Collative Learning SUPERMAN: THE MOVIE title sequence film analysis
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- Опубликовано: 12 апр 2019
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A few people have mentioned that this video uses the special edition 2.5 hr version of the film rather than the theatrical release, which was just over two hrs. I should have mentioned that in the video, so apologies for that. The sound mix in the titles is quite different I agree, but I personally think the special edition sound remix of the titles is a big improvement. The sequence is still outstanding whichever version you go with and, to my knowledge, director Richard Donner worked on the special edition update anyway. Cheers.
2:15 = the daily planet logo going around the globe is foreshadowing of Superman flying around the globe at the end of the movie to reverse time
5:20 = the sound of steel bars slamming (like a jail cell) around S logo is that he is "the man of steel"... further echoed by the diamond shape
Dope video rob ager
I remember seeing the extended version in the theater when I was 4. It came up in conversation the other day as the last movie I remember seeing that had an intermission.
I love how when the curtains open from 4.3 to Widescreen and the music goes from Stereo to 5.1 sends shivers down my spine everytime. Another little detail people tend to miss if watching on a standard sound system. I also noticed a slight difference in the music when the Superman text appears. Which could be due to speaker technology. It seems to be much higher pitched or in another key on my new speakers compared to my old ones.
Superman is The Post-Modern Gilgamesh Myth. The grounding of the story is essential.
even after all these years, watching this sequence gives me goosebumps!
The movie, superman returns : strongly emplies that superman is supposed to be Jesus Christ
It's John Williams' score. Inspired by Strauss' Also Sprach Zarathustra, Williams came up with arguably the all time greatest cinematic main title theme.
@@DorktimeBwuds Not arguably. It's a fact!
@@CapitanJusticia I want to sit with you in front of the opening titles of 2001, the Shinning, Star Wars, Terminator 1/2, Willow, Watchmen, Alien, Enter the Void, Fargo, Raising Arizona, Lord of War, Vertigo or most anything by Saul Bass and see if you're still so sure of the facts afterward.
Justicia, while Williams is undeniably a master at his craft, and one of the best composers in film...listen to the main theme for the good the bad and the ugly.
A happy childhood memory. Music by John Williams always made a movie feel epic and uplifting.
The ghostwriter of the screenplay also wrote the music. Same thing goes for Jurassic Park, Indiana Jones, Star Wars and Back to the Future Ect...
I'm clearly the only one who prefers the TV series "Superman: the adventures of Louis and Clark" to all of the other Superman adaptations. The music works better and the characters have more depth. We're taken to Clark's first studio apartment before being inducted into his strange interests and the emotional turmoil beneath his tough exterior yet conventional sports passion. Louis has her favourite restaurants, dietary obsessions and past of promiscuity countering her current more disciplined nature. Perry has his endless Elvis anecdotes, compulsion to wacky, exotic ways to treat the blood rate constantly rising due to his explosive temper and tendency to be moving in spite of his cut throat nature. The best are the villains involving a more sophisticated Luther, marshal artists, clones, Nazis, occultists and temptresses none of whom come close to the boring Kryptonoan's, Nuclear Mutants and outdated computer genius' of the movies. Plus Louis and Clark deals with fascinating themes like sexism, migrant subcultures, aging, homelessness, entertainment and self acceptance which the cardboard characters of the movie don't begin to address.
The music actually speaks the word "Superman" when the title comes on the screen.
Haha, yeah.
@@collativelearning Donner makes that observation on the highly entertaining (and very frank, from his and "Creative Consultant" and actual massive re-writer, Tom Mankiewicz's points of view) Special Edition DVD release. It's also true of the theme from the 1940 Max Fleischer SUPERMAN animated shorts. Maybe Johnny Williams was inspired by that.
It suggests the name, yes -- this is what lietmotif is all about. *BUT* musicians and composers would also be the first to say to you, sometimes it isn't helpful to add words and concepts to a musical phrase as if that is the Only meaning, because Music is capable of implying radically opposite meanings at the same moment in musical time. "Double-Think" isn't difficult in musical terms... it becomes confusing only when we assert absolute meanings, generally with words attached.
I'll even prove my point to you -- "Is that a Bird? / Or is it a Plane?" -- Try singing that along with the main phrase, instead. See how fast the rest of the verse could write itself, even with comic or sarcastic relief...
