007 DAYS OF JAMES BOND
As a seven-part feature, I'll be counting down the final week to Skyfall's release in North American theatres on Nov. 9 with seven James Bond-related articles.
Day 1 – The Best Title Sequences
By Chris Luckett
James Bond films fell into formula rather
quickly. Even the Daniel Craig era, which aimed to reinvent the series and its
trademarks, has still kept significant concepts signature to the franchise. One of
the most beloved aspects of the films from the very beginning has been the stylized
and often-psychedelic title sequence that accompanies the opening credits of a
Bond film.
Rather than looking at just the songs that
opened the movies, this list includes the whole sequence: theme, originality,
style, memorability, and music. Just having a fantastic song wasn’t necessarily
enough to make it to this list (which is why A View to a Kill and Diamonds are
Forever aren’t present, despite having excellent opening songs).
10. Thunderball
The best James Bond title sequences hint at
what will come in the ensuing movie. Thunderball’s features spear guns, air
bubbles, divers, and underwater swimming, letting audiences know to expect
something different. Tom Jones’s theme is effective, though not quite as memorable
as others in the series. As well, the blue colour scheme was new, after the
gold of Goldfinger, the red of From Russia, with Love, and the trippy randomness
of Dr. No.
9. Octopussy
At first, the spinning and floating people
seem incongruous with a Bond movie. Only after Octopussy finished and audiences
knew the circus theme of its climax did everything fit together. One of the
better slow songs to open a 007 adventure, Rita Coolidge’s “All Time High”
doesn’t try to overpower but simply evokes reassurance of everything people had
grown to depend on Bond for. Extra points for the iconic image of Roger Moore
being “embraced” by gun-toting arms.
8. Live and Let Die
One of the very best James Bond themes
accompanies Roger Moore’s first outing in the tux. Accompanied by haunting shots
of flaming skulls, Paul McCartney and Wings’s rousing music was a stark
departure from earlier Bond themes of the Connery and Lazenby era. The voodoo
theme of the movie itself would continue to be a divisive point for Bond fans
for decades afterward, but it provides just the right amount of flavour to make
this sequence both fun and unnerving.
7. The World is Not Enough
One of the worst Bond films also happened
to have one of the best title sequences. No one expected Garbage to contribute
a lasting theme, yet the ethereal sound of Shirley Manson’s vocals recalled
that of another 007-crooning Shirley. The lilting ebb and flow of the song was
paired with the series’ arguably most psychedelic title sequence, combining
oil, flames, and trippy slicks of colour to create a Bond sequence artistic
enough to be a stand-alone music video that still perfectly set the stage for
film’s oil pipeline plot.
6. You Only Live Twice
Combining French horns and Asian influences
to create the most inventive Bond song up to that date, Nancy Sinatra’s opening theme set the stage for the 00 agent heading for Japan. Fan imagery provides
appropriate style while the molten lava flowing in the background hints at the
memorable volcanic locale of the finale.
5. GoldenEye
The Pierce Brosnan era, while flawed in
a few ways, did produce the most consistently excellent title sequences. It
began with GoldenEye’s, the most visually beautiful and well-shot title sequence of any
Bond picture. Tina Turner’s opening song is excellent -- if falling just shy of the
upper echelon of Bond themes -- and fits perfectly with the imagery to aid
without overpowering. Coupled with its memorable
pre-credits sequence, GoldenEye’s title sequence told audiences to expect a modern and exciting 007.
4. Die Another Day
Some people hate the song, be it for
Madonna’s singing or for the electronic sound of it all. It may be a stark
departure from Shirley Bassey, but the sterile coldness of the song does perfectly
fit a movie built around diamonds and ice. This title sequence’s masterstroke,
however, was that in addition to giving us fire and ice symbolism to represent James Bond and villain Gustav Graves, it also advanced the plot. No 007 title
sequence had ever done that; they’d always been excisable little musical
sequences that had no bearing to the movie. Die Another Day’s credits is a
scripted scene unto itself, a musical montage of Bond’s imprisonment and
torture for fourteen months, depicting beatings, scorpion stings,
waterboarding, poker branding, and electrocution. If you took the title
sequence out of Die Another Day, the movie would actually suffer. The same
can’t be said for any other Bond movie.
3. The Spy Who Loved Me
It’s counter-intuitive to expect the slowest Bond theme to also be one of the best, yet Carly Simon’s “Nobody Does it
Better” is just that. Against the song, cool blues in the background intimate the
underwater plot of villain Carl Stromberg. Slow-spinning dancers doing
gymnastics around gun barrels and a silhouetted Agent XXX first embracing and
then hunting 007 complement the slow tempo of the music, creating a few quiet minutes of respite between the incredible pre-credits stunt and the
spectacular action that follows.
2. Goldfinger
A number of aspects of Goldfinger haven’t
aged well, but the title sequence still holds up perfectly almost a
half-century later. Shirley Bassey’s booming vocals dance with the blaring
brass instruments to create a perfect theme. Gold-painted women drift across
the screen to drive home the motif, while scenes from the movie are projected
onto them as a tease to the upcoming rest. The whole sequence functions
flawlessly.
1. Casino Royale
How do you make the title sequence for a
movie whose centerpiece is a poker game seem exciting? By taking the most basic
aspect of playing cards – colours and suits – and building a knife-fighting,
gun-shooting, face-punching sequence that is both aesthetically abstract and artistically
complex. Chris Cornell’s “You Know My Name” has a gritty feel that feels
completely fresh for the series’ reinvented tone and yet seems a natural
extension of the brutality that was always beneath the character. The
sequence even has fun with the fact many were sceptical of Daniel Craig's fitness for Bond, by leaving Craig’s arguably un-Bondian baby blues as the last image
audiences see. Casino Royale’s opening paved bold new territory for the
franchise, stayed true to the series’ roots, and managed to surpass the seemingly
untouchable title sequence of Goldfinger in quality.
007 DAYS OF JAMES BOND WILL RETURN
IN
THE BEST STUNTS
IN
THE BEST STUNTS
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