Rank the Pre-Titles Sequences

Continuing with this week’s James Bond list, we will be giving our rankings of the series’ pre-titles sequences.

So what are your PTS rankings?

Here’s mine:

  1. TOMORROW NEVER DIES – I love the suspense and building tension of the PTS. Suddenly facing a near hopeless predicament with an inbound missile rapidly approaching that will destroy everything in the area, James Bond instantly assesses the situation and goes into action, quickly creating total chaos at the bazaar, which is so very much 007. I also love how those back at MI6 can only watch the action unfold from a single, motionless camera which only adds to their tension. Pierce Brosnan firing his machine gun from the cockpit is a great shot and his dispatching of the “backseat driver” and rival terrorist pilot is a really cool kill. Furthermore, David Arnold’s music underlaying the whole thing is fantastic. It’s a great PTS.

  2. GOLDENEYE – Two big stunts for the price of one (although only one was completely done for real). It’s a great setup for the new Bond (Brosnan) who, from the first shot, immediately becomes 007. I love the suspense built up as Bond hides behind the gas canister cart and maneuvers it over to the conveyor belt all to the sounds of one squeaky wheel–a really nice touch. Another totally Bondian escape up the conveyor belt.

  3. THE SPY WHO LOVED ME – No doubt a high one on most everybody’s list. Roger Moore’s intro is hilarious and the ensuing ski chase is very well done with a number of shots of iconic imagery. But, of course, the highlight is the end with 007 skiing off the mountain and deploying the Union Jack parachute. So good, so Bond. THE best stunt, not only of the whole series, but in all of film. Not to mention the outstanding Bond 77 tune from Marvin Hamlisch which perfectly covers all the action. The only reason this is not number one for me is because I like the totality of the PTS in the previous two films over TSWLM. But, again, you can’t beat TSWLM’s finish.

  4. MOONRAKER – Very similar to TSWLM. An intriguing start to the PTS capped by a really great stunt. A terrific idea to have Bond fall out of a plane without a parachute and escape, which is well performed and executed. The only negative is Jaws’ comic fall and highly improbable survival.

  5. THE LIVING DAYLIGHTS – Another great new 007 PTS. Timothy Dalton has arguably the best first introductory shot in the series, rivaled only by Sean Connery’s intro in Dr. No. He immediately proves his Bond will be different as he participates in a lot of the action–and it’s good, solid action. I love how he escapes from the falling jeep, which is foreshadowed earlier on when you see him repacking his chute. The James Bond Theme tune by John Barry is also excellent and I enjoy Bond’s “Better make that two” line.

  6. OCTOPUSSY – Another great example of how Bond can adjust on the fly when things go wrong. He initially fails in his mission to bomb the South American military complex, but he quickly manages to escape in that terrific Acrostar Bede jet, only to get a surface to air missile shot at him. But he takes that lemon and turns it into lemonade when he guides that same missile back to the military complex to destroy it–and it blows up spectacularly–with Bond neatly escaping out the back just in time.

  7. THE WORLD IS NOT ENOUGH – Another twofer, although the first part is not as big as the second part. Having said that, Brosnan’s escape from his predicament, is cool and he looks suitably all business in having quickly dispatched Lachaise’s men. And I love 007’s escape from the building–another great Bondian moment. The Thames chase is also well done, and who doesn’t like the Q Boat?

  8. SKYFALL – Nice motorcycle stunts and buildup of tension on the train. Again, another great Bondian moment (when doesn’t a PTS have one?) when 007 jumps from the backhoe scoop onto the train. Bond’s fight with Patrice is really good, and the tension is nicely built up with Moneypenny ready to shoot as the train quickly nears the tunnel. Only negative is that the fall is from so high making Bond’s survival highly unlikely.

  9. THUNDERBALL – The best of the “small scale” PTS’s. I love Bond punching the “widow”. It’s a nice touch and leads to one of the best fights of the series. Love the Bell Textron jetpack too. I just wish the stuntman hadn’t insisted on wearing a helmet, which doesn’t seem Bondian. Nevertheless, great stunt and PTS.

  10. GOLDFINGER – Great idea to have Bond slip out of his wetsuit sporting a tuxedo. Connery is so totally Bond here and when he strolls into the cantina. A solid fight with Capungo as well. Well done all around.

