You know Saul Bass, even if you've never heard of him

2. West Side Story opening credits and poster

Saul Bass had a pretty hefty resume with his design work on logos and films but did you know that he helped create what would become the film musical with the most Academy Awards? That’s right, Mr. Bass helped make "West Side Story."

It starts in Manhattan, on a hot day when the Jets and the Sharks are harassing each other. A game leads to a brawl and a brawl leads to the beginning of the famed Stephen Sondheim musical. Bass filmed the prologue and drew the storyboard for the first dance sequence. The choreographed basketball game and the first street fight – that was Bass’s work.

Bass also created the end title sequence for "West Side Story." After the tragic ending of the modernized "Romeo and Juliet," the screen fades to black and then a wall, covered in graffiti, appears. It was a variation for Bass, whose title sequences had already won him critical acclaim.

Instead of his usual minimalist sequences that were seen for "Vertigo," "Anatomy of a Murder," and "Psycho," Bass went with a filmed title sequence.  The graffiti wall, which could have been deemed as “busy,” instead further emphasizes the urban backdrop for the story. The cast and crew’s names are highlight for the sequence but in the background, viewers can catch glimpses of the actors’ on-screen counterparts.

And Bass’s work with "West Side Story" didn’t end there. The famed graphic designer created the iconic red poster for the film. The poster, unlike the title sequence, was very much in the typical Bass-manner.

From company logos to some of the most memorable scenes in cinematic history, Bass had a career that would (and did) make many designers jealous. His ability to, in his words, “symbolize and summarize” made him a master at his craft.   

2 of 4

Dear Reader,

About a year ago, I happened upon this statement about the Monitor in the Harvard Business Review – under the charming heading of “do things that don’t interest you”:

“Many things that end up” being meaningful, writes social scientist Joseph Grenny, “have come from conference workshops, articles, or online videos that began as a chore and ended with an insight. My work in Kenya, for example, was heavily influenced by a Christian Science Monitor article I had forced myself to read 10 years earlier. Sometimes, we call things ‘boring’ simply because they lie outside the box we are currently in.”

If you were to come up with a punchline to a joke about the Monitor, that would probably be it. We’re seen as being global, fair, insightful, and perhaps a bit too earnest. We’re the bran muffin of journalism.

But you know what? We change lives. And I’m going to argue that we change lives precisely because we force open that too-small box that most human beings think they live in.

The Monitor is a peculiar little publication that’s hard for the world to figure out. We’re run by a church, but we’re not only for church members and we’re not about converting people. We’re known as being fair even as the world becomes as polarized as at any time since the newspaper’s founding in 1908.

We have a mission beyond circulation, we want to bridge divides. We’re about kicking down the door of thought everywhere and saying, “You are bigger and more capable than you realize. And we can prove it.”

If you’re looking for bran muffin journalism, you can subscribe to the Monitor for $15. You’ll get the Monitor Weekly magazine, the Monitor Daily email, and unlimited access to CSMonitor.com.

You've read  of  free articles. Subscribe to continue.