You can’t handle these fifteen opening title sequences | Blog Day Afternoon

Before any movie begins (well most movies) we are presented with the opening film credits, something which has become an art form of its own. These are some of my top picks for greatest opening title sequences.

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• Vertigo, 1958

Ahh, connotation heaven, I mean obvioulsy! We are talking about Hitchcock.

Straight away we can identify some contrasts. James Stewart’s name appears onto screen whilst the camera is focusing on some woman’s lips – as lips typically connote sensuality and sexuality this implies that maybe his character is attracted or sensitive towards a female in the story. As the lips also have lipstick applied this hints towards a woman who holds authority, perhaps over this man.

Meanwhile Kim Novak’s name appears under a pair of eyes; eyes are typically known as the windows or gateway into the soul. To me this would illustrate intelligence and omniscience, and when thinking about Novak’s character, Madeleine, she is very much so in the state of knowing everything.

Finally, the orchestral piece by Bernard Herrmann that plays along side the vertigo patterns suggests that this will be very dramatic, which of course we come to realise it is.

• Touch of Evil, 1958

I haven’t seen this film, however I was shown the opening credit scene in one of my film studies lectures and it’s just one of those ones that I always remember. One of the most famous shots takes place in one of the last examples of film noir in its classic prime.

This long crane shot is magnificent as we watch a car loaded with a bomb weave the streets of a small town on the US-Mexico border. Mixed up with tracking and panning shots weare hypnotised with its flow to look like a forever-long shot.

• Breakfast at Tiffany’s, 1961

Getting credit purely for Audrey Hepburn’s grace. Don’t think I have ever watched this opening and read the title credits. I cannot help but just be transfixed upon Hepburn. Similar to Marilyn Monroe, but not as intense, she obtains an aura that never disappears.

One of my earliest memories of old cinema comes from Holly Golightly and I think that speaks for itself.

• Mary Poppins, 1964

A magical opening for a truly magical picture.

Enjoy a panning of the london skyline from high above to the sounds of “A spoonful of sugar” and other memorable tracks like “Feed the birds” in the three minute melody which teases the music to follow.

It is also in the opening title sequence where we meet our leading lady, Mary Poppins, sat on a cloud powdering her nose whilst her parrot umbrella slips from the grasp of a floating marshmallow in the sky.

Disney were great in using this as our introduction to the character because it is out of the ordinary – something Poppins is. Hinting from the very start that there is something whimsical and miraculous about her. Of course we go on to discover that she is “practically perfect in every way” but additionally that she embodies that sparkle and magic that encompasses everything Disney.

• Taxi Driver, 1976

An opening scene that depicts a moody, rainy New York City establishing the grumpy tone of the picture. We meet Travis Bickle…well his eyeballs, scanning the streets of NYC suspiciously, generating mystery towards his character. The cool sound of jazz plays over composed by Bernard Herrmann. 

• Saturday Night Fever, 1977

Tony Manero’s iconic strut to the Bee Gees has got to be credited!

Possibly thee opening title sequence that can transport you to another decade instantly. I never lived the 70’s but straight away I feel apart of the disco scene- the music, the clothes, the walk. We meet our protagonist at the beginning and by the time it has finished we have found out his name; that he likes women; he works in a hardware store and finally that he enjoys a couple slices of Lenny’s Pizza on his travels.

If you haven’t already check this one out!

• Alien, 1979

“In space no one can hear you scream”…well Scott does an excellent job at proving this point. The eerie and disturbing beginning of one of the finest science-fiction movies ever makes you feel not just alone, but uncomfortable. I’m not sure what the special ingredient is that makes us feel this way, perhaps the long panning shots that show the shear size of space. Maybe the darkness, or the creepy sounds – either way I wouldn’t wanna be up there and we are certainly made to feel like that in the first two minutes.

• Raging Bull, 1980

What an elegant movie opening! Who knew the words elegant and boxing could be in the same sentence.

Watching De Niro shadowbox in slow motion with a grainy, textured black and white filter (which runs throughout the film) is an aesthetic any filmmaker would die to pull off. Obviously when it comes to the director/actor partnership of Martin Scorsese and Robert De Niro there was no way this would not be something which wouldn’t be remembered.

• Top Gun, 1986

The other Scott bro is making an appearance!

