We’ve already had Deathmatches about the songs (albeit I obviously recognise not all of those in that round of Deathmatches were played over the titles), so for this one lead with your impression of the visuals rather than the vocals / da tune – although obviously how those visuals play out alongside the music is an entirely justifiable consideration and it would be madness to deny it. Madness, I say.
Remarkable, I’d entirely forgotten what a steamy 60s nightclub vibe there’s hanging over FROM RUSSIA WITH LOVE (and how the absent vocals actually fit much better into the SPECTRE type of love ballad).
Otherwise, CASINO ROYALE and SPECTRE two very strong visual entries, in their own league (and probably on the compared budget of DR NO and FROM RUSSIA each).
SPECTRE - The most beautiful title sequence of this group, it’s dramatic, the octopus tentacles, the transitioning of colors, the haunting atmosphere, the burning of Pictures, it’s just beautifully crafted, very artistic and creative that they’ve blended different concepts to make a frame of a scene, it also fits well with the song.
Casino Royale - While not one of my favorites, I do understand why many people liked this one, it’s really unique, the silhouette animations worked well here, the cards being in the background, the Image of Vesper’s face being shown at one of the cards, it’s also goes well with the song, it’s good.
A View To A Kill - I really liked this one, the colors, those beautifully designed women skiing, the flames, the Projection of Roger Moore shooting a gun, the ice, the silhouettes, it’s artistic in terms of design and colors, it’s dramatic frame combined with Duran Duran’s song makes it more complex and unique, it’s highly entertaining, beautifully made title sequence.
Dr. No - Yes, this one, the colorful dots reminds me of Charade, it’s creative, the introduction of the casts names designed and mixed into those dots were good, while the transition wasn’t good (one might expect that for the budget), but the Tropical dancing was also good, and the Three Blind mice, those were colorful silhouettes that’s very fun to watch.
From Russia With Love - I don’t call it the weakest, but compared to those others above, it fell short. Not much going on here, it’s just a belly dancing with the names of the casts been projected, but the problem because the projection wasn’t very clear, that at start I did find it hard to read the names because it’s a bit blurry and covered at the side by the woman’s body (it didn’t helped that the woman’s also moving that made the reading more difficult), it does fit well with the song, but again the problem was the projection, that they would perfected in the next film, Goldfinger.
Casino Royale – Love the imagery–dangerous and iconic. Best main titles sequence of the series.
From Russia With Love – Simple but effective–and sexy.
SPECTRE – Who doesn’t like octopus porn? But seriously, the main titles sequence is creepy–in a good way–but it’s about middle of the pack for me.
A View To A Kill – The main titles sequence is out there but, again, in a good way–and a way that fits the film. Maurice Binder’s last good main titles sequence.
Dr. No – The dots are fine, I guess, but I’m not enamored with them like a lot of other people seem to be. And the rest of the main titles sequence I find even less so. It’s just a ho-hum beginning for me. The music is the best part.
CASINO ROYALE (2006) – one of my favorites so far–and liked it more and more as I turned the sound lower and lower. The biggest mismatch between image and sound–and not in an interesting/provocative Godardian way.
SPECTRE is wonderful too–but are there too many callbacks to previous movies (shades of OHMSS)? Good match between image and music, and love the sexualized male body accompanied by the falsetto singing.
I remember around the time of Casino Royale’s release I was anticipating what the titles would look like, and was hoping it would rival Kleinman’s work on GE. I recall a couple of images were leaked from the sequence and I wasn’t sure what to think. But upon seeing it play out in live action I was extremely satisfied, and Cornell’s song sealed the deal. The silhouetted Bond walking towards the camera, revealing his face to be Craig’s, is one of my favourite moments from the sequence. Especially in terms of introducing a new actor. Really well done.
But seriously, the main titles sequence is creepy–in a good way–but it’s about middle of the pack for me.