  11. QUANTUM OF SOLACE – This is a bit of a mixed bag for me. On the one hand, it has some great execution and ideas, and on the other the shaky cam and editing ruin those same execution and ideas. Every time I watch it, there’s a couple of shots I think the filmmakers should have included that would have looked great on screen such as Bond and the bad guys driving under the backhoe arm as they enter the construction site and it just never happens. The shaky cam and editing make it hard to really see what is going on and severely detract from the solid stunt work. Nevertheless, I can enjoy what I see enough and the end of the chase is excellent so all that elevates QOS to here but not enough to get it into the top 10.

  12. DIE ANOTHER DAY – Another entertaining PTS. A hovercraft chase is an interesting idea and the filmmakers do a great job with it. Another great Bondian escape from being initially captured. Really like how 007 dispatches all the North Korean soldiers in the smaller hovercrafts. I also enjoy his escape from Tan-Sun Moon’s out-of-control larger hovercraft and his ensuing “Saved by the bell” quip. It’s really good and has NOTHING to do with the American kids TV show of the '90s. Rather, it’s a phrase used in boxing where a boxer cannot be knocked out and lose his fight if the ringing of the bell to end a round comes before the referee’s count of 10.

  13. SPECTRE – Great continual one shot at the start of the PTS. Daniel Craig’s walk along the Mexico City rooftops to the tune of the James Bond Theme is excellent. I like how Bond slowly stalks rather than outright chases Marco Sciarra through the parade. A really good fight scene with Sciarra on the helicopter too. The only things that bother me is the horrible desaturation of Mexico City and the fact that during the helicopter fight so many bystanders in the crowd remain in place. If a helicopter was maneuvering that crazily and people fighting on board, I would think the crowd would scatter but they don’t here. I don’t know why it bothers me as much as it does, but every time I watch it, it takes me out of the scene a little bit.

  14. CASINO ROYALE – Really solid, understated PTS. Like the idea of black and white for pre-007 Bond. It certainly adds texture and a sense of film noir. Good bits with Dryden and a really good fight with Fisher. But for some reason, it doesn’t quite grab me as much as it seems to for other people, Nevertheless, a good PTS.

  15. NO TIME TO DIE – Overly long, but it picks up with the appearance of Vesper’s grave. After that, it’s solid. And while I’m one who thinks the Aston Martin DB5 has been way overplayed in the Craig era, it’s really nice to see it in action, in a real chase again using its gadgets. And you cannot beat that overhead shot of Bond turning the DB5 in a 360, firing his machine guns, backed up by Hans Zimmer’s score with that testosterone-fueled Bond theme. Great stuff.

  16. DIAMONDS ARE FOREVER – It may be a bit silly, but I still enjoy it. I like Bond kicking butt and taking names early on looking to get revenge on Ernst Stavro Blofeld killing his wife Tracy. I love how Bond helps Marie to get something off her chest. And I like the little fight with Blofeld and his goons at the end. It’s not the post-OHMSS meeting we were wanting but, for what it is, I enjoy it. And hey, Connery’s back! :smiley:

  17. FOR YOUR EYES ONLY – Everything is well done except for that blasted “I’ll buy you a delicatessen–in stainless steel” line. Shudder. Arguably the worst line in the series. What were they thinking? Other than that, it’s a nice setup with Bond visiting Tracy’s grave and then having to escape the remote controlled helicopter. Great James Bond Theme is heard once Bond turns the tables. I’m of a mixed mind when it comes to dispatching Blofeld. I like the execution, but dropping him down the chimney does feel a little unceremonial. I always like to think Blofeld had some sort of parachute in his wheelchair and somehow escaped the fall.

  18. LICENCE TO KILL – Solidly done and sets up all the characters really well. And I like how Bond captures Franz Sanchez–again to another wonderful James Bond Theme tune, this time courtesy of Michael Kamen. But the PTS doesn’t grab me as much as some of the others, and I’m not sure why other than it’s maybe not “big” enough. Regardless, it’s part of my favorite Bond film.

  19. ON HER MAJESTY’S SECRET SERVICE – Another good setup for the new James Bond. George Lazenby shows off his 007 chops with a really good fight scene. I like his fourth wall breaking comment about “This never happened to the other fellow.” I wouldn’t want it in any other film, but under the circumstances with Connery being so iconic in the role, the producers needed something to assure audiences that it would be business as usual, and the line works. But never again. Interestingly, this is the only PTS where no one dies.