To be honest this is getting a credit because it just looks awesome. Love the silhouettes and colour palette during the start, then the fiery ignition of the engine and cue Mr. Kenny Loggins aka the master of the 80’s soundtrack!

• Reservoir Dogs, 1992

A slow motion shot of eight guys walking down the street in suits shouldn’t be the coolest opening title sequence ever, but my god it is!

Even when “A film by Quentin Tarantino” strikes up on the drumbeat in “Little Green Bag” I’m already smiling at the screen. So simple and effortless but extremely effortless.

I’d be lying if I told you I don’t imagine myself being one of these guys whilst walking to uni with “Little Green Bag” playing in my earphones. Another quality track selected by Tarantino.

• Bridget Jones’s Diary, 2001

A small teaser of the brilliance to follow.

I feel like this is an accurate portrayal of most women on a daily basis. Renee Zellweger is beyond deserving for her Oscar nomination as the lovable Bridget Jones and this opening title sequence sets up our principal star perfectly.

• This is England, 2006

Shane Meadow’s This is England (2006) has a gritty beginning, old videos of Sting, Princess Diana, Margaret Thatcher and various police riots feature just to name a few. Consequently, depicting the highs and lows throughout modern England. This is one that wouldn’t necessarily feature on mainstream lists, but think is definitely worth a mention.

• Skyfall, 2012

Okay so before I begin things I actually haven’t watched a Bond film in my twenty years of existence, sacrilege I know! They are something I really do want to watch, I just need to put aside a good 52 hours to complete them. However, I have watched Skyfall‘s opening title sequence and it’s one that has stuck with me.

Firstly, it’s visually stunning, watching 007 plummet into the river and be engulfed by a hole beneath the surface is pretty extraordinary. All the while the grand title appears on screen, I mean would you expect anything less from Mr. Bond. This is sophisticated. It is chic.

I really enjoy the snippet of Bond shooting his shadows as though even the closest people surrounding him are untrustworthy. There are also some nice juxtapositions included, one of my favourites is the floating fragments of blood which warp into a coral-esque shape, highlighting a motif of life and death. Bond’s blood moulding into a life form demonstrates his status of being in limbo and once the blood forges a skull it pretty much confirms that connotation for me. Shortly after we are presented with a mirroring sequence which establishes a classic 007 aesthetic. Additionally, the shots of Daniel Craig firing bullets and shattering the mirror, or should I say reflection looks beautiful. Finally, we are plunged into Bond’s bullet wound where we see what looks like his arteries; however as we sink deeper they sculpt the likeness of a dead branch accompanied with a graveyard that is being destroyed – confirmation that our protagonist will survive the gun shot.

With the contribution of Adele’s track of the same name, which went on to receive the Oscar for Best Original Song, we have a masterpiece of film-making in just under four minutes.

• Deadpool, 2016

From the get go we are hit with the tone of this film. The opening title sequence delivers a smart and witty beginning; consequently setting the audience up for what to expect in this picture.

Ordinary title credits are replaced with comical nicknames to immediately engage with the audience.  Some include: “starring God’s perfect idiot” and “written by the real heroes here”.

Not only does it establish the tone of the movie, but this opening title sequence also contributes to the film’s narrative. While the movie creators make you laugh, the camera weaves in-between and around a scene which later gets revisited during the film. This little art of intelligence goes underappreciated until that “oh yeah” moment when you realise its the beginning and the jigsaw falls into place.

Fortunately Deadpool 2 (2018) kept the nickname opening title technique; however instead of providing some details of the movie’s plot, they mock a James Bond style opening. This didn’t disappoint any Deadpool fans as it just enhanced the characters comical brilliance. Overall the witty title credits have become a staple ingredient for the anti-hero’s movies and we wouldn’t have it any other way.

• Batman v Superman: Dawn of Justice, 2016

Similar to Deadpool (2016) this title sequence contributes to the film’s narrative. However, in this case on a much deeper level. I suppose because Batman’s origin story has been told through so many variations it has become a story which not only hardcore comic fans know, but even the majority of people. I feel like its something most people know, perhaps not always in detail but briefly – anyway, I think it was a smart move for Zack Snyder to get it over and done with during the opening credits and let’s be real, it is not a bad job.

The cinematography is exquisite, for any DC fanatics this must have been a joy for them to watch. It’s such an original retelling through such an artistic lens, almost a different perspective as well as retaining DC’s signature aesthetic of darkness.