OH YEAH, the "main phrase" I mean is the pentatonic one -- Do Do So, "Is that a Bird?" / So La So Fah So "Or is it a Plane?"
@@jamespfp Like "Can You Read My Mind?"
I saw this film on December 26th of 1978 with my late father and three older brothers. It remains a key memory of my childhood and these opening credits still move me very profoundly. Late last year, I was able to take my adult son to see this in the theater for the Fathom Events 40th anniversary screening and was blown away. This is a film that must be seen on a theatrical screen with an audience to truly appreciate how special this film is.
I think this is a terribly underrated movie. I love it right from the opening credits. It might even be John William's greatest score. A wonderful movie.
How is it underrated? It made a ton of money, had fantastic reviews, and for many Christopher Reeve's portrayal of Superman is THE definitive version.
It's not underrated..... many people don't watch it because they think that Superman is very op and the movie is so cheesy.... Raimi films are more cheesy why not that?!
Underrated??
@@johnfitzpatrick3094 Yes, I think most people consider this a so so early comic book movie. It routinely gets 3 out of 4 stars whenever I see it listed on TV schedules like TV Guide and such. I think it is the best comic book movie of them all. It has a lot of heart, a really great film.
underrated....with 3 sequels after it. Hmmm.
If I may:
I saw _Superman_ during its original theatrical release.
During the 1970's, Superman's media background at that time was the comic books, and a weekly black-and-white television show (which went into syndicated daily re-runs on local stations, frequently aired after school let out). Comic books at that time were more or less regarded as literally pulp fiction, and the Superman TV show was definitely on the low-budget side of things, even for its era. In other words, this was to all appearances (at the time) a chintzy property. So when the first trailers for a Superman movie came out (the flying through clouds one), one widespread reaction was, "Why?"
Be aware that, barely a year earlier, _Star Wars_ hit the scene, kicking up the standard for special effects by an order of magnitude virtually overnight. So later trailers emphasized the tag line, "You'll believe a man can fly." But there were still many questions. Would the film have _Star Wars_ level visuals, or the visuals that were deemed acceptable a year prior when the movie was still in production? Would it be a period piece, set during the Depression or WWII? Would he be doing the thing with the phone booth?
Finally, the film premieres. We open to a black-and-white 4:3 image, with the title key establishing a date: "June 1938". We then fade in to a comic book, as a child reads aloud from the pages of Action Comics Issue #1. The framing curtains, and the surface behind the comic book (carpet? table?) are both definitely Art Deco in style. We dissolve into a rather decent-looking model shot of the Daily Planet building (all by itself, a far better effect than the TV show ever had), languidly zooming in before we pan up and over the moon. (Oh, did I mention that, in the opening credits to the weekly TV series, Superman was standing in front of the Earth and Moon, with the American flag waving behind him?)
In other words. the filmmakers were playing with the audience's expectations, touching on the iconography of all things Superman that had gone before, and perhaps setting up a further expectation that we're going to get more of the same.
...And then, as if to say, "GOTCHA!" Alexander Salkind's name blasts out of the screen, and blasts aside those expectations, letting the audience know in no uncertain terms that, nope, this is not going to be like any of that.
And for those who whine that the credit sequence is a little too long and self-indulgent, there's a reason for that: It's to let John Williams' iconic score play out completely. Because not only does it set the tone for the movie, it also effin' deserves it -- because it's _awesome_.
So, yeah, that was kinda my take on it in retrospect -- they basically set you up for that "Whoa!" moment right out of the gate.
Great analysis Rob! I remember, quite vividly, going to see this film at 11 years old. Back in those days, many cinemas had lights at a certain level as the moviegoers would arrive and fill the seats. When the film was about to begin, the lights would dim, a curtain would slowly pullback and then the main show would start.
In the case of Superman, the first image seen is a curtain slowly pulling back to reveal the 1938 comic book, the child opening it and reading, with the black and white images of the daily planet, the moon and then off into space...
And then, my imagination went wild with the flying letters and musical buildup. In the cinema, with the big screen and stereo surround sound, it was very exciting!
