Austin Powers: The Spy Who Shagged Me (1999)

“When a problem comes along, you must zip it!” — Dr. Evil

The opening title sequence to Austin Powers: The Spy Who Shagged Me, the sequel to 1997’s International Man of Mystery, is a rambunctious celebration of film history, the 1960s, and visual comedy. Moving smoothly from one ode to another, it gestures rapidly toward its influences: Star Wars, James Bond, Barbarella, The Party, becoming a seamless blend of cinematic appreciation. But the swingin’ sequel wasn’t always in the cards.

In 1997, when the first film came out, it did not have a successful opening weekend. But thanks to VHS and DVD rentals – as well as a plethora of infectious catchphrases – it became a cult success. Soon a sequel was greenlit and Austin Powers creator Mike Myers and screenwriter Michael McCullers crafted a new story for the superspy: The Spy Who Shagged Me, a saucy play on the James Bond title The Spy Who Loved Me. It was set to release in the spring of 1999. Unfortunately, so was the reboot of the Star Wars franchise.

Luckily, this proved a ripe moment for parody, leading to a hilarious teaser trailer that encouraged audiences to see the new Star Wars as well as the new Austin Powers. This nod to Star Wars was carried over into the film proper, with the opening images featuring a starfield and yellow typography. Simultaneously, the first notes of a Goldfinger-esque ballad can be heard, performed and written by rock band They Might Be Giants with Robin Goldwasser on vocals, her soulful timbre reminiscent of great Bond theme singer Shirley Bassey. In this way, the film begins on the perfect one-two punch, riffing on the longest running and the top-grossing film franchises in history, Bond and Star Wars, respectively.

Next, after scenes in which Dr. Evil returns and Vanessa, Austin’s love, is revealed to be a fembot, Austin celebrates regaining his bachelor status by stripping down to his kibbles n’ bits and cavorting majestically through an elegant hotel. The titles, designed by Robert Dawson, appear atop and alongside Austin’s bits in bright pops of a typeface now known as Doobie.

Austin shakes and shimmies through the lobby and past crowds in formalwear, the credits acting as perfectly placed censors, echoing the typography of 1960s film Barbarella. When Austin enters a dining room, a man holds a nutcracker and a walnut just so, a “Casting By” credit erupting from it. In a second, a hand is grasping a large banana, the cyan credit for “Music Supervisor” bursting nearby, and two rabbis are slicing a large brisket as Austin winces in the background. The final credit-as-censor is placed atop his bikini area as he jumps into a pool and the action moves squarely into the realm of Busby Berkeley musical. Next, Austin wears a neon pink bathing suit as part of a troupe of synchronized swimmers, throwing his arms about in tight formations, his curly chest hair and thick-rimmed glasses setting him apart. As Quincy Jones’ “Soul Bossa Nova” nears its end, Austin emerges from the water for the big finish, miraculously dry. Another larger-than-life entrance for a character that deserves nothing less.

A discussion with Austin Powers Director JAY ROACH and Choreographer MARGUERITE POMERHN DERRICKS.

How soon after Austin Powers: International Man of Mystery did you know you were going to do the sequel, The Spy Who Shagged Me?

Jay: Pretty much right away, as soon as it looked like it was going to have some kind of a following. It was early, early days, ‘cause Warner Bros. was one of the first studios to do DVD and both the DVD and the VHS kind of took off! They said, “Okay, now it’s a cult hit. Will you make another one?” So…

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