  20. A VIEW TO A KILL – It’s a decent effort, but nothing too special. Other than replacing that mystifying usage of “California Girls”, I’m not sure what could be done to make it better. But maybe, that song is what keeps the PTS from being good. I’ve never seen (or heard) of someone substituting another piece of Bond music for it, so I don’t know how much better it might make the PTS. Some good ideas in the chase (I like how Bond has to keep improvising to make his escape) but they’re ultimately negatively affected by the inappropriate Gidea Park tune.

  21. LIVE AND LET DIE – Nice set up with the three agents getting killed. I especially like the coffin scene. But ultimately, the PTS is held back by a lack of James Bond.

  22. THE MAN WITH THE GOLDEN GUN – See above. Interesting premise in introducing us to the villain, but again, no Bond means it’s not among the best in the series. You’re just missing something vital without 007…

  23. FROM RUSSIA WITH LOVE – The one that started it all when it comes to PTS’s. We can forever be grateful for that. It’s a nice setup and is well done. Very atmospheric and suspenseful. Bond looks odd, but we don’t know why till the end. It’s good, but it doesn’t really have 007, so it’s down here.

  24. YOU ONLY LIVE TWICE – This one does have Bond–for a little bit, but nothing too exciting. I like the spaceship swallowing up the space capsule and cutting off the astronaut’s lifeline, but it’s not enough to keep it from finishing in last place for me.

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I always have a hard time trying to put the Bond films and its elements into a ranking sequence. Which is why I don’t usually contribute a lot to these threads. What I can do though is give my three favourite pre-titles (though I’m afraid these, too, are interchangeable and I’d be hard pressed to give a definitive hierarchy):

CASINO ROYALE - I love the expressionist opening: weird angles and lighting, a CABINET OF DR CALIGARI meets DR NO and going right into one of the most dirty, violent fights in the series. This is cleverly intercut with sparse, sardonic dialogue and leading into a beautiful title sequence itself. A joy.

FROM RUSSIA WITH LOVE - this is almost as bizarre as the one coming 43 years later: two dark figures seem to chase each other across a moonlit park landscape. But we see next to nothing except their faces and they act strangely inconsequential - until we find out it’s a training exercise, adding yet another layer of bizarreness. And James Bond dies. Brilliant and bold, a favourite for almost 50 years now.

MOONRAKER - divided into two parts, this starts with a fantastic theft (why are the Drax people wearing apparently identical black stuff - but brown leather jackets? I ask myself this since 1979) followed by a fantastical escape from certain death. This was red-hot thrilling action when I first saw it. And it still holds up well to this day, the circus tent landing not withstanding.

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I was originally going to say that I’m a fan of the “smaller rather than bigger” PTS’ of old. Lest we forget, it really wasn’t until TSWLM that the notion of a “big stunt/set-piece” in the PTS took hold. The prior two films didn’t even feature Bond (no waxwork jokes please) and I’d argue that if there are problems with either of those films, it doesn’t come down to that.

Instead though I’ll go with “shorter rather than longer.” I’m not sure the mini-movie blowouts that precede TND and NTTD do anything other than undercut the action later in the movie, and with DAD the action at the start is the pick of the whole film. It’s not a good sign when the best stuff comes at the start and the “need” for it to occur is an example of the constraints that the series set upon itself.

A good compromise is QoS - no shortage of action but all over in about 7 mins. I’d offer that and CR as my favourites, and an honourable mention for GF and OHMSS.

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I will follow Dustin’s lead, and give my favorites. For most of the PTSs, the distinctions are either minor or non-existent.

DIAMONDS ARE FOREVER: skillful use of the PTS to transition back to Connery Bond.

FROM RUSSIA WITH LOVE: Favorite moment is when the lights come on, and we see that it is a staging–I like the meta- element.

GOLDFINGER: Most iconic Connery Bond opening.

MOONRAKER: good fun, beautifully photographed.

OCTOPUSSY: perfect for Moore Bond at this stage of his career.

SPECTRE: love the continuous shot echoing the mentality of Robot Bond.

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The GF PTS demonstrates what James Bond is all about in a short space of time. He’s sneaky, classy, cool under pressure, a womaniser but also a ruthless killer. From that perspective I don’t think it’s been beaten.

