first chapter very carefully before drawing, or modifying, their own conclusions. I believe it is as complete a chronicle of the creation of the “James Bond Theme” as is possible at this date.

HMSS: Harry Saltzman almost killed the title songs to Goldfinger and Diamonds Are Forever and while liking the Live And Let Die song didn’t want Paul McCartney to perform it. Are there any other examples of this sort of thing (not restricted to Saltzman)?

BURLINGAME: From the beginning, it’s always really been a kind of crap shoot to try and create a song that would serve the film but also reach the pop charts to serve the broader promotional needs of the film and be successful on its own. There has always been second-guessing, from the examples you cited to the rush job on MAN WITH THE GOLDEN GUN, the last-minute decision to change lyricists and singers on MOONRAKER, the involvement of record-company people on the songs for A VIEW TO A KILL, THE LIVING DAYLIGHTS and LICENCE TO KILL, and finally the deep involvement of the studio music department on films like TOMORROW NEVER DIES, DIE ANOTHER DAY and the 2006 CASINO ROYALE. I detail all of these in the book.

For a long time, no composer not named John Barry did a second turn as a 007 film composer, until David Arnold came along. What did he bring to the table that the likes of Bill Conti, Marvin Hamlisch, etc., didn’t?.

BURLINGAME: I don’t think it’s fair to compare David Arnold with Conti and Hamlisch. Each composer tried to do his best with the film he was given. The circumstances were different in each case. All three attempted to “modernize” the Bond sound in their own way, with Hamlisch and Conti applying the pop rhythm sounds of their day (1977, 1981). Arnold came along at a time when the largely electronic (Eric) Serra
score for GOLDENEYE proved problematic for the filmmakers and they were eager to return to a more “traditional” sound. Arnold’s TOMORROW NEVER DIES score took the classic Barry sound and “updated” it with contemporary synth and rhythm-track sounds that proved just right for that film. He delivered what was needed and thus was retained — especially in a time of risk-averse studio thinking that often says, “that worked, that movie made money, let’s have more of that.”

HMSS: What qualities make James Bond scores different than scores of other movies?

BURLINGAME: One of the main points of the book is the assertion that these composers invented a new kind of action-adventure scoring for the Bond films. Partly pop, partly jazz, partly traditional orchestral scoring, the 007 films demanded music that could be variously romantic, suspenseful, drive the action, even punctuate the humor.

It was a tall order, and John Barry, especially, delivered what was necessary and helped define James Bond in a way that wasn’t possible with the visuals alone.

John Barry


HMSS: John Barry won five Oscars for his film work but never for a Bond movie. Meanwhile, Marvin Hamlisch got nominated for his score for The Spy Who Loved Me, and three title songs where Barry was absent (Live And Let Die, Nobody Does It Better and For Your Eyes Only) got nominated. Why was that?

BURLINGAME: This is a sore point with me. “We Have All the Time in the World” and “Diamonds Are Forever” are two of the greatest movie songs of their time, and both should have been nominated. But the reality is that the Bond films were not taken seriously as artistic achievements at the time, and neither song was a big hit (while record sales helped to drive Barry’s “Born Free” into Oscar territory, and the Bacharach-David “The Look of Love” from (1967′s) CASINO ROYALE was from a very popular, L.A.-based hitmaking team and so was an obvious choice for Oscar attention).

“Live and Let Die,” “Nobody Does It Better” and “For Your Eyes Only” went to no. 2, no. 2 and no. 4 on the American charts, respectively, and thus could not be ignored at Oscar time on the basis of their commercial success alone.

I think you could make a case that “You Only Live Twice,” “We Have All the Time in the World,” “Diamonds Are Forever,” “All Time High” and “Surrender” from TOMORROW NEVER DIES could and should have been nominated for Oscar. Maybe even “You Know My Name” from CASINO ROYALE, which has grown on me over the years. Changing Oscar rules in recent years hasn’t helped, but this year, with five nominees for Best Song assured because of a rule change, I think it’s quite likely that we may have a Bond song in contention.

HMSS: What do you think is the best Bond film score? What do you think is the most underrated?

BURLINGAME: You can’t ask a guy who spent six months listening to nothing but Bond
music to choose just one!

I love every note of both GOLDFINGER and ON HER MAJESTY’S SECRET SERVICE. I think FROM RUSSIA WITH LOVE, YOU ONLY LIVE TWICE and DIAMONDS ARE FOREVER are terrific scores in every way. And the fact that I grew up in that era may influence my passion for the early Bond scores, when the Barry concept and sound
was so fresh and exciting. I believe THE LIVING DAYLIGHTS may be the most underrated score. There is so much original melodic and rhythmic material there, and a very contemporary sound for 1987; I feel that Barry went out on a very high note with his last Bond score. I also think there is much to admire in Arnold’s first two Bond scores, TOMORROW NEVER DIES and THE WORLD IS NOT ENOUGH, and I think his unused song from the latter, “Only Myself to Blame” (with Don Black lyrics) ranks with “Mr. Kiss Kiss Bang Bang” as another of the unsung masterpieces of Bond music.

