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Opening credits: an obligatory process, or an opportunity to present the identity of the picture and kickstart the storytelling? Depending on the movie and director involved, it could be one or the other. While everyone has politely sat through a procession of names and swelling music waiting for the movie to start in earnest, there have been plenty of movies that have used their opening credits to their advantage, creating sequences that illustrate the tone and style of the film that follows, and even going so far as to make them a pivotal element of introductory storytelling.
The very best of them include everything from infectiously fun graphics that beautifully exemplify the playfulness of a lively adventure movie to energizing dance sequences, moody and immersive immersions in tone, and stunning showcases of technical filmmaking craft. With spoof comedies, crime thrillers, superhero action blockbusters, and bleak dramas all included on this list, it is evident that a great opening credits sequence can feature in any movie willing to view them as an opportunity rather than a necessity.
10
‘Goldfinger’ (1964)
If there is one franchise renowned for its opening credits sequences, then it is the James Bond series. Music artists routinely collect Academy Award nominations for taking charge of a “Bond song,” and the visuals typically lend to establishing the style of the story and offering hints as to what will unfold in the film. Interestingly, while Goldfinger is the third film in the franchise, it was the first to present such a sequence, and its impact on cinema at large is undeniable.
Shirley Bassey’s belted-out vocals are as striking as they are enrapturing, giving the titular song an impressionable punch as the lyrics speak directly to the themes and characters in the movie, namely the overarching villain, Auric Goldfinger (Gert Fröbe). Meanwhile, the sequence’s designer, Robert Brownjohn, creates an enticing and eerie visual spectacle by painting actress Margaret Nolan in all gold and using a projector to impose clips from the movie over her, with Nolan’s stillness mixing with the movement of the projector imagery to craft an uneasy yet hypnotic scene shrouded in black. Admittedly, it is simple, and it would be easy to argue other Bond movies have surpassed Goldfinger in this regard, but as an innovative force of what opening credits sequences could be, the 1964 film commands respect and acknowledgment.
9
‘Drive’ (2011)
The entire opening of Drive is a masterclass in commanding style and rich, tone-setting storytelling. Following a prologue of sorts that depicts Ryan Gosling’s nameless getaway driver in action, the film bleeds into a beautiful credits sequence that immerses viewers in a sleek yet seedy neo-noir atmosphere. Neon glows, orange streetlights, and the piercing pink Mistral typeface used for the credits themselves punctuate the deep shadows as the Driver cruises around nighttime L.A.
The gorgeous visuals are perfectly complimented by the use of Kavinski’s “Nightcall,” with the somber synth-infused track accentuating the aesthetic, but also imbuing Gosling’s stone-faced and reserved performance with a poignant air of aching, nocturnal loneliness. Nicolas Winding Refn blends the aerial shots of Los Angeles with the quiet intimacy of the low-lit in-car shots to conjure a credits sequence that is both hypnotic and haunting, as well as delivering an exceptional introduction to the protagonist’s stoic demeanor.
8
‘Austin Powers: International Man of Mystery’ (1997)
Austin Powers: International Man of Mystery is a playful parody of ‘60s spy cinema, and, indeed, the 1960s at large, but it is a parody born from passion and adoration more so than cynical, barbed mockery. That tone of affectionate fun is established from the outset, with the opening credits producing a genuine highlight of the spy spoof classic. Set to Quincy Jones’ “Soul Bossa Nova,” the high-energy sequence of color and choreography engrosses viewers in the swinging ‘60s aesthetic with kinetic buoyancy and plenty of rousing retro charm.
Mike Myers’ unbridled enthusiasm radiates a sense of pure joy. Whether he is dancing in the street, running from adoring fans, or snapping photos while saying his iconic “Yeah, baby!”, his performance of energized excess instantly wins over the audience while introducing the character in all his unabashed, unapologetic glory. Even the visual flair of the costumes, exaggerated ‘60s aesthetic, and psychedelic Cooper Black typography of the title card play into the gleeful absurdity, conveying a winning tone of goofy spontaneity and celebratory jubilation that epitomizes the chaotic comedy of the film that follows.
7
‘Catch Me if You Can’ (2002)
Regarded by many as being Steven Spielberg’s best picture this century, Catch Me if You Can excels as a vibrant, effervescent mixture of con-artist fun and high-stakes adventure. It establishes both of these ideas through its magnificent opening credits sequence which, to some degree, offers a snapshot of the story. Sleek, geometric figures tell the tale as a job-jumping, chameleonic fraud uses his wits to stay one step ahead of his dogged assailant.
Designed as a nod to the graphic design style of Saul Bass by French duo Olivier Kuntzel and Florence Daygas, it captures a sense of minimalistic simplicity reminiscent of the design aesthetic of the ‘50s and ‘60s. John Williams’ breezy jazz score is the perfect final touch, adding an inviting air of playful mischief that hooks the audience before the first frame of the movie itself takes the screen. It’s cute, cartoonish, and a ton of fun to watch, the perfect embodiment of the film that follows, and a rollicking first impression that is not soon forgotten.
6
‘Reservoir Dogs’ (1992)
Few directors have used the opening credits sequences of their movies as effectively as Quentin Tarantino. His immaculate use of music, absorbing sense of style, and infectious tone of violence and effortless cool is paramount in this, and it has never been better than it was in his 1992 debut, Reservoir Dogs. Following a diner conversation that revolves around the ethics of tipping and the supposed true meaning of Madonna’s “Like a Virgin,” the voice of a lethargic radio host ushers in the jingling tambourine and smooth bassline of George Barker Selection’s “Little Green Bag.”