Superman is a great film because the filmmakers took their time to give us meaningful details about him. Jor Els speech, the concerns of his mother, the extended (and harrowing but beautiful) destruction sequence of Krypton (in the original version), the death of his earth father, the call of the crystal and that moment when he tells his earth mother of his need to leave (with that great early morning scene on the farm out in the fields) , his trip to the north... All of this backstory sets us up for the pain and anguish Superman feels when Lois dies later... We can empathize with this superhero because we really know him, know his journey, how far he’s come, and that he is a good person who has love for his family, friends and love for a special woman... And he defies one of the basic tenets laid out by Jor El because he can’t bear to lose her... As he does this, we hear the quote from earlier when his earth father dies. “Even with all my powers, I couldn’t save him”.
No superhero movie is ever likely to come close...
PS: Mario Puzo should have won an Oscar for his screenplay...
I finally watched this again with my family a few months ago, and for the first time the title sequence wasn’t boring, but instead it was hypnotic, riveting, and exuded glory. The words holding a second before “letting us pass by them” is a damned cool effect.
The best superman
Yeah. The new Superman movies are trash
NO modern composers can match!!!!!
I must have been six or seven when this movie came out. I remember people excitedly talking about the opening titles. Not just kids my age, but also adults. It was something that had not been done or seen before. Combined with the soaring musical score the result is a synergy of audiovisual perfection.
I wish the the credits were longer!
Everything in the context of it's time. Believe me when I say that in 1978 nobody in the theater thought this title sequence was a little long or boring. We were all wide-eyed and exhilarated. I remember people gasping. Only the opening crawl of Star Wars and the jump to light speed had given us a hint of what we were to fully experience here. This incredible title sequence made a big promise that the film actually delivered!
I remember as a kid being so impatient during the title sequence. If I was watching it on tape I'd fast forward through it. I also usually skipped the first half of the movie too.
But in my adult life I've always loved this sequence, its one of my favorite parts of the movie and if I'm watching it I never skip the first act.
WRT the movie in general, I love how its divided into three types of mood settings. The beginning on Krypton feels theatrical in almost a Shakespearean manner. The Kansas part feels like a Norman Rockwell painting or a 40's or 50's movie. When we get to Metropolis it feels 1979 contemporary, like it could be a movie like The French Connection or Serpico.
Yeah the first half pulls the adults in and makes the kids wait. I love that. Great point about the changing styles throughout the movie.
Superman 1978 was simply the first super hero movie of the post-Star Wars era. It was a sight to be seen much like the opening sequence of the Star Destroyer. Sound effects, visually stunning, and a sweeping score set the tone for what one was about to see.
Still the greatest superhero film ever made.
Don't say that to fans of current superhero movies 😉
I went back and rewatched the Superman Returns titles because there were a few things i noticed when you talked about them at the end of this video. First as much as they tried to recapture the grandiose scale of the original titles it’s obvious they wanted to hurry up and get to the action of their film without spending too much time boring us with the titles, this is obvious in several title credits like the mentioning of John William’s theme. You’re barely given a second to read his credit before it’s already flown by the screen, where as each and every credit in the original is given ample time to be embedded into the viewer’s memory. I did however notice something about the Returns titles I never picked up on until this time around....the original titles leave the Earth to end at Krypton, the Returns titles do a complete reverse to end up back on Earth.
Striking observation about the diamond-shaped S shield suggesting the Kryptonian crystals. I'm glad I subscribed to your channel!
One of my favorites. You could easily do an entire video on Christopher Reeve's performance. In my opinion, he was the only actor who was able to differentiate the characters of Clark Kent and Superman.
In Man of Steel, Henry Cavill is always in "Superman" mode. The way Reeve can change from Clark Kent to Superman (often in a single gesture) is incredible.
I also recommend reading Mr. Reeve's autobiography "Still Me". It's an excellent, moving book!
Yes with Reeve it always seemed believable that nobody would recognise him, both in how he looked and how he behaved. With the others not so much
I watched it two years ago and was impressed that his body language and expression are totally different when he is either Clark Kent or Superman. It is most obvious in the scene when he takes off his glasses in Lois' apartment. It is not just his shy demeanor as Clark, but details like sagging shoulders. I don't know if they do similar things in today's superhero films, but I don't care enough for them to actually pay attention to it in that way 😉
The first act is perfection.
