Register to read the introduction…
The characters move through various locations that reference scenes in the film, with Hanratty always one step behind but getting closer and closer to Frank, until they both share the screen at the end of the titles. The credits fade to black just as Hanratty is about a catch up with Frank, leaving the ending open and emulating the suspense that features throughout the movie.
A subtle touch of humour in the title credits, which work to establish the light-hearted tone of the film, is introduced when the credits are juxtaposed with corresponding imagery. For example, the novelist, Frank W. Abagnale, is credited during the library sequence, and the names of title designers Kuntzel and Deygas are displayed on the spines of two books. Similarly, the musician John Williams’ credit is displayed next to a grand piano. The idea of connecting technical credits with related images was often used during the sixties, most famously in To Kill a Mockingbird (1962) where author Harper Lee’s credit appears over one an image of a crayon and pen nib, while the musician’s name is placed alongside a tin …show more content…
Every time Frank’s hand stamped character flits from location to location in the sequence, the titles are referencing the documents Frank forged to grant him access to those locations in the movie.
The designer’s also used the comparative size of Hanratty’s stamped character compared to Frank’s to highlight how young Frank is, despite the fact that he passes for, and is perceived as, an adult throughout the film.
While the score of the title sequence was not a result of the designer’s interpretation of the film’s narrative, I still feel that it deserves a brief mention. The music sets a lively pace to the animation and by its similarities the jazzy score from The Pink Panther; it helps to set the mood for the main film. CMIYC’s producer, Walter Parkes, recalled that,
When we got that music, we were starting to animate in earnest, and we were able to heighten the sense of story and drama. ( … )
In conclusion, I think that the designers of the film titles for Catch Me If You Can do a great job of incorporating and interpreting the narrative of the film into the title sequence by reinterpreting the ‘chase’ and ‘caper’ title sequences of the 1960’s for a modern
A subtle touch of humour in the title credits, which work to establish the light-hearted tone of the film, is introduced when the credits are juxtaposed with corresponding imagery. For example, the novelist, Frank W. Abagnale, is credited during the library sequence, and the names of title designers Kuntzel and Deygas are displayed on the spines of two books. Similarly, the musician John Williams’ credit is displayed next to a grand piano. The idea of connecting technical credits with related images was often used during the sixties, most famously in To Kill a Mockingbird (1962) where author Harper Lee’s credit appears over one an image of a crayon and pen nib, while the musician’s name is placed alongside a tin …show more content…
Every time Frank’s hand stamped character flits from location to location in the sequence, the titles are referencing the documents Frank forged to grant him access to those locations in the movie.
The designer’s also used the comparative size of Hanratty’s stamped character compared to Frank’s to highlight how young Frank is, despite the fact that he passes for, and is perceived as, an adult throughout the film.
While the score of the title sequence was not a result of the designer’s interpretation of the film’s narrative, I still feel that it deserves a brief mention. The music sets a lively pace to the animation and by its similarities the jazzy score from The Pink Panther; it helps to set the mood for the main film. CMIYC’s producer, Walter Parkes, recalled that,
When we got that music, we were starting to animate in earnest, and we were able to heighten the sense of story and drama. ( … )
In conclusion, I think that the designers of the film titles for Catch Me If You Can do a great job of incorporating and interpreting the narrative of the film into the title sequence by reinterpreting the ‘chase’ and ‘caper’ title sequences of the 1960’s for a modern