I remembered Blake Edwards' 1974 spy drama The Tamarind Seed as an underrated movie -- maybe the last time Edwards made a movie that actually could be called a good movie without a caveat attached. (As in, "yes, Victor/Victoria is good but many of the jokes suck, the songs aren't very good and Edwards completely cops out by having James Garner find out she's not a man." Or "yes, S.O.B. is good even though many of the scenes and performances are actually pretty bad.") What I didn't remember was that it had a Maurice Binder title sequence that completely rips off his own James Bond work. He doesn't even bother to use a different typeface from some of the Bond movies.
This was one of the last of the "alternate" Bond movies like the Harry Palmer movies, where key Bond people are recruited and asked to do something very different from what they do for Bond. John Barry comes through as he did in the Palmer films with a moody, un-Bond-ish score, but Binder's solution is just to do what he always does in Bond, but have the characters doing different things: the silhouetted woman has her clothes on -- bell bottoms, yet -- and they're brooding and writing letters instead of shooting off guns. That's not really enough to give the sequence its own non-Bond identity, but then Binder, great though he was, didn't have a whole lot of range as a title designer.
One thing here that Binder would later incorporate into the Bond titles themselves, though, is having the stars' faces actually appear. He'd do this with Roger Moore starting with The Spy Who Loved Me.