All of your sound effect observations are based on the controversial remix done in 2000/2001. The latest 4k release has the original 1978 audio, which is vastly different. For instance, the slamming effects you point out for the "S" reveal and Donner directing credit are not present in the original mix.
Yes it is, the special edition 2.5 hr is my favourite version and Donner himself worked on it apparently. Personally, though I like the original version anyway, I think the sound remix for the special edition was an improvement. I didn't realize the sound mixes were so different though. Cheers.
Thank Christ. That remix was awful.
@@spockboy The original 6-track (prepared for the 70mm prints in 1978) is the default audio option on the 4k disc. It features directional dialogue and split surrounds.
Indeed the 4k finally restores the much superior 70mm mix which was previously only available on Laserdisc. This mix starts in mono and then for the opening title transitions to full surround in one of the most perfectly executed transitions ever done. This mix is much more engaging than the almost flat stereo feeling original Dolby stereo. Each mix was done separately and unfortunately the test mix with split stereo surrounds was never used. Personally I really abhor the new effects of the remix and with the 70mm mix now finally readily available again there is no need for it.
The "S" on Superman and his father's outfit represents the Brotherhood of the Snake - the oldest secret society. If you look closely you can even see the eye of the snake in the logo. Every fantasy film tries to sneak in the snake logo at some point. Look it up. Look up "Michael Tsarion" and "Jordan Maxwell". Also look at the US dollar sign and the medical logo - again the snake logo symbolism. The Superman S logo is an example of exoteric and esoteric symbolism. For the masses, S represents Superman, but for Illuminati occult initiates, it represents the Brotherhood of the Snake. That's how it works, secrets are in layers.
Red, yellow and blue swirling would account for the purple/mauve waves and the "S" looking darker/"bronze".
Red + yellow = orange
Red + blue = purple
Orange + purple = dark orange/brown/bronze
Also, indirect light source causing "shade".
Before I start watching your video, I must tell you that I saw this in the theatre on one of the last giant screen cinemas when I was a teen (I also saw "That's Entertainment!" there too. My best friend's big sister worked for the movie theater then. This was, I believe, at the Hyatt on El Camino in San Mateo, California. The theater was packed absolutely solid. We had to sit in what was the smoking section back then, on the right side of the aisles. I recall the hairs on my back and neck and arms standing up during the opening credits.
I wonder if we share distant relatives. Coozins, as yewd say.
Best title sequence of all time.
You’re the man, Rob. That was cosmic brilliance (sincere).
I would literally play the intro over and over pretending to fly around my living room while my gma probably thought wtf is wrong with this child
I always get nostalgia overload from Superman: The Movie, Raiders of the Lost Ark, and Star Wars in no small part because of John Williams. :)
And, you've basically summed up what it was about Richard Wagner that made so many people sentimental about him, even if they disagreed vehemently with most of what he believed, or thought.
Fantastic analysis ✅
The effect of the opening credits to this day are larger than life...modern cinema just can't match this emotional effect; also immediately tells the viewer that this won't be campy Batman
'ALEXANDER' is also the first name/word on screen, which could be a bit of cinematic foreshadowing to the Iranian Revolution.
The opening title sequence for this movie is easily one of the best ever created in film. It is gripping and gets you pumped to see the movie. They don't make them like this anymore, and I'm saying this as a guy in his twenties.
I like how Stuart Baird and John Williams names have more emphasis and is accented with the music. 11:07
Everything about Superman the Motion Picture is great.
My favorite movie of all time
While I agree with the criticism of the Superman Returns trying too hard, I will say that the tiny little addition of the Superman theme to the end of the Warner Brothers logo music snippet STILL puts a chill down my spine!
The intro brought the viewer along through the birth?/rebirth or simply journey of kal El/Clark Kent/Superman and created tremendous empathy for the character. Virtual reality before it's day.
@8:07 The orange flashes I think are either supposed to be solar flares off the sun or superman's cape fluttering.
Yes I had both those thoughts too. Interesting being that Superman is associated with the sun in the final shot of the movie and the logo is yellow and red - like the fires of the sun. The logo version on the back of his red cape is solid yellow as well.
Theres an irony of superman being energized by the sun, considering the historical images of the character famously punching nazis, who themselves are adorned with swastika sun symbols. I refuse to think this as coincidence.
