Roger Moore
Sir Roger George Moore KBE (14 October 1927 – 23 May 2017) was an English actor best known for portraying James Bond in seven Eon Productions films from Live and Let Die (1973) to A View to a Kill (1985), bringing a distinctive blend of suave charm and light-hearted humor to the role.[1][2] Before achieving global stardom as Bond, Moore starred as the debonair adventurer Simon Templar in the long-running British television series The Saint (1962–1969), which aired in 118 episodes and established his on-screen persona as an elegant gentleman rogue.[1][3] His career also included early television appearances in American Westerns such as Maverick and guest roles in series like The Alaskans, alongside later film work in comedies and adventures, but The Saint and Bond defined his legacy in popular culture.[1] Moore's commitment to philanthropy, serving as a UNICEF Goodwill Ambassador from 1991 and raising millions for children's causes through speeches, auctions of his paintings, and advocacy, culminated in his knighthood by Queen Elizabeth II in 2003 for services to charity rather than acting.[4] He authored several memoirs reflecting on his life and career, emphasizing luck and gratitude over self-aggrandizement.[1]
Early Life
Childhood and Family Background
Roger George Moore was born on 14 October 1927 in Stockwell, a working-class district of south London.[5] [6] He was the only child of George Alfred Moore (1904–1997), a detective sergeant and constable with the Metropolitan Police stationed at Bow Street, and Lillian "Popsie" Pope (1902–1986), a housewife born in Calcutta, India, to an English family.[5] [6] [7] The family resided in modest circumstances, reflecting the father's steady but unremarkable civil service role amid the economic constraints of interwar Britain.[8] Moore's early years were marked by frequent illnesses, including respiratory issues that kept him indoors, fostering an early interest in drawing and mimicry as diversions.[8] His father emphasized discipline, instilling values of toughness, honesty, punctuality, and politeness through practical example rather than coddling, while his parents avoided overprotectiveness despite his frail health.[8] George Moore's police duties, which involved night shifts and public service, provided financial stability but limited family time, contributing to a household dynamic centered on self-reliance.[6] With the outbreak of World War II in 1939, Moore and his mother were evacuated from London to avoid the Blitz, relocating to Holsworthy in Devon while his father remained in the capital to continue policing duties.[6] [9] [10] This separation, lasting several years, exposed the young Moore to rural life and temporary foster arrangements, though he maintained contact with his parents; the experience underscored the war's disruptions to ordinary family structures without derailing his emerging artistic inclinations.[6]Education and Initial Aspirations
Moore was born on 14 October 1927 in Stockwell, London, to a police officer father and a housewife mother, and received his early education at Battersea Grammar School.[11] During World War II, he was evacuated to Holsworthy in Devon and attended Launceston College in Cornwall.[7] At age 15, in 1942, Moore left school without completing formal qualifications, initially aspiring to a career as an artist.[11] [12] He secured a position as a trainee animator at Publicity Picture Productions, a studio producing short films to support the British war effort, where he traced and colored animation cels.[12] This early exposure to film production sparked an interest in the entertainment industry beyond visual arts. Transitioning toward performance, Moore briefly attended the Royal Academy of Dramatic Art (RADA) for three terms starting around 1944, graduating with an acting diploma in 1945; his tuition was funded by Irish film director Brian Desmond Hurst, who spotted his potential during a chance encounter.[13] [14] These studies marked his pivot to aspiring as an actor, though interrupted by mandatory national service in the British Army shortly thereafter.[15]Early Career
World War II Service and Stage Beginnings (1940s)
