Sidney Lumet's _The Wiz_ begins over a mural.
 
Scott
 
 
 
On Sun, 3 May 1998, Donald Larsson wrote:
 
> John Doyle requests:
>
>
> > Can anyone suggest interesting examples of opening title sequences
> > that use works of art (paintings or drawings) as a background?
> >
>
> I can't be sure of the following, but the films themselves are at least
> somewhat art-related and I do know that a few of them feature such
> pictures in the immediate credits or just after.  I include fictional
> "artworks" here but not drawings or animations that are designed
> specifically for the credits alone (eg. the Pink Panther films).
>
> LAURA, THE PORTRAIT OF DORIAN GRAY, FRIENDLY PERSUASION (this one I'm
> sure of--a stitched sampler that "comes to life," something of a cliche
> in a number of films), THE HORSE'S MOUTH (with Alec Guinness), Lang's
> THE WOMAN IN THE WINDOW (with E.G. Robinson), Altman's THREE WOMEN,
> PORTRAIT OF JENNY, Hitchcock's REBECCA (featuring the tree that the
> narrator said her father idealized as a subject for painting--may not
> really count), VOLERE/VOLARE
>
> MOULIN ROUGE (Toulouse-Lautrec), THE AGONY AND THE ECSTASY
> (Michelangelo), EL GRECO, REMBRANDT (with Laughton), LUST FOR LIFE (Van
> Gogh) and Altman's VINCENT AND THEO, Peter Watkin's EDVARD MUNCH (and
> check out the forthcoming ARTEMESIA about Gentileschi), the cartoon GAY
> PUREE
>
> FUNNY FACE (drawings from the fashion world), AN AMERICAN IN PARIS
>
> Mizoguchi's UTAMARO AND HIS FIVE WOMEN
>
>
> Don Larsson
> ----------------------
> Donald Larsson, Mankato State U (MN)
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>
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