HMSS: What do you think Thomas Newman brings to Skyfall?

BURLINGAME: I very much look forward to the SKYFALL score. Every few years there is a new voice in Bond music — this year we have two, in Adele and Thomas Newman — and it’s always a good thing to reexamine what makes Bond music work. Arnold tried to do that with each new Bond score, but I think Newman will offer a fresh musical point of view and I can’t wait to hear what he brings.

For information about ordering the book, CLICK HERE to view Amazon.com’s Web site. You can look at some pages on the Amazon site BY CLICKING HERE.

UPDATE (Sept. 28): Jon Burlingame passes on the following about “rejected” James Bond title songs:

One of the book’s appendices is a chronicle of “would-be” Bond songs. There is a widespread notion out there that these were “rejected” (Johnny Cash for THUNDERBALL, Alice Cooper for GOLDEN GUN, etc.) when in fact most were, at best, unsolicited demos that never even reached the producers, who were not in the habit of entertaining song suggestions from outsiders.

The idea that Cubby Broccoli and Harry Saltzman were sitting round their offices listening to these and giving them serious consideration is the height of lunacy.

There really was a “cattle call” for songs for TOMORROW NEVER DIES, but that was done by the studio, not the producers, and I detail the unhappy results in the book.

Bond music program on Oct. 5 to feature Black, Flick

The Academy of Motion Pictures Arts and Sciences formally announced an Oct. 5 program in Beverly Hills, The Music of Bond: The First 50 Years. Featured guests are Don Black, who collaborated with John Barry and David Arnold on 007 film title songs, and guitarist Vic Flick, who helped bring Monty Norman’s James Bond Theme to life in Dr. No.

John Barry


An excerpt OF THE ANNOUNCEMENT:

Fifty years to the day after the U.K. opening of the first Bond film, “Dr. No,” on October 5, 1962, the Academy pays homage to the memorable title songs and indelible scores that have become as celebrated as the character’s many exploits.

Over the 22 films released to date as part of the official James Bond series, there have been several constants: suave but deadly leading men, gorgeous and barely clad Bond girls, over-the-top villains and incredible music. Bond theme songs, sung by such leading performers of their era as Shirley Bassey (“Goldfinger”), Nancy Sinatra (“You Only Live Twice”), Paul McCartney and Wings (“Live and Let Die”), Carly Simon (“Nobody Does It Better”) and Sheena Easton (“For Your Eyes Only”), consistently landed on the pop music charts. Duran Duran’s “A View to a Kill” became the first Bond song to hit #1 on the Billboard Hot 100.

The host of the program is Jon Burlingame, who has written extensively about film and television music, including the upcoming The Music of James Bond.

The Oct. 5 program starts at 7:30 p.m. PT at the Samuel Goldwyn Theater, 8949 Wilshire Boulevard, Beverly Hills, CA 90211. General admission tickets are $5 and can be ordered ONLINE or by mail starting Sept. 4. Doors open at 6:30 p.m. on Oct. 5 and seats are not reserved.

Live And Let Die, a reappraisal

We decided, after quite some time, to rewatch Live And Die. It was the debut of Roger Moore as James Bond but, in some ways, it’s more of a milestone than that. For some people, including Skyfall director Sam Mendes, it was the point of entry for a second generation of Bond fans to get addicted.

If you think that’s an exaggeration, consider Mendes’s own words at the Nov. 3 news conference Eon Productions held: “I vividly remember the first time I saw one of the Bond movies, which was Live And Let Die, and the effect it had on me.” Mendes was born in 1965, too late to catch the first wave of Bond films. For people of that age, their first 007 contact was the Roger Moore Bond of the early 1970s.

Given that, we thought we’d give it another view. First reaction: the Roger Moore 007 didn’t have the swagger, or seem to present the danger element, the way Sean Connery did. At times (mostly when 007 is dealing with African American gangster types early in the film), he’s like Lt. Columbo Bond, trying to lull his adversaries into complacency.

“Waste him?” Bond asks Solitaire (Jane Seymour) after Mr. Big orders his execution. “Is that a good thing?” Shortly thereafter, he’s forced from a door outside into a wall. “Thank you,” Bond says politely.