Moore was conscripted for national service at age 18, shortly after the end of World War II in Europe, on 21 September 1946, when he was commissioned as a second lieutenant in the Royal Army Service Corps with service number 372394.[16][7] Assigned to occupied Germany, he commanded a small supply depot near Dortmund, handling logistics for Allied forces, before transferring to the Combined Services Entertainment branch to organize recreational activities for troops.[17][18] His military experience, lasting approximately two years until discharge around 1948, instilled discipline and confidence that later aided his performing career, though it delayed his full entry into acting.[19] Prior to and intermittently around his service, Moore had begun training at the Royal Academy of Dramatic Art (RADA) in London, completing three terms and earning a diploma listed as 1945, where he honed skills in mime, fencing, voice, and movement alongside classmates including Lois Maxwell, who later played Miss Moneypenny in the James Bond films.[13][20] This formal stage education marked his initial foray into theater, emphasizing classical techniques amid post-war reconstruction of British drama.[13] Upon demobilization, Moore transitioned to professional stage work in the late 1940s, securing minor roles in West End productions that built on his RADA foundation and earlier uncredited film extras, such as a walk-on as a Roman soldier in the 1945 production of Caesar and Cleopatra.[21] Notable appearances included a part in The Circle of Chalk, a fantasy drama adapted for the stage, where he gained exposure in London's theater scene recovering from wartime disruptions.[10] These early theatrical efforts, often supporting roles leveraging his emerging physical presence and charm, preceded his shift toward film and television, establishing a foundation in live performance amid the competitive post-war London stage.[22]Film and Television Entry (1945–1959)
Following his demobilization from military service in 1947, Moore began his professional acting career with uncredited bit parts in British films. His screen debut occurred in Perfect Strangers (1945), where he appeared as an extra portraying a sailor.[23] He followed with another uncredited role in Caesar and Cleopatra (1945), a historical epic directed by Gabriel Pascal.[14] In 1946, Moore had minor uncredited appearances as a member of the audience in Gaiety George and as a guest at a table in Piccadilly Incident.[16] By 1949, he featured uncredited as Stage Door Johnny in the musical comedy Trottie True (also known as The Gay Lady).[24] These early roles were small and did not garner significant attention, prompting Moore to supplement his income through modeling for knitwear advertisements and dubbing Italian films.[23] In March 1954, Metro-Goldwyn-Mayer (MGM) signed Moore to a seven-year contract, marking his entry into Hollywood studio production. His initial MGM assignment was an uncredited supporting role as Paul, a friend of the protagonist, in The Last Time I Saw Paris (1954), a romantic drama starring Elizabeth Taylor and Van Johnson.[25] Subsequent MGM films included credited but minor parts: a police officer in Interrupted Melody (1955), a swashbuckling lead opposite David Niven and Ann Blyth in The King's Thief (1955), and the titular king in the historical drama Diane (1956).[9] Despite the contract's promise, MGM released Moore after two years in 1956, citing underwhelming commercial performance of his pictures; he later described the studio experience as disappointing.[14] [26] Moore's television career commenced with a one-off appearance in the BBC anthology Drawing Room Detective in 1950.[27] He gained prominence in the medium during the late 1950s through lead roles in adventure series. From 1958 to 1959, Moore starred as the knight Ivanhoe in the British-Italian co-produced ITV series Ivanhoe, adapting Sir Walter Scott's novel across 39 episodes, which aired from January 1958 to December 1959 and emphasized swordplay and medieval quests. In 1959, he transitioned to Warner Bros. Television, headlining The Alaskans as the roguish adventurer Silky Harris alongside Jeff York as Reno McKee; the Western series, set during the Klondike Gold Rush, ran for one season of 36 episodes from October 1959 to June 1960, focusing on schemes to exploit Yukon-bound travelers.[28] These programs established Moore's on-screen persona as a debonair, action-oriented hero, paving the way for further television success.[29]Television Stardom
Breakthrough Roles (1958–1961)
Moore achieved his first major television lead role as Sir Wilfred of Ivanhoe in the British-American co-produced series Ivanhoe, which aired from January 1958 to December 1959 across 39 episodes.[30] The program, syndicated in the United States and broadcast on ITV in the UK, depicted the knight's adventures in medieval England under the tyrannical Prince John, emphasizing themes of justice and chivalry. This role marked Moore's transition from supporting film parts to starring status, showcasing his debonair screen presence honed from earlier modeling and minor acting work. In 1959, under a Warner Bros. contract, Moore starred as Silky Harris in the Western adventure series The Alaskans, which ran for 36 episodes on ABC from October 4, 1959, to June 19, 1960.[31] As the suave swindler partnering with Reno McKee (Jeff York) and saloon owner Rocky Shaw (Dorothy Provine), Harris schemed to exploit gold rush travelers in 1890s Skagway, Alaska, blending humor, action, and frontier intrigue.