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) > [log in to unmask] > > ---- > Online resources for film/TV studies may be found at ScreenSite > http://www.tcf.ua.edu/screensite > ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama.