My Favorite Film Title/Credit Sequences Part 2

This is my continuation of a blog series arc I started in Part 1 featuring my favorite film title or end credit sequences.

Main Title - Catch Me If You Can: whoever did the titles for Steven Spielberg's 2002 true tale of Frank Abagnale Jr. sure had a playful sense. The mesmerizing 2-D titles and graphics summarize the story in the sequence, and all in perfect tune with a jazzy opening score by John Williams. It exudes a carefree and thoroughly 60's feel.

Closing Credits - Ferris Bueller's Day Off: John Hughes' unexpected end credits to his 1986 teen comedy are wonderfully funny and work well with the story that's been presented. The unpredicted scenes inter-cut with the closing credits made the staying worthwhile, and funny as hell.

Main Title - Charade:  The 1963 mystery comedy with Cary Grant and Audrey Hepburn is a favorite of my friend from across the pond, Livius, and mine. As he puts it, "I also love the beginning of Stanley Donen's Charade, as the body is tossed from the train before that superb score and credit sequence kicks in." Those vortex-like graphics, with the accompanying rhythmic Henry Mancini track, is one of the great old-time title sequences in film history.

Main Title - Total Recall: The 1990 Paul Verhoeven film featured some of the best in cascading graphics. The translucent movie titles are driven to the pulsing beat of Jerry Goldsmith's larger-than-life score. It is a rousing opening for this sci-fi actioner.

Total Recall (Opening Titles)
by NakedBrotha2007

Main Title - Blade Runner: Ridley Scott's 1982 film may have relatively simple titles on the screen in its opening sequence, but the look of it (along with the eerie and distinctive Vangelis score) make it unforgettable. What comes after the LOS ANGELES NOVEMBER, 2019 title has to be one of the all-time best cityscape eyeopeners ever for audiences.




Main Title - The Thing From Another World and John Carpenter's The Thing: I was going to look-up the iconic title sequence from each of these film classics (since they are such favorites of mine), but I discovered it was already done, recently (and a whole lot better than I ever could have) by the fine folks over at The Art of the Title Sequence. Who are they?

A compendium and leading web resource of film and television title design from around the world. We honor the artists who design excellent title sequences. We discuss and display their work with a desire to foster more of it, via stills and video links, interviews, creator notes, and user comments.

Featuring opening title design for film and television from Croatia, New Zealand, Serbia, Russia, the United States, Brazil, England, France, India, Japan, Italy, Chile, Mexico, Yugoslavia and Egypt.

Their Feb. 22nd post covers both films (including clips of the "Two fine fire melt title reveals"), and an interview with a young title designer, Krystian Morgan, who created a new experimental sequence of the film based on Carpenter's vision. If you enjoy watching or analyzing the special graphic and motion art of title sequences, this is the web site you must visit.

Mr. & Mrs.

Cover of Mr & Mrs Smith [Blu-ray]

Last week, I teed up Doug Liman's Mr. & Mrs. Smith for another viewing (this time, on Blu-ray Disc).  It's not a perfect movie, but then again, neither are we. Timing is everything, I guess. I don't love this film because of the pyrotechnics and the over-the-top super-assassin skills on display from the pair of super-attractive leads, Brad Pitt and Angelina Jolie. [okay, every now and then I do get a kick out of the variety of combat hardware on hand and that it's being put to gorgeous use by a comely, long-haired brunette...] That's not really the reason. I love it because of this:

John Smith: Careful, Jane. I can push the button any time I like.
Jane Smith: Baby, you couldn't find the button with both hands and a map.

It is the facets of wedlock, and all the little things about marriage, that this story absolutely nails on the big screen.

This post has been updated and moved to my current blog, and can be found here.

Elvis & Joe in Audiobook: L.A. Requiem

The Elvis Cole and Joe Pike novel series by Robert Crais remains my absolute favorite among the things I read or listen to. In celebration of this year's release of the 13th book, The First Rule, this is a continuation of the look-back series I started a couple weeks ago to briefly examine each novel within the series, and the audiobook versions that came out of them. When television writer/producer Crais turned away from Hollywood in the 80's to do what he always wanted, be a novelist, I don't think even he envisioned the kind of success his books would bring. The tough but tender L.A. private detective (with a penchant for Disney characters) he created, the unlikely named Elvis Cole, is over twenty years old in print (along with his partner, Joe Pike). The chain of novels, and their success and uniqueness, is proof that the author's trademark mix of humor, pathos, and memorable characters remain something special to both critics and fans alike.

L.A. Requiem

Robert Crais' eighth novel, L.A. Requiem (print published in 1999 and pictured above - now with a new icon for Los Angeles, the Library Tower building in downtown, for the cover art), is simply the pivotal book in the series. It marks the juncture in time when the author stretched himself, his fictional characters, and the mystery genre to the point of seismic change. So much so, that when it was done, the landscape was no longer the same. I've heard Robert Crais describe it using the phrase, "... to blow the doors off the series." The narrative change he briefly played with in the previous two novels, is fully unleashed here with flashbacks, multiple storylines and perspectives, and all with an assured writing style. And, the norms and structures of the genre expanded right along with it. Author Dave White perhaps said it best, "Crais blew the whole genre up."

