Tuesday, April 2, 2013

Let's all go to the lobby...

...and be back by the time the credits start.

I should stop trying to be clever when I come up with titles.

So remember my last post? About how it was about TV openings? And how I said I'd do a movie one later?

This is that movie one.


This movie is first only because I'm watching it as I type this. Now, I'm not the biggest fan of James Bond. Don't get me wrong, they're usually entertaining enough, but the whole uber-sexism thing is...distracting. I mean, come on. Pussy Galore? "Turning" a lesbian by raping her? Yes, I know I'm talking about the same woman with those two statements, but uber-sexism and the hyper-sexualization of women is more than a little bit common in Bond films.

Anyway, enough about Bond in general. This intro also gives some fun examples of hyper-sexualization, but besides that, it's awesome. Plus But mainly, Adele.

Sorry for the cut off half way through. There isn't an official version on YouTube and it was either this or something recorded in someone's living room.

The Great Escape

Probably my very favorite war film ever and one of the greatest theme songs of all time. Really, it's uncanny how perfect this song is. And even if you haven't seen this movie, I'd be willing to bet $50 that you've heard this song before. 

Please excuse the water mark. 

Midnight in Paris

You can quit watching after the song ends if you want because that's the part I love. This movie's soundtrack in general is phenomenal. One of my favorites of all time in fact, and this opening song is by far the best. It's called "Si tu vois ma mere" written and performed by Sidney Bechet, one of my favorite jazz saxophonists/clarinetists. Well, I guess my favorite jazz saxophonist/clarinetist. I can't think of any others off the top of my head who were famous for playing both instruments. 

I remember sitting in the theater with my two friends and smiling throughout this entire opening scene (I may have smiled through the entire movie, now that I think about it). About two years after this movie came out I went to Europe for a few weeks and spent about 5 days in Paris. I had heard horror stories of the people and the waiters and the smell, but I was still hoping for a Midnight in Paris kind of magic (without the time travel, of course). I was not disappointed. If people were rude or if it ever smelt like urine, I didn't notice because of the magic of the city. (Granted, we did have one rude waiter, but the food was so good I didn't care.) Watching this introduction reminds me of that trip and I still smile all the way through. Plus, you know, Sidney Bechet. 


This movie has been in my top 5 (maybe even 3) since I first saw it and the soundtrack trades places for first with Midnight in Paris depending on the day. The opening credits are equally charming. We get to see the joy of being a child. 

A Hard Day's Night

No explanation needed.  

Thoroughly Modern Millie

Another one of those fantastic movies. One you must watch. Julie Andrews, Mary Tyler-Moore, and Carol Channing?! How could you not?! And if you haven't seen this before, you'll want to stick with the video until the end. Or at least about 20 second from the end. 

Scott Pilgrim vs. The World

My reaction to the movie up to this point was pretty much exactly what Knives Chau's reaction is. There's a little bit of extra at the beginning of this clip, but it's a good little bit of extra so I saw no harm in posting it as is. Not that I'd be able to do anything about that anyway...


Let's first of all agree that this is one of the greatest films of all time. Okay, now that we've got that out of the way, I'm going to share with you all something I learned. The guy who designed these credits, one Saul Bass, is apparently the king of opening credits. Before him credits were the boring things I used to skip as a child on movies like Christmas in Connecticut or Bambi. Saul Bass (from what little I've read on the topic since starting this entry) changed all that. I'd like to thank him. Thank you, Saul Bass. 

On to Psycho. These credits exude tension. A lot of that is due to Bass, but I'd also like to point out the obvious anxiety in the music. Another thanks to Bernard Hermann for that. These two brilliant creators set the perfect tone for the movie. My palms start to sweat even before we're introduced to the first character. Or at least they probably did the first time I saw it. I doubt they sweat at all anymore since I know what happens. 


Another Saul Bass/Bernard Hermann masterpiece. And I'm wondering right now why I don't own any Alfred Hitchcock movies. I might have The Trouble with Harry, but then that might belong to my parents. Again, I'd like to point out the music. If dizziness were a melody, it would be this. And the eye...that eye freaked me out as a child and it's still getting the job done. 


This one was a man named Maurice Binder who, I have it on good authority (aka the Internet), is responsible for the Bond gun barrel openers. Again though, I have to point you toward the music. What can I say? I'm a music nerd and a film score can make or break a film for me. This score was written by one of the greatest composers of his time: Henry Mancini. 

Hope you enjoyed. I think I'm going to start a post about my favorite theme songs now. 

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