Later, when the odds have evened up a bit, Moore/Bond comes across as unflappable, rather than having the swagger of Connery/Bond. When he’s told that “Mrs. Bond” has already checked into his bungalow in San Monique, 007 registers concern for a second then cooly says, “Incurable romantic, Mrs. Bond.”

Live And Let Die definitely continues the trend begun in 1971′s Diamonds Are Forever, Connery’s farewell to the Eon Productions-made film series. Both films were directed by Guy Hamilton, with the final Diamonds script by Tom Mankiewicz (rewriting Richard Maibaum’s earlier drafts) and Mankiewicz working solo on Live And Let Die.

The humor in sequences such as the signature boat chase is even more over the top. Diamonds had some clueless law enforcement officers. Live And Let Die exceeds that with Sheriff J.W. Pepper (Clifton James), a tabacco-chewing redneck (and clearly racist) sheriff. Screenwriter Tom Mankiewicz, in the documentary Inside Live And Let Die, indicates he didn’t want humor to be at the expense of the African American villains, thus he invented other characters to be the butt of jokes. Also, the death of Live And Let Die’s villain, Dr. Kananga (Yaphet Kotto), is on the same level as a Tex Avery-directed cartoon.

The movie is also dated in that it was influenced by so-called “Blaxploitation” films (Shaft, Super Fly) of the early 1970s. That bothers some first-generation fans, who feel that Bond led the way in the ’60s. Then again, when Bond was rebooted with 2006′s Casino Royale and its sequel, 2008′s Quantum of Solace, they were influenced by Jason Bourne movies starring Matt Damon. That doesn’t bother supporters of those films.

Still, the boat chase is amazing, no computer generated special effects (which, of course, didn’t exist then), just real men using their brains guts and tricks such as hidden ramps. So is the stunt by crocodile farm owner Ross Kananga (Mankiewicz’s inspiration for the villain’s name), doubling Roger Moore, he really did risk death five times before finally successful running over the backs of alligators to safety.

Composer George Martin tends to get overlooked because the title song by Paul and Linda McCartney was so popular. After six consecutive John Barry scores, it was up to Martin to provide the film’s background music. Martin didn’t write the Live And Let Die song but was vital to its preparation and selling it to Eon. So, perhaps because he had a vested interest, he weaves the title song throughout the film very effectively while working within the Barry/Bond music templates. If that sounds easy, we suspect it wasn’t.

Finally, upon this viewing, Yaphet Kotto’s performance struck us as interesting. For the film’s first half, he’s dour and doesn’t say much. After it’s revealed he’s both Dr. Kananga and Mr. Big, he suddenly begins having fun with the role. He explains Kananga’s plot of flooding the U.S. with free heroin to drive out criminal competitors. “Man or woman, black or white, I don’t discriminate.” He then says once the plan is implemented, and the number of addicts has doubled, he’ll start charging for the heroin, leaving “myself and the phone company as the only going monopolies in this nation for years to come.”

A Live And Let Die fan


Live And Let Die isn’t a perfect film by any means. (It was mostly panned in a SURVEY OF HMSS EDITORS SOME YEARS BACK.) But you can see how it appealed to a new generation of fans. Sam Mendes doesn’t exactly have a reputation for directing light movies, so we suspect Skyfall won’t resemble Live And Let Die. But it is interesting, at least on some level, that he cites Live And Let Die as an influence.

Finally, it should be noted that Live And Let Die was the first 007 film to have a higher worldwide gross than 1965′s Thunderball, $161.8 million to $141.2 million Its U.S. box office, though, was below Diamonds Are Forever.

In sum, Live And Let Die is a movie that’s going to divide Bond fans. The first-generation fans throw their arms up in the air while, for the second generation, it’s a landmark to explain how they became interested in 007.

UPDATE: 007 Magazine e-mailed us that is has a back issue concerning Live And Let Die. So if you CLICK HERE you’ll see a selection of back issues of 007 Magazine Archive Files, and find the issue devoted to Live And Let Die.

John Barry memorial concert scheduled for June in U.K.

The Royal College of Music in London has scheduled a memorial concert for the late John Barry in June. For details, YOU CAN CLICK HERE.

Barry worked on 12 007 films, composing the scores for 11 of them. He also orchestrated The James Bond Theme played in the first film, 1962′s Dr. No. The composer, who won five Oscars for non-Bond work, died in January at age 77.

Guests at the June 20 concert at Royal Albert Hall include Dame Shriley Bassey, who performed three Bond title songs, the most famous of which was Goldfinger; David Arnold, composer of the last five films of the Eon Productions 007 film series; George Martin, producer for the Beatles who also composed the score for Live And Let Die; and actor Michael Caine.

