Write the First Review Mens K-swiss Gen-k Icon Knit Casual Shoes
Billy Wilder directs this adaptation of Agatha Christie'southWitness for the Prosecution, a courtroom drama concerning a man on trial for the murder of an old woman – did he practice it? What'south up with his wife? Will his lawyer's nurse grab him smoking? Equally with Christie's stageplay, The Mousetrap, upon the film's decision, the audition is kindly asked to refrain from revealing its twists and revelations, but we at Eavesdropping at the Movies respect no such requests. Spoilers within.
Charles Laughton is pleasingly hammy, Marlene Dietrich equanimous, and Tyrone Power a loud, sweaty, stressed out mess – and somehow by and large in the background, despite his fundamental role as the accused murderer. We discuss their performances and characters, the pleasures and methods of Agatha Christie'due south mysteries, and Wilder's management, which hopes, in that classic Hollywood fashion, to render technique invisible.Witness for the Prosecution is an engrossing mystery filled with interesting bits of business that enrich its characters, and a classic.
The podcast can exist listened to in the players above or on iTunes.
With José Arroyo of Get-go Impressions and Michael Glass of Writing Nigh Film.
The film that introduced Marlene Dietrich to America, Josef von Sternberg'sThe Blueish Angel tells the tragic story of a man who gives up everything for love. Emil Jannings is delightfully pompous and uptight as Professor Rath, a schoolteacher charmingly disarmed by Dietrich's seductive cabaret star Lola Lola. The two marry, merely unable to change and consumed by jealousy, Rath loses his status, dignity and the woman he loves.
Dietrich is captivating equally Lola, wearing a seemingly permanent smirk of knowingness – much of the movie'southward action takes place backstage, an surroundings she controls effortlessly, in which the fewer items of wear she wears the more than uncomfortable Rath grows. José notes a moment in which she ungraciously adjusts her underwear, and who cares who's watching – Mike remarks upon her legs, which at times are posed and filmed to accept on a grapheme all of their ain. José considers the greatness of Dietrich's collaborations with von Sternberg, of which this was the first, and in particular the way he composes layered, complex imagery here.
We discuss the film'southward characterisation and morality – it'southward a tragedy, and to some extent its cabaret world is responsible for Rath's reject, but because of his inability to sympathize and adapt to his new life, rather than an inherent immorality to the setting. Lola, too, isn't simply some succubus; she may find Rath socially useful to ally, given his status as a professor, but moreover her affection for him is apparent. And we consider the moving picture's two-office structure, how it mirrors itself through its 2 memorable tracking shots in the classroom, the clown graphic symbol into whom Rath is transformed, and Rath's rooster-similar crowing on his wedding twenty-four hours taking on a unlike significance at the movie's climax.
The Blueish Angel is ninety years onetime and remains as tragic and sexy as ever. Don't miss it if it's showing about you lot.
The podcast can exist listened to in the players in a higher place or on iTunes.
With José Arroyo of Beginning Impressions and Michael Drinking glass of Writing About Film.
Friends have been grumbling about this year´s programme at Ritrovatto. Did Musidora warrant so much attending? Did Henry Rex? Personally, I didn´t have any problem with any of that just I practice have questions. The two images that represented the festival this twelvemonth were those of Musidora, which was on the tote bags, and the paradigm you can see higher up of Dietrich and Gabin which is the cover shot of this year´southward programme. It´s a very striking image, beautifully designed, with the blue of Dietrich´due south eyes overlaid onto the black and white image, forth with the red of the rose which was made to match the lettering of 'Il Movie house Ritrovatto (see pictures to a higher place).
Why an prototype of Gabin should correspond the festival is understandable. Gabin is arguably the greatest French film star in history with more than bang-up films to his name than almost anybody. There was an interesting mini-retrospective of fascinating just lesser known Gabin films curated by Edouard Waintrop titled 'Jean Gabin, the Man with Blueish Optics':Coeur de Lilas (Anatole Litvak, 19319, De Haut en bas/ High and Depression (Grand.Due west. Pabst, 1933),Pépé le Moko (Julien Duvivier, 1936), Au-delà des grilles – Le Mura di Malapaga (René Cloudless, 1948), La Marie du port (Marcel Carné, 1949), Le Plaisir (Max Ophuls, 1951), Maigret tend united nations piège (Jean Delannoy, 1957), En Cas de malheur (Claude-Autant-Laura, 1957), Le Chat (Pierre Granier-Deferre, 1970), plus a documentary on the life and career of the star: Un Français nommé Gabin (Yves Jeuland, 2017)
But why put Dietrich in the moving picture? She was just represented past one film in the festival, Destry Rides Over again, George Marshall, 1939). Did the programmers not think Gabin´due south prototype alone was enough of an attraction? Also since the retrospective is ´The Homo With the Blue Eyes,´ why highlight hers?