@@jasonsoliva6678 Yeah the age old sun worship contradiction in enlightenment philosophies.
Collative Learning - The yellow like you say representing Earth’s sun and of course the red representing Krypton’s which makes the two of them in his chest symbol interesting in their intertwined-ness.
My first film at the cinema, went with my dad when i was 4 years old. Love it to this day.
The problem with Superman Returns wasn't the title sequence, it all started with.."A john peters film" that's where the problems began, and that it was missing a spider.
One of the best John Williams scores.
Artemis Good Fortress of Solitude: ruclips.net/video/pxBARWspfkY/видео.html
Williams’ poignant blend of suspense, wonder, awe, fear and triumph. Nobody grips my emotions like this. Michael Giacchino comes close though.
This is amazing, as I’ve always been a fan of this title sequence and others thought I was crazy for loving it so, ever since I was 11 when I first saw the movie. Turns out I’m not crazy at all!
8:04 the 'flashes' might be his cape. He then flies by at 8:13 in this video.
Planet Krypton I actually play quite loudly when I'm sitting in the house sometimes, it gives me an enormous sense of wellbeing
The Roo PARKLIFE!
I remember the first time I saw this in a theatre, after the end of the title sequence, some guy in front of me whispered, "That alone was worth the price of admission." You can say that again.
Fun fact: Toy Story 2 BRILLIANTLY pays tribute to this opening with ITS opening credits! One iconic franchise saluted another.
You put into words exactly what I’d been feeling all these years... for some reason this film has come back to me. I haven’t seen it for a long time. But it’s been calling me like the crystal in Clark’s barn... I think I need to see something pure, something devoid of the cynicism and doubt of our present era
The title sequence of Batman (1989) was pretty badass
In the opening of Superman Returns it is a POV of the ship that Clark is in returning from Kypton. You see the ship getting gravity assist by circling some of the other planets.
Well for me it's the best movie opening and always has been. I saw this movie long before I saw Star Wars as a young teenager. I have a huge framed poster of Superman: The Movie in my office. The music has always seemed innately warm, feeling of belonging and sense of being home to me. My mum saw the movie in the cinema whilst she was 4-5 months pregnant with me. I have no idea if there is indeed a link there. But it is a cool thought considering the themes of the film. To me it will always be the best super hero movie.
Seeing this on the silver screen is unforgettable. The way the receding curtains and then the first title coming towards you draws you right into the screen. It's such a brilliant effect.
Brilliant.
I always thought the opening title sequence for Superman The Movie was special. It was the first time in movie history that a comic book character was portrayed as real and the beginning of the movie pushed the boundaries of that reality as much as the curtains and the movie theater screen were pushed aside as the title sequence began. It becomes a euphoric journey to Superman’s home world of Krypton, long before he was even Superman. It wasn’t until watching this analysis I realized the predominant colors in the title sequence are blue orange-yellow and red - the colors of Superman’s costume. And also, once our journey to Krypton is complete, the very first line of the film spoken by an adult Jor-El are the words, “This is no fantasy.”
Could you do a study on the title sequences of the Sam Raimi Spider Man trilogy. Those are my favorite title sequences. I love how each one has a different variation of the score based on the villain of that movie. Great video!
The orange flashes resemble the flattering red cape of superman. To give the viewer the impression of flying with superman. Subconsciously...
To this day, this is my personal favorite film title sequence of all time. I was 10 when I saw this in the theater and it was the first time the title sequence seemed just as important as the film, itself. The wonderful "trip" through the universe to reach Krypton really did give the impression of billions of light years traveled from the Milky Way to the Zeno Galaxy. It's a wonderful set up accompanied by, arguably, the greatest title music in a soundtrack.
This is actually the first movie I saw in the movie theaters!
Donner also put a special ring around the creative consultants name who did most of the rewrites.
Donner's title slams together like a great set of teeth
The orange flashes i always thought was his cape when its Christopher Reeves.
It's actually just random bits of the work of Peter Parks, who generated almost all the macrophotography you've likely ever seen, or his son. It's made by squirting various liquids together while photographing with a microscope. Superman, Flash Gordon, etc. all the same guy and people license his work.
@@SeanCC Thats cool, It still looks like a cape though when Cristopher Reeves name come into the title in the original opening.
