The pre-title sequence is a signature of the James Bond franchise. Even the rule-breaking Daniel Craig films kept to this tradition, sans the gunbarrel at beginning for most of the films. While the Bond franchise weren’t the first movies to have pre-title sequences, they’re most closely aligned with the series. So, I want to talk about my favourite pre-title sequences of the franchise. Starting with the one that reintroduced the character of 007 and showed us how he gained his "00" status.
Casino Royale
In my piece late last year about Casino Royale I talked about film's opening sequence, saying
"it efficiently sets up this version of Bond as we see him talking calmly to MI6 Section Chief (and traitor) Dryden while cutting to Bond earlier brutally killing Dryden's contact, Fisher, in a bathroom. The black and white cinematography switches between a stark and gritty look in the bathroom to a smoother one in the present. This contrasts the hands on killing of Fisher with one silent bullet assassination of Dryden. Though to be fair, Fisher does come back to life and Bond shoots him as well."
This opening quickly establishes this as a different kind of Bond movie and a different kind of Bond. This new Bond is a "blunt instrument" but also someone capable of a cleaner kill. I love the use of the different black and white footage, contrasting the more brutal and messy kill of Fisher and the efficiency of the Dryden kill. Craig's performance immediately proves how he was the perfect choice for this new version of Bond, rough and rugged, but also cool and cold. And incorporating the gunbarrel in to the actual narrative- as Fisher revives and attempts to kill Bond- is such a brilliant reinvention of an old tradition.
From Russia With Love
The series' first pre-title sequence came with the second film and was the first to "kill off" Bond. We're led to believe the real Bond (Sean Connery) is being stalked by an assassin named Red Grant (Robert Shaw) but it's revealed to be SPECTRE training exercise. It effectively sets up Grant as a threatening and ruthless villain for Bond to face, creating genuine suspense through it's visual storytelling. The atmosphere is perfect and only two movies in showed the franchise was willing to subvert audience expectations.
Goldeneye
From the opening dam jump to the climatic plane escape, Goldeneye's pre-title sequence made Bond a action hero for the 90s. That dam jump is still one of the most impressive stunts in film history and Pierce Brosnan established himself as great Bond, cool under pressure but with hints of vulnerbility, as when he witnesses the "death" of fellow 00 agent Alec Trevelyan (Sean Bean). It was great to see Bond work with another 00 and his supposed death adds genuine drama to the action. The chemical weapon facility has great production design, a terrifically cold late cold-war aestethic. It's one of the series most memorable locations.
Skyfall
That opening shot with Bond (Craig) stepping in to frame with the first couple of notes of the Bond theme playing is so good. And it showcases Roger Deakins' gorgeous cinematography right from the start. From there the action becomes what director Sam Mendes calls a "Russian nesting doll,” going from car chase to bike chase all the way to a fight on a train, where Bond is accidentally shot by Moneypenny (Naomie Harris) when M (Judi Dench) tells her to take the shot at Patrice, the man Bond is fighting. Bond's "death" primes us for a film that will be about rebirth and reinvention, both for Bond and the franchise. The opening also shows us how the relationship between Bond and M will be tested to the limit throughout the film.
Thunderball
It's the jetback, it's pretty much that. That, and the origin of Austin Powers punching a woman he thinks is a man.
Goldfinger
While From Russia With Love had the franchise's first pre-title sequence, Goldfinger solidifies what the pre-title sequence would be going forward. We have the real Bond (Connery) this time, placing explosives in a drug factory then taking off his wetsuit, revealing a white dinner jacket. He then waits for the explosion, smoking casually as they go off. This is all quintessential Bond and helped define the franchise's image. And then there's that "shocking" climax, where Bond throws a lamb in a bathtub, killing his would-be assassin.
No Time To Die
The most recent pre-title sequence is also the series' longest to date. And it's actually two sequences in one, both which see Madeleine Swann (Lea Seydoux) lose someone close to her. The first sees young Madeleine encounter the film's villain Safin (Rami Malek), who kills her mother. The second has Madeleine lose her lover, Bond (Craig), who is tricked in to believing she's betrayed him as Vesper Lynd did. Bond visiting Vesper's grave ties the film back to Casino Royale and Bond's actions after it blows up reveals Bond never really got over her betrayal. This dooms him and Madeleine's relationship, losing 5 years with Madeleine and his daughter. This is the most emotional pre-title sequence, with Bond sending Madeleine away on a train, beautifully and hauntingly segwaying in to Billie Eilish's title song, which reflects Bond's emotional state at the moment.
Spectre
While Spectre falls apart once it gets to Blofeld's compound, the pre-title sequence is strong, especially with its opening tracking shot which follows Bond in to a hotel and then out on to a balcony. And then there's Bond fighting a bad guy in a helicopter, leading it to flip over. It's a shame the rest of the film's action doesn't live up to this prologue.
Timothy Dalton's debut as Bond introduced-through the pre-title sequence-an authentically physical Bond who chases down a Russian assassin who kills two 00s during a training exercise. After the obvious stunt doubles in Roger Moore's A View to a Kill Bond on the roof of a truck as it drives down a cliff is refreshing and thrilling.
The Spy Who Loved Me
After three smaller scale- and somewhat cheap feeling films (Diamonds Are Forever, Live and Let Die, The Man With the Golden Gun) The Spy Who Loved Me makes it clear right from the beginning that epic Bond is back, having a submarine be hijacked in the first scene. Then during a ski chase Bond (Roger Moore) jumps off a cliff then releases his parachute with the Union Jack, a moment that got cheers when the film had its UK premiere. The chase itself is terrific and ties in to the emotional arc of the film by having Bond kill the lover of Russian agent XXX (Barbara Bach), with whom Bond will team up during the course of the film.
Moonraker
One of the weaker Bond films but one of the better openings. Bond (Moore) is pushed out of a plane without a parachute by Jaws (Richard Kiel, who first appeared in TSWLM). It has great stunt work and I love how it's just a random event in Bond's life that doesn't tie in to the rest of the film, sans Jaws.
For Your Eyes Only
While I don't like the way it unceremoniously dispatches the unnamed villain (who is Blofeld but because of rights issues wasn't able to be called that), Bond (Moore) being stuck in a remote controlled helicopter is a inventive conceit. It was also a nice touch to have Bond visit his wife Tracy's grave since it was Blofeld who had her killed.
So, what are your favourite pre-title sequences and are they from your favourite films? Comment and let me know.
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