“SAUL BASS (1920-1996) was not only one of the great graphic designers of the mid-20th century but the undisputed master of film title design thanks to his collaborations with Alfred Hitchcock, Otto Preminger and Martin Scorsese.
When the reels of film for Otto Premingerâ€™s controversial new drugs movie, The Man with the Golden Arm, arrived at US movie theatres in 1955, a note was stuck on the cans – “Projectionists â€“ pull curtain before titles”.
Until then, the lists of cast and crew members which passed for movie titles were so dull that projectionists only pulled back the curtains to reveal the screen once theyâ€™d finished. But Preminger wanted his audience to see The Man with the Golden Armâ€™s titles as an integral part of the film.
The movieâ€™s theme was the struggle of its hero – a jazz musician played by Frank Sinatra – to overcome his heroin addiction. Designed by the graphic designer Saul Bass the titles featured an animated black paper-cut-out of a heroin addictâ€™s arm. Knowing that the arm was a powerful image of addiction, Bass had chosen it â€“ rather than Frank Sinatraâ€™s famous face – as the symbol of both the movieâ€™s titles and its promotional poster.
That cut-out arm caused a sensation and Saul Bass reinvented the movie title as an art form. By the end of his life, he had created over 50 title sequences for Preminger, Alfred Hitchcock, Stanley Kubrick, John Frankenheimer and Martin Scorsese. Although he later claimed that he found the Man with the Golden Arm sequence “a little disappointing now, because it was so imitated”.
Even before he made his cinematic debut, Bass was a celebrated graphic designer. Born in the Bronx district of New York in 1920 to an emigrÃ© furrier and his wife, he was a creative child who drew constantly. Bass studied at the Art Students League in New York and Brooklyn College under Gyorgy Kepes, an Hungarian graphic designer who had worked with LÃ¡szlÃ³ Moholy-Nagy in 1930s Berlin and fled with him to the US. Kepes introduced Bass to Moholyâ€™s Bauhaus style and to Russian Constructivism.
After apprenticeships with Manhattan design firms, Bass worked as a freelance graphic designer or “commercial artist” as they were called. Chafing at the creative constraints imposed on him in New York, he moved to Los Angeles in 1946. After freelancing, he opened his own studio in 1950 working mostly in advertising until Preminger invited him to design the poster for his 1954 movie, Carmen Jones. Impressed by the result, Preminger asked Bass to create the filmâ€™s title sequence too.
Now over-shadowed by Bassâ€™ later work, Carmen Jones elicited commissions for titles for two 1955 movies: Robert Aldrichâ€™s The Big Knife, and Billy Wilderâ€™s The Seven Year Itch. But it was his next Preminger project, The Man with the Golden Arm, which established Bass as the doyen of film title design.
Over the next decade he honed his skill by creating an animated mini-movie for Mike Toddâ€™s 1956 Around The World In 80 Days and a tearful eye for Premingerâ€™s 1958 Bonjour Tristesse. Blessed with the gift of identifying the one image which symbolised the movie, Bass then recreated it in a strikingly modern style. Martin Scorsese once described his approach as creating: “an emblematic image, instantly recognisable and immediately tied to the film”.
In 1958â€™s Vertigo, his first title sequence for Alfred Hitchcock, Bass shot an extreme close-up of a womanâ€™s face and then her eye before spinning it into a sinister spiral as a bloody red soaks the screen. For his next Hitchcock commission, 1959â€™s North by Northwest, the credits swoop up and down a grid of vertical and diagonal lines like passengers stepping off elevators. It is only a few minutes after the movie has begun – with Cary Grant stepping out of an elevator – that we realise the grid is actually the faÃ§ade of a skyscraper.
Equally haunting are the vertical bars sweeping across the screen in a manic, mirrored helter-skelter motif at the beginning of Hitchcockâ€™s 1960 Psycho. This staccato sequence is an inspired symbol of Norman Batesâ€™ fractured psyche. Hitchcock also allowed Bass to work on the film itself, notably on its dramatic highpoint, the famous shower scene with Janet Leigh.
Assisted by his second wife, Elaine, Bass created brilliant titles for other directors – from the animated alley cat in 1961â€™s Walk on the Wild Side, to the adrenalin-laced motor racing sequence in 1966â€™s Grand Prix. He then directed a series of shorts culminating in 1968â€™s Oscar-winning Why Man Creates and finally realised his ambition to direct a feature with 1974â€™s Phase IV.
When Phase IV flopped, Bass returned to commercial graphic design. His corporate work included devising highly successful corporate identities for United Airlines, AT&T, Minolta, Bell Telephone System and Warner Communications. He also designed the poster for the 1984 Los Angeles Olympic Games.
To younger film directors, Saul Bass was a cinema legend with whom they longed to work. In 1987, he was persuaded to create the titles for James Brooksâ€™ Broadcast News and then for Penny Marshallâ€™s 1988 Big. In 1990, Bass found a new long term collaborator in Martin Scorsese who had grown up with â€“ and idolised – his 1950s and 1960s titles. After 1990â€™s Goodfellas and 1991â€™s Cape Fear, Bass created a sequence of blossoming rose petals for Scorceseâ€™s 1993â€™s The Age of Innocence and a hauntingly macabre one of Robert De Niro falling through the sinister neons of the Las Vegas Strip for the directorâ€™s 1995â€™s Casino to symbolise his characterâ€™s descent into hell.
Saul Bass died the next year. His New York Times obituary hailed him as “the minimalist auteur who put a jagged arm in motion in 1955 and created an entire film genreâ€¦and elevated it into an art.”
Text: Â© Design Museum
(TÃ³xico is starting a new long-term project in collaboration with the marvelous and talented Vanessa E. of Blok Design. To get the mind running, we have started doing a bit of research on design in film, and film in design, which is why seÃ±or Bass turned up.)
(More news on this project very soon.)