The rest of the effects, I can now picture it better how it was done thanks dude.
Just like the Stargate sequence from 2001: A Space Odyssey, influenced the title sequence for early Tom Baker stories as Doctor Who. I can’t help but feel the title sequence for this film and when Jor-El finally makes his 1st appearance to Clark in the Fortress of Solitude, influenced the Star-Field title sequence for Tom Baker’s last season as the Doctor.
Brilliant
#nice work Thank you
Another difference which perhaps impacted the mood is that the original had a dedication to Geoffrey Unsworth prior to the start, while Superman Returns held off on a dedication to Christopher Reeve and Dana Reeve until the end credits.
I respect your restraint. I don't think I could have resisted having my own credit at the end do the swoop and swoosh thing itself.
Haha, restraint or laziness. I'll let you decide ;)
Neil Bulk beat me to it, Rob. I really wish you weren't using the 2000 remixed audio track in which they completely replaced (and most feel, overdid) the credit sound effects. There was NO "slamming sound" in the original award-winning sound mix done at Pinewood Studios by the legendary Gordon McCallum and the finest team of sound engineers in the UK. You'll find this mix in the audio selections on DVD and Blu-Ray and notably it is the DEFAULT track on the 4k release. You need to refer to that track in order for your comments about the sound effects to be valid.
I'm sorry, but I actually think the Superman Returns logos look much, much better as they fly past the camera. Just a smoother and more convincing appearance. You're correct in that the "impact" of the titles in the newer film are not as effective, mostly because of the sensational music of the original. However, the graphics look much better in the newer version in my opinion.
The music sets the tone for the whole film. That music is SO dramatic and emotional, along with the titles...an incredible feat.
I've always suspected there was a sort of subliminal breaking the 4th wall theme going on in the first superman movie. From the opening comic book drawing of the Daily Planet, to the scene where Zod and his followers are banished into the 'phantom zone' (they literally look like they're being shoved into a miniature cinema screen that is then 'thrown to the side' of the narrative), to the very end where Superman literally rewinds the narrative of the film by flying around the earth. This would fit in with your suggestion of the opening titles "opening up" the cinema screen as it's a way of reminding us that we're entering the fantastical world of the film itself.
Yes, and Superman looks at the camera in his final shot and smiles.
Let the record show that the sound mix used here was not the original 1978 sound mix, but the remastered and enhanced version produced in 2000. The original mix did not have the “slam” sound effect on the logo and director’s credits, although they were special in more subtle ways.
Perfect !
Good quality swooshing.
Maybe now it's a hoohum, but for those of us who were in the original audience, simply put, it was mind blowing. We hadn't ever seen anything like it before. We.Were.Amused.
The credits also had the grace to list Jerry Siegel and Joe Shuster as the creators of Superman. They had been cheated and ignored for far too long.
For extra fun, put an oscillating fan in the room when you watch these titles!
Thanks for this. I was pretty young when I went to see this (ABC Nottingham) and that first hour nearly broke me - my Mum nodded off for sure. Those titles though, actually scary it was so loud and so bewildering I remember clinging onto my mums hand for dear life lol. Just wonderful.
Must not forget that the marketing for the movie included a lot of word of mouth and buzz about the size of the cast. The Salkinds had assembled and payed for a huge cast of stars (Brando, Hackman, Howard, York, Ford, Beatty and others) who were well known 1960s and 1970s iconic international stars. The titles were a sort of unveiling, an unwrapping of a Christmas present for the audience. Another point of interest was that the title design had some kind of rapport with Star Wars' opening scroll. A sort of comic book graphic short hand that had been discarded for many decades and brought back into fashion by George Lucas. Not many 1970s movies had used Saul Bass like graphic titles (a la North by Norwest or Psycho). For contrast you should put in a clip of the titles for The French Connection or some other 1970s blockbuster. Most of them just had simple titles appearing on a background image of one of the main actors making coffee before getting on with his or her day. Many didn't even have music in order to establish a more realistic mood. The Salkinds (compare The Three Musketeers) were into the spectacle of their movies. The sense of showmanship.
Seems they were trying a lot of tricks back then. Marshall McLuhan talks about how with TV the viewer "is the screen"....but with film the viewer is "the eye" "the camera". So I wonder if they used the wraparound 3D titles to create more involvement, like how television involves us.