[28] Despite critical praise for Moore's charismatic performance, the series struggled with low ratings and production challenges in California's Sierra Nevada standing in for Alaska, leading to its cancellation after one season.[32] Moore's tenure on Maverick from 1960 to 1961 further solidified his American television profile, portraying Beauregarde "Beau" Maverick, the English-accented cousin to Bret and Bart Maverick, in the show's fourth season.[33] Debuting in the episode "The Bundle from Britain" on September 18, 1960, Beau was characterized as the family's "white sheep" for his Union loyalty in the American Civil War, earning a medal that contrasted with the Mavericks' roguish gambling heritage.[34] Appearing in 16 episodes alongside Jack Kelly's Bart Maverick after James Garner's departure, Moore's refined, witty interpretation added a fresh dynamic to the comedic Western, which aired on ABC and helped maintain the series' popularity through clever cons and period satire.[35] These roles under Warner Bros. elevated Moore's visibility, paving the way for his international breakthrough in The Saint.[36]The Saint (1962–1969)
The Saint was a British crime drama television series that aired on ITV from 4 October 1962 to 9 February 1969, starring Roger Moore as Simon Templar, a suave vigilante adventurer who targeted criminals and aided the innocent in the vein of a modern Robin Hood.[37][38] Produced by ITC Entertainment under key figures Robert S. Baker and Monty Berman for Lew Grade, the series adapted stories from Leslie Charteris's novels, with additional scripts by writers including Harry W. Junkin and Terry Nation.[39][37] It comprised 118 hour-long episodes across six series, directed by talents such as Leslie Norman, Jeremy Summers, and Roy Ward Baker, and featured Edwin Astley's distinctive theme music.[38][37] The initial production run yielded 71 black-and-white episodes between 1962 and 1965, shifting to colour for the final 47 episodes from 1966 to 1969 to align with growing international broadcast standards.[40] Filming occurred primarily at Elstree Studios, incorporating diverse European locations to enhance Templar's globe-trotting exploits, with Moore's cool presence and good looks central to the character's appeal.[37] Signature production elements included the animated halo graphic appearing over Templar's silhouette in the opening sequence and his use of the Volvo P1800 sports car, of which four were employed during shooting.[37] Moore directed multiple episodes in the later colour seasons, contributing to the series' polished execution.[37] The programme garnered substantial global success, syndicated widely including in the United States where colour episodes aired on NBC, capitalizing on its embodiment of glamorous British sophistication and stylish action-adventure formula.[40][37] This international popularity, bolstered by Moore's charismatic performance, established him as a television icon and directly facilitated his transition to cinematic stardom as James Bond following Sean Connery's departure.[37]The Persuaders! and Interim Work (1969–1972)
Following the conclusion of The Saint in 1969, Moore starred in the British spy thriller Crossplot, released that year, in which he portrayed advertising executive Gary Fenn, who becomes entangled in an assassination plot after hiring a model who has overheard it.[41] Directed by Alvin Rakoff, the film featured Moore alongside Martha Hyer and Claudie Lange, and was characterized as a lightweight espionage caper set in swinging London.[41] In 1970, Moore appeared in the psychological thriller The Man Who Haunted Himself, directed by Basil Dearden, playing Harold Pelham, a businessman who, after a near-fatal car accident, experiences events suggesting the emergence of a malevolent doppelgänger disrupting his life.[42] The film, Moore's final collaboration with Dearden, drew comparisons to Dr. Jekyll and Mr. Hyde and received mixed reviews, though Moore later described it as one of his favorite non-Bond roles.[42] From 1971 to 1972, Moore starred in the ITC Entertainment action-adventure series The Persuaders!, co-starring Tony Curtis as self-made millionaire Danny Wilde to his own aristocratic Lord Brett Sinclair.[43] The series, created by Robert S. Baker—who had produced The Saint—comprised 24 episodes, each costing approximately £100,000 to produce, and followed the duo as reluctant crime-fighters using their wealth and wits across Europe.[43] Filmed in locations including the UK, France, Italy, and Monaco, it aired on ITV in the UK and ABC in the US, achieving significant popularity in Europe, particularly Germany, despite a single-season run due to Curtis's commitments.[43] Moore's portrayal emphasized Sinclair's charm and sophistication, blending comedy with high-stakes adventure, and the show featured notable guest stars and elaborate action sequences.[43]James Bond Portrayal
