In 1976, Roger Moore starred in the historical film Shout at the Devil opposite American actor Lee Marvin. It is directed by On Her Majesty’s Secret Service director Peter Hunt and also features On Her Majesty’s Secret Service actor Bernard Horsfall and a title sequence in a familiar Bond style by Maurice Binder. The start of the film takes place in German East Africa in 1913, where Moore wears a colonial-looking cream three-piece suit. The suit is made from a linen blend, since it doesn’t wrinkle as much as pure linen would. It’s either blended with silk, wool or a synthetic to prevent wrinkles.
The suit jacket is a button three with straight shoulders, natural sleeve heads and a full chest. It is detailed with a single vent, flap pockets and three buttons on each cuff. The lapels are a medium width for a classic look. The waistcoat has six buttons with five to button, since the bottom button is on the gently curved cutaway portion of the bottom.
The suit trousers have double forward pleats and tapered legs with turn-ups. The front of the waistband has a square extension with a hidden clasp closure. The back has tab extensions for braces, and there are slide-buckle side-adjusters on the sides to allow the trousers to stay up without braces. The braces are beige, likely in a cotton canvas material, and have an “X”-back rather than the “Y”-back that is more common today. Each branch of the back fastens to the trousers with one button, and the weight is spread out differently than on a “Y”-back even though the number of buttons are the same.
The suit was made by an English tailor, though its cut is more modern than 1913. The jacket’s light shoulder padding and full chest and the trousers’ fuller cut with pleats are what give this suit a more modern look than 1913. It’s possibly that Moore’s tailor from his first two Bond films, Cyril Castle, made this suit. If so, Shout at the Devil would be the final film that Castle tailored for Moore. If this is not Castle’s work, it is most likely the work of an English costumier such as Berman’s.
The suit is more of a piece of a 1970s idea of classic tailoring than a piece of historical tailoring, and the suit hardly looks outdated. Without the waistcoat this suit wouldn’t bat an eye today and could be something James Bond would wear sans braces. It’s not that three-piece suits are outdated, but a waistcoat on a suit made for hot weather is so impractical that it would only come across as affected rather than more formal. A white three-piece suit also recalls Ricardo Montalban’s character Mr. Roarke from the television show Fantasy Island, and thus it could make one look like the host of an island resort.
Moore’s shirt has a tall point collar with rounded points, a front placket and single-link cuffs. The single-link cuffs are rounded and have the link holes placed in the middle of the cuff. Because they don’t fold like double cuffs they need to be stiffer. Modern convertible cuffs look similar to single-link cuffs but are usually too soft to be effective link cuffs. Single link cuffs are dressier than double cuffs because they are simpler and stiffer. However, the rounded edge on these cuffs makes them less formal than square single-link cuffs and brings them down closer to double cuffs. Though it’s by no means a rule, rounded single cuffs are better with suits whilst squared link cuffs are better with white tie. Either style can be appropriately worn with black tie and morning dress.
Back darts and placket stitching close to the centre of the placket on this shirt indicate that it is from Roger Moore’s regular shirtmaker Frank Foster. Foster specialised in costume and often made period pieces for film and theatre. Though this may not have the same styling as the contemporary shirts he made for Moore to wear as James Bond, it has Foster’s modern fit. Rear darts are not traditional on men’s shirts, but it doesn’t mean they are necessarily period inaccurate.
Moore’s character does not have much clothes for his trip to Africa, and he unbuttons the front and undoes the cufflinks to sleep in this shirt at his hotel.
Moore’s tie is black with light “Eton blue” (pale blue-green) stripes, signifying this as the Old Etonian tie. The tie identifies Moore’s character as someone from money who went to Eton College and perfectly fits with the character. It is tied in a four-in-hand knot. Moore briefly wears a straw panama hat with his suit when he arrives in Africa. The hat’s wide brim is turned down in front, the tall crown has a centre dent, and the ribbon is brown.
Moore’s footwear is medium brown plain-to derby boots. The boots have six pairs of eyelets with a wide spacing between the eyelets. They have thick double leather soles to hold up through treks in the jungle. Though these boots are period-accurate, they must wear awfully warm in Africa due to their height and thick soles.