"He took things that had been done before--the PI novel, the police procedural, the thriller, and studying two dark characters deeply and managed to mix it into one incredibly satisfying novel."

By doing all of this, Mr. Crais would break from the established touchstones of his first seven books, and elevate his work to that of the great detective writers of old (Raymond Chandler, Dashiell Hammett) and new (MacDonald, Parker, Mosely). Furthermore, Robert Crais knows this city - regardless that he's someone who has been transplanted here. His outside perspective, even compared to those born and raised here, brings a refreshing clarity to his observations of the people/locale he places his fictional characters in the middle of, in general. And to this novel, specifically. Suffice it to say this explains the 'L.A.' portion in the book's title. Still, keep this adage in mind when reading or listening to the book:

"One may not be able to choose their family... but, one does get to choose their friends."

On top of everything else in the book, this aspect is critical to what transpires here. What about the 'Requiem' bit in the title, you ask? That is reserved for the unexpected subject of the book. The enigmatic partner of Elvis Cole, Joe Pike. What's been building for some time in the series, the dark background of this key character, will finally be revealed in a stunning story involving a serial killer, those that hunt him, and bitter history. All of the characters we've come to know and care about from the previous novels will be left touched, or scarred, by this tale. This repose for the dead.

[Note: there has been a variety of cover art for this landmark novel in hardcover, paperback, and audiobook. Some of them quite eye-catching. To view a sample of this selection, see this photostream I put together.]



Beginning with this influential novel, other facets changed, too. For the audiobook series, L.A. Requiem will mark the first book not published (in some version) by Brilliance Audio for the U.S. market. As well, long-time overseas publisher BBC Chivers will not get a crack with it in the U.K., either. New publishers on both sides of the pond will be brought in, as well as an altogether new set of narrators. Ironically, each reader will only have one turn with this series. Lastly, note the differences not only between the narrators and their styles, but of the abridgements and the complete version in the audio samples (after the jump).

My Favorite Film Title/Credit Sequences Part 1

Image via Wikipedia

When I was a kid growing up watching movies at a local theater, I couldn't wait until the main titles were through and off of the screen. I thought they held up the movie, especially if it was one I really wanted to see. Yes, I had no patience, then. [wife: "You have it, now?"] I think it was during my college days that I began to appreciate the creativity behind those titles, or end credits. The playful use of graphics, music and motion (or fonts) that were on display in the really great ones, lent to the story that was on-hand. Or sometimes, the main titles gave a brooding foreshadowing of what was to come via whatever method the skilled designers behind them employed. Whether it was subtle, or blatant, those sequences could and did mesmerize me. It would be years later that I'd learn about some of the masters of this special art, like Saul Bass and Maurice Bender (and if you've ever seen any of the older James Bond movies, you've seen this man's excellent work). In other words (and especially when they're great), I've come to genuinely enjoy, and look forward to, the main title sequences and/or the closing end credits of the movies I take in. Here are some of my favorites, in no order or ranking:

Main Title - The Wild Bunch: this is the now famous (and fabulous) entrance of the "Wild Bunch" into a quiet southwestern border town. Peckinpah's use of the black & white titles, via intercuts and freeze frames, are just so elegantly done. It is a truly effective sequence with the clear message that these are very serious, violent people encased on the screen. Any illusion to the contrary is surely ended when the director's title credit comes across on Pike Bishop's (William Holden) order:

"If they move, kill'em!"

The Wild Bunch: Opening Titles
by le0pard13

Main Title - Superman (The Movie): This is the great translucent graphic main titles director Richard Donner used for his now classic 1978 comic book adaptation. Those swooshing title images (a clear reference to the main character) cutting across the screen is augmented by John Williams' heroic score leading the way. It is as good as it gets for a superhero movie introduction, then or now.

Superman: The Movie (Opening Titles)
by NakedBrotha2007

Closing Credits - Angel Heart: This is the closing credits from Alan Parker's 1987 film, Angel Heart. It is the movie adaptation of the novel Falling Angel by William Hjortsberg. The dark, contrasty images of Harry Angel's "elevator ride to Hell" are intercut with the closing credits, along with creaking sounds and sinister musical score. All of it, make this closing sequence well worth staying to the end for.

Angel Heart: Closing Credits
by le0pard13

Main Titles - Alien: This is the famous slow fade-in of the film title sequence in director Ridley Scott's 1979 sci-fi/horror classic, Alien. The title appearance is played across the top of the screen (with the interstellar expanse as a backdrop), moving from out to in (hint, hint). Jerry Goldstein's eerie score lets everyone know what they're in for, too.

