Beginnings

For me a really good title sequence sets up a film. It builds anticipation as it sets the pace and mood for what is to come. A great number of films like to deliver the titles over an establishing set piece, but when a title sequence is done right - offt!

So here are some title sequences I like because...they do that...thing...I just said.

Monsters Inc. (Pete Doctor, 2001)

Old school.



Catch Me If You Can (Steven Speilberg, 2002)

All style and surface, just like the character.



Cape Fear (Martin Scorsese, 1991)

Saul Bass #1: Atmosphere



Spartacus (Stanley Kubrick, 1960)

Saul Bass #2: The film in four minutes.



Once Upon a Time in the West (Sergio Leone, 1968)


Very well known and deservedly so I'd say. Arguably gets right to the action but just as arguable is that it serves as a terrific introduction to Sergio Leone. I include it as this was his first real film intended for a mass western (geographical, not genre) audience and I'd say that this first ten minutes gives you all you need to know.



White Dog (Sam Fuller, 1982)

It doesn't have to be complicated. Simple and ruddy effective.



The Proposition (John Hillcoat, 2005)

I do love a bit of ironic juxtaposition.



Delicatessen (Jean-Pierre Jeunet, 1991)

Some delicate in-camera loveliness.



25th Hour (Spike Lee, 2002)

Get's right to the heart of the piece and a (perhaps inadvertent) historical document.



Enter the Void (Gasper Noé, 2009)

Like a nuematic drill to the face.



Bullitt (Peter Yates, 1968)

As slick as a lubed up slick thing with a quiff, and as cool as that very same slick thing outside in a fridge on a really frosty morning.

I'm a Cyborg, but That's OK (Park Chan-Wook, 2006) - What's real and what's imagined - I don't know!

That'll do me for now, that last one totally messed up my feng shui (if that term can be applied to a blog and it can't). Peace out, J