Even just in Tarantino’s directorial credit coming up on an otherwise black screen, the editing of the credits matches the rhythm of the song. This is only accentuated when it cuts to the group of thieves walking through a parking lot and flicks between the actors as their corresponding characters march towards the camera. It is a simple approach, but executed in such a slick manner that it has become one of the more iconic moments of the movie, with its blending of music, ice-cool performances, and nonchalant grit delivering a perfect introduction to the movie right before it descends into cutthroat chaos.
5
‘Vertigo’ (1958)
Defined by their bold graphic design, iconic music scores, and a piercing sense of psychological suspense, the opening credits sequences of Alfred Hitchcock movies were masterful at ensnaring viewers in the tense tone of his stories. His finest example of this is 1958’s Vertigo. It opens on a woman’s face; her unease is contagious. As the camera zooms in on her eye, spirals pull us into her pupil, and then blackness dominates the frame as a procession of colorful, disconcerting Lissajous curves conjure a feeling of dizziness and danger.
The sequence was created in collaboration with John Whitney, whose use of mechanics and early computer graphics works brilliantly in tandem with Bernard Herrmann’s score, which rises and falls in concert with the vibrant vortexes to make for a hypnotic visual display that feels like a descent into transfixion and madness. As an introduction to John “Scottie” Ferguson’s (James Stewart) acrophobia, the opening sequence is spectacular, a masterclass in expressionism that engulfs the audience in an air of unnerving angst long before the details of the movie’s plot are clear.
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4
‘Lord of War’ (2005)
A film that has largely become renowned because of its opening credits sequence, Lord of War features the perfect opening statement to what is a movie about a global arms dealer profiting off terrorist factions in the wake of the Cold War. Rather than emphasizing character, the opening sequence tracks the life of a bullet, from its creation and distribution in a factory to it passing hands between foreign militaries and African militia movements, right through to its use in combat where it kills a child soldier.
It is a brilliant representation of the systemic nature of war, the legal and industrial process that sees responsibility fade away long before a trigger is squeezed. Writer-director Andrew Niccol creates a sense of irony with the use of Buffalo Springfield’s “For What It’s Worth,” with the gentle folk-rock track being tonally opposed to the institutional brutality being displayed, even as it meditative, attention-grabbing lyrics ring as an appropriate eye-opener to the nature of modern warfare. Unfortunately, the rest of Lord of War struggles to live up to its exceptional opening, but that opening alone is a masterpiece of bold storytelling and thematic resonance.
3
‘Seven’ (1995)
In all cinema, no film has used its opening credits sequence to conjure a sense of suspense quite as brilliantly as Seven. The iconic crime mystery thriller is renowned for its skin-crawling detail and unflinching psychological tension, and it announces this from the outset. All the title sequence’s components work together incredibly to pierce viewers with a haunting sense of dread, with the movie effectively forcing the audience to enter the fragmented, depraved mind of a serial killer.
To the tune of Danny Hyde’s grating, industrial remix of Nine Inch Nails’ “Closer,” the sequence only ever offers disturbing glimpses at the killer’s obsession. Flashes of scratchy notebooks, grimy film stock, grotesque illustrations, and extreme close-ups of razor blades define the hostile aesthetic, while the frenetic, janky editing and scratchy, custom-design font only add to the feeling of discomfort and squeamishness. Designed by Kyle Cooper in collaboration with director David Fincher, Seven’s opening credits are utterly ghastly, excelling as a viscerally distressing feat in its own right while presenting the perfect tonal introduction to the film as well.
2
‘Raging Bull’ (1980)
“I like credits. They promise something… they present the picture a certain way.” Those were Martin Scorsese’s words in a 1990 interview with T. J. English of Blank on Blank, and throughout a career spanning seven decades, the esteemed filmmaker has lived up to those words. Raging Bull is the ultimate showcase of this from Scorsese’s filmography, with the brutal biographical sports drama opening with a single, haunting shot of Jake La Motta (Robert De Niro) shadow-boxing in the ring as credits fill the right-hand side of the screen.
Michael Chapman’s black-and-white cinematography is both gorgeous and a powerful emotional catalyst. The framing of the ropes in the foreground makes the ring feel less like an arena and more like a cage, and, lonely in the enclosure, La Motta fights with no one but himself. Even the credits encroach on his space in the shot, keeping him to the left third while flashes of cameras in the background highlight the perpetual, voyeuristic gaze that he lives in. The bold, blood-red title card speaks to a raw and uncontainable rage. The use of Pietro Mascagni’s “Intermezzo” is the icing on the cake, with the operatic melancholy of the track conjuring a sense of tragic damnation and a pitiful tone of aching, eternal conflict that La Motta is enslaved by.
1
‘Watchmen’ (2009)
It is fair to say that Watchmen has its critics, but the opening credits sequence of Zack Snyder’s take on Alan Moore’s acclaimed graphic novel is, without question, a stroke of genius. With Bob Dylan’s “The Times They Are A-Changin’” setting the tone, it runs as a stunning piece of world-building, integrating a snapshot of the past of the Minutemen superhero squad with an intriguing alternate history, with iconic moments like the V-J Day kiss in Times Square, the assassination of President John F. Kennedy, and the Apollo 11 moon landing being re-imagined in the context of the story.
However, it is more than just a transfixing subversion of history, with Watchmen’s opening credits delivering essential exposition concerning the rise and fall of the heroes, highlighting the film’s emphasis on festering Cold War anxieties, and establishing a tone of societal ferocity through bigoted violence and unraveling chaos. Made all the more compelling by its slow-motion pacing, dramatic lighting, and its thematic strength in depicting an America losing its innocence as the Cold War reaches its zenith, Watchmen’s title sequence is a gorgeous, gargantuan feat that is certain to stand for some time as the greatest opening credits display of all time.
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