Conducting the Royal Philharmonic Orchestra will be Nicholas Dodd, who has performed that duty on the Arnold-scored 007 films. Tickets go on sale on April 8.

John Barry, an appreciation

John Barry’s music, along with Ken Adam’s sets and Sean Connery’s depiction as James Bond, made 007 films events in the 1960s. Barry, though, kept on with Bond longer than either Connery or Adam. Barry worked on the series, on and off, for a quarter century: scores for 11 films plus crucial orchestrations and arranging of The James Bond Theme in Dr. No.

Barry even reportedly was negotiating a return to the series with 1997′s Tomorrow Never Dies, but turned away not it became clear he wouldn’t be allowed to work on the title song. Truth be told, some 007 fans hoped against hope Barry might still come back for one, last 007 turn.

Barry’s death this week at age 77 slams the door on that dream. For Bond fans, the loss seems personal. Barry’s scores stirred the emotions, whether it be a rousing action composition, a lush love theme or a song viewers remembered long after viewing the latest Bond film. At times, most notably 1967′s You Only Live Twice and 1979′s Moonraker, Barry and Adam almost seemed to be the real stars of the movie.

Perhaps the best compliment Barry ever got is referenced in this video. Live And Let Die was the first Bond film where Barry didn’t participate at all. Paul McCartney would write the title song with his wife Linda. But, as this 2006 U.K. television special notes, McCartney, himself a musical legend, knew he was filling some pretty big shoes. George Martin provides the anecdote, starting around the 1:45 mark and running just past the 2:00 mark:

“It’s got to be bigger than John Barry.” Fans can judge for themselves whether McCartney succeeded but the story indicates that Barry had created a classic movie music template — and everybody in the business knew it. Marvin Hamlisch, in 1977′s The Spy Who Loved Me, virtually adapted Barry’s pre-title music in the second 007 film, From Russia With Love. Queue up the scene where Bond and Agent XXX look for Jaws in some ancient Egyptian ruins, then listen to the FRWL pre-titles music.

John Barry lived almost four-score years, won five Academy Awards for his film music (although none for his Bond work) and wrote many memorable movie songs and themes. By any standard, that’s a good life, a fabulous life. His fans, though, can’t help but wishing they could witness him conducting his music just one more time.

HMSS nominations for underrated 007 moments

What we’re about to discuss aren’t necessarily the *best* James Bond film moments but they may be the most *underrated.* So let’s get right into it:

Most underrated score by somebody not named John Barry: John Barry composed the score for half of Eon Productions Ltd.’s 22 007 movies. He also worked on Dr. No, helping to arrange The James Bond Theme composed by Monty Norman. Barry has earned a special status in the 007 film canon. But what of the other composers in the series?

It’s a hard call. By sheer volume, David Arnold gets notice (the only non-Barry composer to do more than one 007 film). But George Martin, composer of the score for Live And Let Die gets the nod here. Martin, producer of the albums of the Beatles, helped Paul McCartney sell his title song to Eon. And Martin made use of the song by Paul and Linda Martney in his score. It may not be the best non-Barry 007 score, but Martin’s score is a major plus for Roger Moore’s 007 debut.

Most underrated voice dubbing: Robert Rietty dubbed Adolfo Celi’s Largo in Thunderball, Tiger Tanaka in You Only Live Twice and (sort of) Ernst Stavro Blofeld in For Your Eyes Only. Monica Van der Zyl dubbed Ursula Andress’s Honey Ryder in Dr. No, and possibly other roles.

However, Shayne Rimmer may get the nod, dubbing a doomed CIA agent in the pre-credits sequence of Live And Let Die. That’s because Rimmer (who had appeared on-screen twice before LALD and would do so again in The Spy Who Love Me is perhaps the least obvious dubbing job.

Most underrated screenwriter not named Richard Maibuam: Maibuam worked on 13 Bond films as a writer. Often his work would get re-written by others but the fact that producer Albert R. Broccoli repeatedly turned to Maibuam indicates the U.S.-born writer (1909-1991) had a special status.

So who earns the most underrated screenwriter title? The Neal Purvis-
Robert Wade duo is a distant second to Maibuam at four films. Tom Mankiewicz has three 007 writing credits (though he may have contributed to two other films on an uncredited basis) and Bruce Feirstein has three Bond film writing credits. Roald Dahl was an accomplished writer but his one Bond screenplay, You Only Live Twice, is a writing equivalent of painting by the numbers.

For the moment, we’ll give the nod (and this is very tentative) to Mankiewicz. His commentary on the DVD of Live And Let Die provides a clinic on how to write a screenplay (you may disagree with his choices but he explains how the choices were made; plus he’s an entertining presecen on DVD documentaries).

Your mileage may vary.

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