 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
What was the last opening that actually showed nipples in the silhouettes? Moonraker?
FYEO has that too!
The first to show it was "On Her Majesty's Secret Service".
Sorry, but you'll have to yield to the memory of a viewer who was a straight, pubescent boy on first release. Prominent women's nipples were visible in silhouete in YOU ONLY LIVE TWICE -- but even earlier, briefly and not in silhouette, in THUNDERBALL.
My favorite Binder sequences are THUNDERBALL for its beautiful execution (even though I can't swim and fear being submerged in water) and color transitions; and ON HER MAJESTY'S SECRET SERVICE -- with its montage of characters living and dead from past adventures, within martini-glass graphics evoking an hourglass, to open a film that will end with a death even more significant for Bond.
|
|
|
|
|
|
The Spy Who Loved Me is easily my favorite one. The sight of that fairy-gymnast working out on a gun barrel is utterly captivating. It's the coolest thing Binder ever did. Hollywood should have brought that tiny gal back for as many films as she was willing to make.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I liked this Binder one as others have said. Although my fave overall non Bond of his was Billion dollar brain.
|
|
|
|
|
|
I should have mentioned (for anyone not already aware) that the original DVD and, I hope, subsequent Blu-ray reissues of YOU ONLY LIVE TWICE contain a very enjoyable featurette about Maurice Binder's work on the Bond series. It was the main reason for me to buy that disc.
|
|
|
|
|
|
|
|
|
|
In an interview with Starlog magazine, Binder was horrified that when "Thunderball" premiered on "The A.B.C. Sunday Night Movie" when he blasted the network for mangling the opening credits when they televised the feature film in pan and scan.
It's easy to understand his reaction. THUNDERBALL was the first Bond filmed in Panavision, and at that time -- I'm guessing the early '70s -- letterboxing on TV was not yet a policy. Back then, a picture's opening sometimes would air with an anamorphic squeeze that ended after the director credit, or at the first post-credit cut (which is how THUNDERBALL should have been presented). Panning-and-scanning widescreen films was the habit.
But as I remember, Universal was the only studio to protect the integrity of their 'Scope title sequences for pan&scan TV broadcast -- for a while, several of their widescreen movies aired during the late '60s/early '70s would start off letterboxed, but with some vaguely exotic, swirly design that filled the 4:3 screen above and below the film area, before reverting to full-frame pan&scan after the titles.
|
|
|
|
|
|
|
|
|
|
|
|