John Williams is a fucking legend including Jerry Goldsmith.
Rob, it amazes me how you see all of these details. Another great video, thank you.
That slamming sound after the Richard Donner credit might have a mundane reason.
Donner is the german word for thunder and if you listen again you will even recognize a typical rumbling sound right after the slam.
Fantastic video. Thank you for yet another great analysis, Rob
If i remember correctly in older films credits had to be played at the beginning, I can remember this was a legal issue for George Lucas concerning Star Wars (Monty Python Send up the credit sequence in their Holy Grail film), So at the time it would have been usual for lengthy credit sequences at the beginning of the film whether people liked this or not it would not likely to put people off as it was more of a norm. I think this film then uses this issue to their advantage im the way you have described. Maybe it would be an interesting study to look at how films get round crediting obligations for films (I think you did comment that people dont pay much attention to credits), as you do tend to get people leaving during the end credits unless they are expecting extras or stylistically interesting.
The only emotional hoorah in the newer sequence was the Siegel and Shuster slate. Good place for it, I suppose.
I had the fortune of seeing this for the first time on the big screen a few months ago for a Fathom Movies event. As a child, I saw parts 2 and 3 on the big screen but never part one as I was only 2 when it came out. But, that score and those titles, even on TV, always felt HUGE to me! However, I wasn't prepared for how powerful it was seeing it in an actual movie theater! I legit teared up as I felt like a 5-year old, like I was seeing it (and hearing it) for the first time! Williams adds so much to this film's heart with his iconic score and I think we can all agree there has never been a better, more fitting Superman score since. What I always have loved about these credits is basically everything you just described, Rob. They transport us, they inspire us, they prepare us for the huge adventure that awaits. And it's just perfect that the first words uttered in the film are "This is no fantasy. No careless product of wild imagination." Thanks, Rob, as always!
I saw the original in 70mm, the credits were big, cinematic and emotional. The latest were cold , small, clinical and unemotional.
Ok let’s sum this up in ten seconds:
It’s the journey from comic book to the big screen, using the journey from Earth to Krypton.
One of the most memorable title sequences i remember seeing in the cinema was 'Signs' with its abrasive and unsettling score.
Check it out, it ramps up in intensity from subtle and unsettling fades all the way to the titles slamming into focus, much like the advancing stages of the invasion
My favorite title sequence is Alien- the hieroglyphs gradually coalesce into the word the same way the glimpses of the alien leave you wondering what it is you’re looking at until the end when it is fully framed. I saw the movie before the monster was ubiquitous and up into the end I didn’t know if I was looking at its ass or it’s head or if it was upside down or what it was suppose to look like
10:53 to 10:56 looks like it’s creating the Superman logo.
Why not analyse the whole film. It's such a beautifully put together piece of art. Everything element has filmmaking crafts blood sweat and heart in it. From a terrific era in cinema.
Am working on two more longer videos. First will cover the whole opening 50 mins.
@@collativelearningThat's actually my favourite bit now. Course when I was a kid I couldn't understand what all this pre amble was and when the red and blue suit gonna appear.
Rob you could make a half hour video out of a frame. Impressive, we take stuff like this for granted, but when you see how much went into it, you really appreciate the time and effort the filmmakers took to make just a title sequence
I don't know if you are a fan of Classic DW, but it would be interesting to see you discuss the title sequence of the early days of Doctor Who
I'm still waiting for a better title sequence for a movie.
As always a very insightful watch....thankyou.
The letter S on the Reeve's and Brando's costumes looks like a serpent.
my thoughts about this.........
limit their technology and they become more creative
Someone: SUPERMAN: THE MOVIE title sequence film analysis
Me: I'm listening
Shape of Superman’s sign = 💎 Crystal prism of consciousness, The “S” shape within Superman’s sign = encased frequency wave 〰️
Brando earned his 100k per hour or whatever it was.. I’m putting “the son becomes the father, and the father.. becomes the son” on my tombstone.
Some criticize his performance, but I found him perfect in the role.
The movie is still pure magic. Those 10 years between 1975 and 1985 really established the template for everything that came after. The blockbusters, superheroes, special effects, ...