Word: precredit
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Like all good TV dramas, this one starts with an exciting precredit sequence. The time is early 1979, and the network wars have reached a frenzied peak. Sitcoms like Happy Days and Laverne & Shirley are riding high in the Nielsens. Blockbuster mini-series are vying to reproduce the huge audiences that tuned in for Roots. Star programmer Fred Silverman, the Man with the Golden Gut, is ready to try everything from Gary Coleman to Supertrain in his quest to lift NBC out of the prime-time ratings cellar...
Often the formula continued to pay off. The precredit sequence almost always packed more gasps, laughs and subplots into six minutes than most movies do in 60. It also meant that conventions established in the early films ran the risk of calcifying in the later ones. Plenty of cleavage, but no nudity. Innuendos but no dirty words. Most important, a dogged adherence to old-fashioned storytelling -- which, in an industry that has thrown narrative logic outuendo, can make an 007 film seem slow moving. But Bonds were never aimed at the thrills-above-all youth market. Or even, primarily...
...virgin and seer, is to be sacrificed for betraying Mr. Big. There is much preparation, much ritual: fires, effigies, wild-eyed primitives, coffins full of lethal snakes (phony) and about 1500 natives who move in sequence looking possessed. This scene is so good it is repeated, first as a precredit vignette, and once with Solitaire as the finale. Solitaire is dressed in virginal white, and is led, amidst much kicking and screaming to the place of sacrifice, where she is confronted with a poisonous snake; it will presumably bite her somewhere around her lowcut Empire style bodice. It doesn...
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