Alien Opening Titles
by le0pard13

Opening Title - Duel at Diablo: Ralph Nelson's 1966 western, with its bloody Apache knives cutting across the opening black screen is one of the best (and most grim) western preludes ever. It sets up what's to come in a most effective and direct manner possible.



Main Titles - The Outlaw Josey Wales: This is the main title sequence from Clint Eastwood's early masterpiece from 1976, The Outlaw Josey Wales. After the pillage of the Wales homestead, the simple titles are overlaid on the scenes of the avenging Missouri guerrillas on horseback. All of it done to the marching score by Jerry Fielding. It's a great introductory sequence and it provides the backstory of the main character. As well, it uses some of the best of Bruce Surtee's beautiful cinematography.

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Elvis & Joe in Audiobook: Indigo Slam

With this year's release of the 13th book, The First Rule, in the Elvis Cole and Joe Pike novel series by Robert Crais, this is another post in my continuation of a series examining each novel and the audiobook versions that came out of them. All of this traces back to when television writer/producer Crais turned away from Hollywood in the 80's to do what he always wanted, be a novelist. With that, he originated and began to write about a quirky, tough but tender, private detective with the unlikely name of Elvis Cole (and his partner, Joe Pike). That first book's success and uniqueness in portraying the genre with the author's mix of humor and pathos meant a standalone novel gave birth to a popular series that's working past its second decade.

Indigo Slam

Robert Crais' seventh novel, Indigo Slam (print published in 1997 and pictured above - and continuing with another classic view of L.A., the freeway and skyline, for the cover art), is an interesting work from the author. Crais continues to play the narrative change-up started in the last novel (Sunset Express). Moreover, you can see the changes coming to future books in the series with this tale of three children seeking help from Elvis to find their lone missing parent. In this tale, their father is a talented printer/counterfeiter on the run from Russian mobsters. The humor is somewhat downplayed in the novel as the case unfolds and winds through various twists in the story, some of it set in and around Seattle. As well, Elvis' continuing relationship with Lucy Chenier further evolves, and begins to complicate. All of this places the seeds of troubled families in and around both the P.I. and his partner. The concept of affected childhoods are potently planted with this book--to be revealed, powerfully, later.



Brilliance published the unabridged Indigo Slam audiobook, initially, as another Bookcassette® version--pardon me as I adjust the balance to the proper channel. Later editions would come out as Audio CD, MP3, pre-loaded player, and for download. Like the previous audiobook, this one was released the same year as the print version. Likewise, David Stuart returned for his second round as narrator (chronologically), but it would be his last stint as reader in the series where he does both the unabridged and abridged versions of a Robert Crais audiobook for the publisher. However, Mr. Stuart does stumbles a bit here, at least for those sharp-eared audiobook listeners who live in the City of the Angels. If you've spent any time here, you can easily pick up on the Spanish heritage of the city as seen in the names of the locales and streets (the author has noted this in this series). So, for us who have either grown up or come to live in the southland and learned to enunciate the spanish street names, it is painfully obvious when a narrator, like Stuart, really mis-pronounces them. And when they occur, it certainly jolts the local listener away from the Crais' story, and his narration (friends that I've lent these to can attest to this). I won't include anything glaring as that, though, in his audio sample.



As was done with Sunset Express, Books on Tape produced another (and hard to find, now) audiobook version of this novel for library user consumption. Michael Prichard is again the narrator. Though very proficient in the many non-fiction works he's recorded over the years (and with his very distinctive voice), his reading with these very established characters couldn't be more matter of fact in its presentation (think Dragnet's Joe Friday, and that's not a good thing). It's a take that is as curious as any in the series. His range with characters, compared to the other readers in the series, is limited; and the story is just not his style as an audiobook narrator. The BoT studio managers (whether they knew how temporary this gig was or not), just did not match up the right reader to the material. I say this because I have this audiobook on cassette. See if you agree with me. Here's his sample with the selected passage.



The U.K.'s Chivers audiobook uses the Seattle skyline for its cover artwork (although, the majority of the plot in the novel takes place in southern California). The seventh novel in the Cole/Pike series will be reader William Roberts' next turn with these characters. His experience shines through with another reliable effort. Check out his work with the sample. Perhaps, it is symbolic that this narrator's streak will end at 7. But, given what's coming, it just might be fitting for the series.

[Note: as I've stated, both Sunset Express and Indigo Slam novels serve as a preparatory bridge for the reader/listener to cross, especially with regard to the natural maturation of a talented author. That is evidenced with this pair of novels. These characters have ripened just to the point that makes what's coming that much sweeter. Though, one can read the next book without the preceding novels of the series and still enjoy it. But, from here on out, the landscape definitely changes.]

Next up: L.A. Requiem

The Series:
The Monkey's Raincoat
Stalking the Angel
Lullaby Town
Free Fall
Voodoo River
Sunset Express
Indigo Slam
L.A. Requiem
The Last Detective
The Forgotten Man
The Watchman
Chasing Darkness
The First Rule

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