We tend to think of the evolution of the title sequence as moving from a simple series of cards with actors names on them (sometimes splashed up a little with caricaturist representations of the actors), gradually becoming more dramatic, exotic or even story-heavy as the years progressed. But back in
Behold this gorgeous title sequence for ‘Two For The Seesaw’ (1962), starring Robert Mitchum and Shirley McLaine. We’re are in prime, early 60s New York City watching Robert Mitchum do pretty much nothing but walk around, staring impassively at various views and things and somehow conveying everything you can’t write
‘Dog Day Afternoon’ (1975) is on my short–very short–list of movies I can watch at any time. The credit sequence, setting up a hot New York city summer, is masterfully realized and uses very simple footage, much of which I’m guessing was culled from stock. The flavor of the various
https://www.youtube.com/watch?app=desktop&v=LegUQIFi07U “World In My Corner” (1956) is a film noir of sorts, starring Audie Murphy as a boxer who falls in love with his milionaire sponsor’s daughter (played by Barbara Rush). The film is of little distinction–except for a very cool credit sequence that I’ve posted above. I’m not sure
Last week I played a trio gig in Temecula, California which featured a number of title tracks from post-war movies–‘Days Of Wine And Roses’, ‘Sunday In New York’ etc. (I posted original title sequences of several of them last week). Our opening number was ‘The Tender Trap’, by Sammy Cahn
On this coming Thursday, May 25th, my jazz trio will be performing at a lovely venue in the fascinating town of Temecula, CA. called ‘The Merc’. Our first set of music will feature title track songs from mid-century Hollywood movies. Among them will be ‘The Tender Trap’, ‘Days Of Wine
Yesterday I posted the opening credit sequence from ‘The Delicate Delinquent’. Today’s offering is the musical credit sequence from his next movie ‘Rock-A-Bye Baby’ (1958), featuring the witty title song by Harry Warren and Sammy Cahn. A reader posited that the ‘Delicate Delinquent’ sequence might have been directed by Jerry
Lucille Ball’s post-Desi Arnaz divorce show, ‘The Lucy Show’, ran for six seasons (1962-1968) and had five different title sequences. Was it because of dissatisfaction on the producer/stars part? Or were the title sequence creators so inventive that it seemed a shame not to keep them employed in developing further