Image via Complex Original
Saul Bass achieved huge successes creating iconic logo designs for corporate America, but the graphic designer moved to film later in life. Rather than using the redundant "identification tag"-style that was commonly used for movie opening credits during the early ’50s, Bass was a pioneer in modernizing opening title sequences. During his 40-year career designing for film, Bass worked with some of the most epic directors, from Stanley Kubrick to Martin Scorsese, Otto Preminger, and Alfred Hitchcock.
A Bass title sequence immediately silences the audience and prepares them for what was about to unfold. The native New Yorker's prolific portfolio remains timeless, and his legacy lives on today through streetwear appropriations, text book teachings, and art school imitations. There are many sick Saul Bass films, but click on to see what we think are Saul Bass' 10 greatest title sequences.
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#10: Goodfellas (1990) DIrected by Martin Scorsese
The simple speeding graphic of the titles in Goodfellas is synced to the sound of speeding cars on an expressway. The idea was to show the fast, abrupt lives of Mafia foot soldiers. Supreme wound up appropriating this horizontal text blur movement for their late ’90s motion blur logo decks that reappeared last season. Youtube doesn't allow us to embed this particular video, but you can see it here.
#9: The Man With the Golden Arm (1955)
Directed by Otto Preminger
The first title sequence that set off Bass' career in film was this one, which he created for for Preminger's highly controversial movie about drug addiction that starred Frank Sinatra. The bent and tortured appendage at the end of the opening credits is a metaphor to the central character reaching out for either redemption or a fix. This title sequence is in every graphic design textbook on the planet.
#8: Advise & Consent (1962)
Directed by Otto Preminger
This sequence features a cookie jar US Capitol illustration followed by Bass' hand drawn credits under a cropped black and white American flag. The flag without stars showcases all the necessary political metaphors about to transpire, and the crudely illustrated Capitol could easily be a logo bite for any brand looking to flex its governmental awareness.
#7: Trapeze (1956) Directed by Carol Reed
#6: Such Good Friends (1971)
Directed by Otto Preminger
In the film's opening, three of the same crossed leg logos converge on a black screen to unite as one. It's so simple but it's highly effective for illustrating the intertwined comedic debauchery between a close circle of Upper New York friends. Along with the Bass-skewed font, this would make for another great logo bite if it hasn't been done already. The film itself was/is highly underrated.
#5: West Side Story (1961)
Directed by Jerome Robbins and Robert Wise
Vibrant colors. Again, more classic Bass use of lines as vertical bars to skew the composition. He uses a kaleidoscope effect as the image finally segues to an aerial payoff shot on Manhattan which ultimately confirms the pattern. Even though it kinda drags, it's a great title sequence to get you psyched for a classic NYC film. Again, another video we can't embed, but if you want to see it, here is the Youtube link.
#4: Anatomy of a Murder (1959)
Directed by Otto Preminger
Toy Machine
#3: Casino (1995) Directed by Martin Scorsese
One of the most gangster opening scenes, period. Deniro turns the key to engage the ignition and boom goes the dynamite. Queue Deniro's silhouette floating through a shimmering and vibrant Las Vegas screensaver ride to hell. Bass obviously had computer help for this one, but it's still sick. This was his last title sequence before Bass died in 1996.
#2: Grand Prix (1966) Directed by John Frankenheimer
Along with the titles, Bass did the montage sequences and all the visual consultation for this film. The commencing wide angle shot of the smoking exhaust and the simple Helvetica title centered just inside the muffler is tight. This title sequence is like a complete viewer body transplant into the inside of a Formula One car, and the pit crew are the surgeons administering the operation. The title sequence alone is the best part of this 3 hour race saga. Also peep game on some of those Bass-choice pre-iMovie and Final Cut effects.
#1: Vertigo (1958) Directed by Alfred Hitchcock
The studio was worried that this movie was going to bomb and it actually didn't do so well at the box office. To film geeks, however, this is one of the greatest movies ever made. Metaphors run wild and trippy Bass elements run through this psychological thriller's title sequence. Then the vertigo spirals kick in, preparing the now tense audience for the two crazed femme fatales that appear next. After Vertigo, Hitchcock hired Bass as his permanent visual consultant.