The seagull snorkel sets a more playful tone after the Cold War atmosphere of FRWL, which would later evolve into full blown crocodile submersibles in OP. The white tuxedo is probably the most iconic suit in all the series, and there’s a reason why it became a special tradition for most of the others. The door closing and the song starting - all in all, a work of art.

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My preferences:

  1. MOONRAKER - Nothing beats the sheer lunacy of that sequence only Tom Cruise would have done himself; it was just the most spectacular opening to a film I could imagine when I was 10. And I still adore it.

  2. NO TIME TO DIE - It´s not the stunts in this which make me appreciate it so much, it´s the emotional punchline of Bond putting Madeleine into that train, saying goodbye after surviving… and we know there will be another goodbye without that unhappy happy end coming.

  3. GOLDFINGER - the prototype of Bond becoming suave, sardonic and effective

  4. THE WORLD IS NOT ENOUGH - the combination of the low tech-escape from the banker´s office and that Thames chase ending with Bond hurt still has the perfect impact for me

  5. THE SPY WHO LOVED ME - while the ski chase these days looks a bit old-fashioned, the parachute ending is the perfect Bond gag (hey, wait a minute, for the first time I notice that the next films PTS also was about a parachute…)

  6. QUANTUM OF SOLACE - again, it´s the emotional impact on Bond being put through the wringer which raises it above others which are more busy, funny or action-laden. And the editing also makes this go to eleven.

  7. DIAMONDS ARE FOREVER - How will they introduce Connery after OHMSS? By having him strangle a lady with her bra and putting Blofeld into a mud bath. Yep, only Bond could get away with that. Just a bit of perverted fun for the whole family. And like the best PTS a perfect hint at what’s to come.

  8. ON HER MAJESTY’S SECRET SERVICE - so different from what came before, and the perfect introduction for Lazenby and this particular story, with Barry’s score working wonders, too.

  9. TOMORROW NEVER DIES - offering so much but so effectively, pure Brosnan fun

  10. GOLDENEYE - See TND, but without the obvious back projection

  11. FROM RUSSIA WITH LOVE - the atmosphere gets me all the time, even if I know now that it is not Bond who is strangled. But imagine seeing this for the first time. This is why EON always started with FRWL: it is, well, serious, and makes you fear for Bond.

  12. DIE ANOTHER DAY - as overly busy as the other Brosnan PTS, but the setting does work for me, and having Bond make a funny quip before he gets thrown into jail and tortured is a very good contrast.

  13. SPECTRE - I love the continuous shot and the atmosphere. The helicopter stunt and rollover are impressive, but it reminds me too much of FYEO, that’s why I don’t rate it higher.

  14. SKYFALL - love the introduction, but it´s overly busy like the Brosnan PTS

  15. OCTOPUSSY - “You’re also a Torres…” And Moore´s smiles and winks while being captured are comedy gold. The actual mini jet chase is kind of going through the motions. But the closing gag is typical Moore fun again. The whole thing makes me comfortably sink into my sofa. (Not that way, JD!)

  16. CASINO ROYALE - different and therefore interesting, and I like the dialogue (“How did he die?” - “Not well”. - “The second is…” - “Yes. Considerably.”) Still, personally I don’t like it when characters are supposedly dead and then have survived nevertheless (having drowned the guy, Bond turns his back on him? Careless… although that probably is the point with Bond at this moment). That hampers it for me.

  17. A VIEW TO A KILL - kind of like the Octopussy PTS but with snow; at no point I really think Bond is in danger. But that sofa feels really comfortable, so I stay for the rest.

  18. FOR YOUR EYES ONLY - love the (not for Moore planned) intro at Tracy’s grave, and the idea of Bond in a remote controlled helicopter really is exciting. The solution is not. And the back projection takes away every suspense one might have felt. But, hey, Moore is not Cruise, and thankfully so.

  19. LICENCE TO KILL - a terrific idea, this hijack a plane in the air. So why don’t I rate it higher? Maybe because the intro with Sanchez is brutal but kind of overdone. And Bond again does not seem to be in real jeopardy.

  20. THE LIVING DAYLIGHTS - for my taste, the least effective introduction of a new Bond. Too little, too much which feels like done before (and better as in “Raiders of the lost ark”).