Casting and Approach to the Role
Following Sean Connery's refusal to reprise the role after Diamonds Are Forever (1971), Eon Productions producers Albert R. Broccoli and Harry Saltzman considered alternatives, including Clint Eastwood, who declined on the grounds that the part did not align with his persona.[44] Roger Moore emerged as the choice in 1972, leveraging his established screen presence as the debonair Simon Templar in the television series The Saint (1962–1969), which mirrored Bond's sophisticated operative archetype.[45] His personal rapport with Saltzman and Broccoli—forged through frequent gambling during The Saint's production—streamlined the selection, bypassing a formal screen test.[45] Moore inked a three-film contract worth $1 million that year, with stipulations including a 17-pound weight loss and a revised haircut to achieve Bond's lean, vigorous silhouette.[44] The casting defied earlier myths, such as claims that author Ian Fleming viewed Moore as his preferred Bond; Fleming, who died in 1964, had favored performers like Cary Grant or David Niven, and Moore himself dismissed the notion, stating Fleming "didn’t know me from s**t."[44] Moore's prior unavailability for Dr. No (1962) due to television commitments had deferred earlier overtures, but his post-The Persuaders! (1971) availability aligned with the producers' timeline.[45] Public announcement occurred via a photocall atop London's Dorchester Hotel, preceding principal photography for Live and Let Die. At age 45 upon the film's June 27, 1973, release, Moore became the oldest debut Bond actor, selected for embodying the "classic Englishman" archetype Saltzman deemed closer to Fleming's vision than Connery's rugged intensity.[45][44] Moore differentiated his interpretation by infusing irony and levity, portraying Bond as a "ridiculous hero" executed with tongue-in-cheek flair rather than Connery's deadlier edge.[46] He emphasized escapist fantasy over grim realism, relying on arched eyebrows, saucy quips, and understated charm for lethality—"armed with nothing more than a cocked eyebrow and a saucy bon mot"—while viewing the films as "marvelous subjects—escapist entertainment expensively made."[46][45] Moore later reflected that he played it "most of the time... tongue-in-cheek," treating Bond's exploits as a "big joke" yet underscoring the agent's pride in efficient kills without deriving pleasure from violence, a nuance drawn loosely from Fleming's novels despite their limited guidance on the character's psyche.[46] This approach catered to evolving audience tastes for lighter spectacle amid 1970s cinematic shifts, sustaining the franchise's appeal through humor amid escalating action set pieces.[45]Filmography and Box Office Performance (1973–1985)
Roger Moore assumed the role of James Bond in Live and Let Die, released on June 27, 1973, directed by Guy Hamilton, which marked the first Bond film produced by Eon Productions after the hiatus following On Her Majesty's Secret Service. The film grossed $35.4 million domestically and $161 million worldwide against a $7 million budget, achieving profitability and introducing Moore's lighter, humorous interpretation of the character.[47][48] The Man with the Golden Gun, released December 18, 1974, and also directed by Hamilton, featured Christopher Lee as the assassin Scaramanga and earned $21 million in the US and $97.6 million globally on a similar $7 million budget, though it underperformed relative to its predecessor amid competition from other action films.[49][50] Moore's third outing, The Spy Who Loved Me, directed by Lewis Gilbert and released July 7, 1977, in the UK and August 3 in the US, capitalized on expansive production values including the Lotus Esprit submarine car, grossing $46.8 million domestically and $185.4 million worldwide from a $13.5 million budget, ranking as the third-highest grossing film of 1977.[51][52]| Film | Release Date | Director | Domestic Gross (US) | Worldwide Gross |
|---|---|---|---|---|
| Live and Let Die (1973) | June 27, 1973 | Guy Hamilton | $35.4 million[47] | $161 million[48] |
| The Man with the Golden Gun (1974) | December 18, 1974 | Guy Hamilton | $21 million[49] | $97.6 million[50] |
| The Spy Who Loved Me (1977) | August 3, 1977 (US) | Lewis Gilbert | $46.8 million[51] | $185.4 million[52] |
| Moonraker (1979) | June 29, 1979 (US) | Lewis Gilbert | $70.3 million[53] | $210.3 million[54] |
| For Your Eyes Only (1981) | June 26, 1981 (US) | John Glen | $54.8 million[55] | $195.3 million[56] |
| Octopussy (1983) | June 10, 1983 (US) | John Glen | $67.9 million | $187.5 million[57] |
| A View to a Kill (1985) | May 22, 1985 | John Glen | $50.3 million[58] | $152.4 million[59] |