The Blofeld scene is a fantastic introduction to the character. Projecting the credits onto the naked flesh of a belly dancer is also an inspired choice that plays off the reputation James Bond had already garnered for sex and exotica. It's more up-tempo, and carries the appropriate air of excitement. It was the right decision, however, to use an instrumental arrangement during the titles sequence. It's pretty in a lilting, haunting sort of way. I enjoy the title theme as sung by Matt Monro.

When he finally speaks for the first time and introduces himself to Bond aboard the Orient Express as a fellow British agent, the tension rises and the stakes are heightened.

Throughout the first half of the movie he stalks Bond from the shadows, always in step with him, always silent. As the first in a long line of physically formidable henchmen, Robert Shaw really inhabits the part, bringing an air of menace to the proceedings. A fine introduction to a truly sinister and intimidating villain. The pre-titles sequence is, of course, a classic, full of tension and suspense as we watch Donald Grant stalk and ultimately strangle what turns out to be a James Bond imposter. No, this follow-up is bigger, bolder, and more elaborate, while still relatively grounded in a semi-realistic world of espionage. (Tatiana, Klebb, Kronsteen, Grant, and Kerim Bey are all perfectly cast.) Fresh off the success of Dr. With his second film, Bond smooths some rough edges, establishes some more tropes, and introduces some of the most memorable characters in the franchise. What can I say about From Russia With Love that hasn't already been said? It's a genre classic, and is considered even today to be a high point of the Bond film series.

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