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All 7 of Roger Moore's James Bond title sequences, ranked

Contributed by
May 23, 2017

Sir Roger Moore, who died this week of cancer, has left behind a body of work that includes the cultural touchstone James Bond. For seven films, Moore played Bond, aka Agent 007, the dashing MI6 intelligence officer who goes far afield (and occasionally to bed) to achieve his objective.

In honor of the late Moore, we've ranked all seven of his Bond title sequences — eye-popping paeans that glorify girls and guns. Most of the women are naked and in silhouette; the guns are equally portrayed as an object of lust.

If you like girls and guns — or '70s to '80s intro sequences — you're welcome.

Check 'em out. And let us know in the comments how much you agree with me that Moonraker was the worst of all intros.

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Moonraker

What a disappointing intro. Sure, we get one brief flash of Earth, and there's a clever effect of a woman's body stylized into a shuttle. But other than that, we get women flinging themselves across the screen and little else. This film is Bond meets high tech, with a shuttle and a freakin' space station. It should have been interesting. It was not.

Even the song was bland. You did the best you could with that material, Shirley Bassey.

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Octopussy

The laser light used in this video may have been the 1983 equivalent of awesome, but in the here and now, it looks so very bland. You can say that about the rest of Octopussy's intro, which had male and female figures — but didn't use them to their best advantage. With the exception of one very sexual turn, we only see a man spinning a woman in an arc. This could have been a lot more exciting and erotic than it was.

Plus, what is up with the women being shot from a gun, and why would the director find that interesting?

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The Man with the Golden Gun

This title sequence of The Man with the Golden Gun is interesting enough: It uses ripples of water to give it a dreamy effect. The women in the video are also fascinated by the gun, which I find highly amusing. But other that that, it's somewhat static compared to the others. Also, the song is just wrong for James Bond: singer Lulu describes a hired killer, and James Bond is very much the Queen's man.

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For Your Eyes Only

The video starts with hands reaching up toward James Bond, and surprise!, it's singer Sheena Easton — the first and only time we see the singer of a Bond song on screen. I always liked the decision to include her in this video, which is a bit overwrought with girls, guns and water effects.

But I never noticed until just now that she too is naked.

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A View to a Kill

There are some missteps in this intro: The female figure in ice is ghastly, and the skier with the exaggerated eyebrows looks like a clown. But other than that, it's quite interesting. The women may be naked, but the focus is on their form, thanks to neon body paint.

Also, we see skiers actually skiing and performing stunts, which I love. I wish the intros would show more actual talent.

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Live and Let Die

I adore the intro for Live and Let Die, and it's not just because I love the Wings song. It's a rarity to see a woman portrayed as more than a nude silhouette in a James Bond intro. Here, we get faces … as well as these faces stripped down into a skull. It was startling and different. Yes, there's guns and girls, but this is the only intro where I felt danger.

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The Spy Who Loved Me

This is a fun one. A Bond-like figure gets a hefty chunk of screen time, and we see him doing what Bond does: shooting and seducing. One of the naked women also performs gymnastics, and I'm a fan of watching actual work, rather than the typical jazzy half-dance we see in other sequences.

Plus, this intro is the closest thing to romance in most Bond movies.