Saul Bass Title Design
Seconds, John Frankenheimer, 1966
“I’m ready for my close-up, Mr Bass.” Cecil B. DeMille has nothing on Saul Bass during the title sequence for Seconds, in which Mr. Bass uses the camera lens like an operating tool - an appropriate choice, as John Frankenheimer’s tale is one of identity alteration via experimental surgery - poking, prodding, stretching, and generally warping the poor head of his lone male subject.
Bass’ extreme close-ups of orifices - mouths, ears, eyes, nostrils - reveal the inherent horrors contained in the human face, while simultaneously pointing out the hollowness at the center of the film’s experiment.
via the favs of one year by Martin Klasch