  21. THUNDERBALL - it´s fine, but for me it´s the least exciting part of the film.

  22. THE MAN WITH THE GOLDEN GUN - the idea is great, and the atmosphere and the Barry score intrigue me. But the lair itself looks and feels too cheap. This should be revisited in a much scarier way.

  23. LIVE AND LET DIE - it works fine and has a nice sardonic humor to it, but let’s face it: I prefer PTS with Bond in them.

  24. YOU ONLY LIVE TWICE - the least effective one of the series for me; hey, if you kill off Bond, you have to do it at the end of the movie to be of any value!

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Like @plankattack I generally prefer a PTS to be shorter in length if possible, eg. GF, CR or QoS. Straight to the point, explosive and being a tease of more goodness to come. I don’t particularly like the TWINE trend of delaying the title sequence. I’d rather get that out of the way early so the film feels like it’s established and underway.

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Great point. Cinema in general has two choices - leap right in like an 80s action movie sequel (shout out to you Die Hard 2) or have titles at the start. Rightly or wrongly, we are conditioned for that “ok off we go” moment. NTTD clocked what - nearly 25 minutes? At that moment, the title song becomes an old-fashioned intermission.

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Maybe they could have started the title sequence after the explosion of the grave and the audience would have had a “What the heck was that and what is going on?” moment.

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I think it should be decided what the strength of an opening sequence is to emphasise that and streamline the buildup. Thunderball is a good example. We get some fisticuffs but it’s all about the jetpack and once it’s used the scene transitions quickly after. In contrast I like SPECTRE’s continuous shot but it’s all about the helicopter. I think we could’ve got there sooner.

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Very true.

I prefer PTS with Bond in them, showing his strengths and his character on a mission unrelated to the plot of the story, with real jeopardy for him.

Just a glance into his life as a secret agent, before the real mission sends him on a different path.

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On-the-nose analysis for me, as one who is not fond of wandering PTSs. Whether it be an introduction (TLD), a plot point (YOLT-DAF-LAD) or a big stunt (TSWLM), or honestly nothing-at-all-really (AVTAK!), the singular momentum of the PTS should be the pivot.

I do think the self-set parameters shoulder the responsibility - Bond has to feature, there has to be a “wow” moment, and yet IMHO those have got in the way of either pacing, energy, or simple story-telling.

There was something very retro about NTTD focusing on Madeline after the gunbarrel, but modern convention wouldn’t allow the PTS to end before fast-forwarding to Bond “doing” something.

Even SP - the tracking shot is brilliant, and in a subtle (Scorsesi-ian!) way as spectacular (for a Bond movie) as a Union Jack parachute. But the humour of Bond landing on the couch was just too old-fashioned and too small to stop there (that might have played in the first decade of the series).

But we’re not going back. Now that Bond has to inhabit the MI corner of the room, it’s big bang or bust, TWINE the best example of that. Apted himself said something along the lines that after Bond jumps out the window, there was a feeling they needed more. (Ending after the case jump would have been perfect 60s PTS!).

Of course, after ‘more,’ where is there left to go…

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I hadn’t thought about it until now, but things have shifted for me over the years. I used to eat up the PTS and then have a bit of a “cool down” during the titles, especially towards the end of Binders’ run when he seemed to be phoning it in. I won’t say I used the time to go get popcorn, but I was definitely twiddling thumbs.

These days, it’s the other way around; the PTS is always well-done but rarely engaging IMO and I’m usually just waiting to see what kind of cool imagery Kleinman has in store for us with the titles.

I’m not really into lists, but MR is still my favorite PTS after all these years, and the only one I might pop into the BluRay player to watch by itself.

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Even as a mannequin or doubled.

I forgot to list TMWTGG among my favorites. Is it the only PTS setting that returns later in the film, in fact, being central to the finale)?

Which for me put SPECTRE (as a film) in conversation with its cinematic predecessors.

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FRWL and TMWTGG’s openings are favourites of mine. I older I became the less I cared about the lack of big stunt work and Bond himself. He doesn’t appear in the flesh for either sequence but his presence is absolutely still there, setting an ominous tone for the film to come. I think they are a fair compromise, with the connection to Bond helping elevate them above LALD which is purely plot related, and about creating a cushion for Moore after the musical chairs of Connery and Lazenby.

I suppose you could get away with North Korea in DAD.

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