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I'm sure that this thread has been started, finished and done to death in the past, but....
The Empire Strikes Back - Finale?!!! Has this or will this ever be bettered as an example of end title theme combinery par excellence? I think not.
Anyone beg to differ?
NP - Zooperman - Prelude, etc. (We'll get on to main titles par excellence later)
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Posted: |
Jun 3, 2005 - 9:23 PM
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By: |
manderley
(Member)
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Saul Bass' end title sequence for the original AROUND THE WORLD IN 80 DAYS (1956) not only included the creative and crew credits for the film, but visually recapped the entire storyline of the picture as well in around 6 minutes. At the time, I believe it was the longest title sequence in film history (and the most entertaining --- a mini-movie in itself).
And.....Victor Young's scoring of this sequence (yes, it was actually scored, moment by moment, since there was actually a picture to score to, not just white titles on a black background) utilized the leitmotif approach and brought in themes for each of the characters (when the star's name appeared on the screen) as well as themes recurring throughout the film keyed to the visual depiction of that scene.
This is the grand-daddy of all long end-titles and, I think, still the best in terms of its impact and creativity.
Very few titles, before or since, have ever had this kind of superb visual creation or scoring.
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Posted: |
Jun 3, 2005 - 11:21 PM
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By: |
joec
(Member)
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Saul Bass' end title sequence for the original AROUND THE WORLD IN 80 DAYS (1956) not only included the creative and crew credits for the film, but visually recapped the entire storyline of the picture as well in around 6 minutes. At the time, I believe it was the longest title sequence in film history (and the most entertaining --- a mini-movie in itself).
And.....Victor Young's scoring of this sequence (yes, it was actually scored, moment by moment, since there was actually a picture to score to, not just white titles on a black background) utilized the leitmotif approach and brought in themes for each of the characters (when the star's name appeared on the screen) as well as themes recurring throughout the film keyed to the visual depiction of that scene.
This is the grand-daddy of all long end-titles and, I think, still the best in terms of its impact and creativity.
Very few titles, before or since, have ever had this kind of superb visual creation or scoring.
I agree.. WEST SIDE STORY is a close second!
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I know I won't get a lot of support for this, but my choice is:
"The Family Arrives" from Jerry Goldsmith's RUSSIA HOUSE (1990) 
Never say never. I totally agree as well, and I'm not even a Jerry Goldsmith fan. I only own three or four of his scores. (Don't get mad anybody, it's not that I don't think he's good, just that I've heard very few of them.)
Anyway, I think this is a breathtaking piece, and the score is one of my absolute favorites. I also love the film. I think the complicated script by Tom Stoppard was just way, way over the heads of most manistream viewers, who then decided it was "boring." I found it a bit confusing the first time, but on repeat viewings I've come to think it's brilliant.
And Goldsmith's score is one of the most effective I've ever heard. I know effective sounds like a backhanded compliment, but really, many scores that sound lovely actually do little to help the film they're attached to. His work here is inextricably tied up to the film, and shows a tremendous understanding of it.
It was only on second viewing that I realized how his music, and only a few looks from Sean Connery, on the track "Full Marks" tell us that Barley has realized it's all a trap. Goldsmith does this very subtly, because the audience isn't let in on this fact until the very end of the film, but watching it again with that knowledge, it was exciting to see what Goldsmith did with that scene, scoring Barley's growing dread, without showing his hand too clearly.
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difficult!
--Alien, as intended.
Or else: Papillon
or The Final Conflict.
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I agree with just about everyone's thoughts so far, but I am partial to Bruce Broughton's full-blooded curtain call for TOMBSTONE... simply one of the greatest end titles ever, especially when heard in conjunction with the film itself.
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