The choice seems to exist purely aesthetic. And there´south nothing wrong with that. It´s a great epitome. And the designer has washed a wonderful job of turning information technology into a magnificent poster for this yr´s Ritrovato. However, if you are going to cull that epitome, why non programme the picture show information technology´south from. As yous can see above, the central image is also that of one of the posters for Gabin´due south just on-screen pairing with Dietrich, Martin Roumagnac.
Jean-Jacques Jelot-Blanc´southward in his biography of Gabin,Jean Gabin Inconnu (Flammarion, 2014) calls Martin Roumagnac, le plus gros échec de la carrière de Gabin/ the worst failure of Gabin´s career (loc 2457 Kindle edition), which I suppose is a reason not to screen the film. But in that example why not cull another image of Gabin, and highlight his blue-eyes?
And Martin Roumagnac being the worst failure of Gabin´due south career is equally much a reason to include the film in the retrospective every bit not. The pic tries to adapt both Dietrich´s and Gabin´s personas to a post-war earth. He´due south still a man of the people, Martin Roumagnac is a builder, something of an entrepreneur and integral office of the customs he lives in. Dietrich is Blanche Ferrand, just in town for a few years but long enough to accept had affairs with the mayor, inspired devotion in the schoolteacher (a very immature Daniel Gélin), and cast her eye over a consul whilst beingness entirely devoted to Gabin, i.due east. vintage Dietrich.
The moving picture has some wonderful scenes. Dietrich´s star entrance, which yous can run across below: the first sight is her legs coming down the stairs, then her voice, then the dialogue 'vous desiré monsieur´? And you can see from Gélin´s await that he definitely desires and what he desires is her.
Maria Riva in her biography of her mother writes that part of the problem with the picture show is the incongruity of Marlene equally a provincial French adventuress. But information technology´s no more incongruous than Dietrich every bit a provincial Spanish adventuress in The Devil is a Woman.And indeed the film gives Dietrich plenty of a backstory, a woman of pedagogy and breeding descended through circumstances to the depths of Montmartre and Montparnasse just speaking several languages, unlike Gabin, knowing exactly how to behave at table and on the trip the light fantastic toe-floors of the chicest Parisian nightclubs, and wearing an eye-watering array of Jean Dessez couture with aplomb. She´s in the provinces not of them.
The moving-picture show´s score almost ruins many scenes. It´s too loud, almost intransigent, and often mickey mousing scenes to Godzilla levels. But even that doesn´t ruin the peachy moment higher up: ´What did y'all say?' Dietrich asks undressing. 'Nothing. I wanted….' says Gabin as he looks her over. 'What did you want' she says equally she unbuttons her blouse.
Marlene met Gabin during his sojourn in Hollywood during the occupation and was so in love with him, that when he joined the forces, she followed him, first to North Africa, then to Paris immediately later the Liberation. Jacques Prévert and Marcel Carné had worked on the script initially but Dietrich demanded so many changes they bowed out and Georges Lacombe took over. It´south a pity. The film is overly symbolic in the means of seriously bad drama. Hither Dietrich sells birds, imprisoned in the store front end window or in cages, some of them, similar Martin Roumagnac and Blanche Ferrand, need to exist together as they can´t survive apart. Only better to set the birds free as Blanche does later in the film knowing that they will die rather than to keep them in cages. At least they volition die gratis. The moving-picture show is total of such heavy handed quasi literary symbolising.
And yet it has nifty moments such as the scene in a higher place: ´Each day I don´t see you I´m lost´' Roumagnac tells Blanche. 'You lot are then much amend than all the others' she tells him. 'I dearest you lot, I love yous, I love you'. Gabin equally Roumagnac says it three times. I wonder if those were lines each insisted on in the script? They certainly feed the legend of each, together and apart.
So the worst disaster of Gabin´south career, definitely not a good film, simply an interesting post-war noir, enticingly fatalistic, with keen use of the personas of Dietrich and Gabin and with a wonderful death scene for the latter where, like Bette Davis inThe Letter he tacitly consents to be killed, we run into him waiting for death, and and so the expiry itself becomes a dramatic set-piece, richly visualised. At that place are many reasons why Martin Roumagnac deserved a place in the program. And really, if you don´t want to plan information technology, why not cull another image to brand the festival? Information technology would make it seem a little less like false advertising.
José Arroyo
Since y'all are reading this, I assume yous're interested in movies; and if y'all're interested in movies, you'll be interested in the wonderful 'Dark & 24-hour interval: 1930s Fashion and Photographs' exhibition at the Style and Textile Museum in London, which runs until the 20th of Jan 2019.
The championship of the exhibition, 'Dark and Day' is taken from Cole Porter'due south superb song which Fred Astaire introduced onstage in 1932'southward The Gay Divorce and on pic in 1934'due south The Gay Divorcee.It is too the title of the famously terrible biopic of Cole Porter directed by Michael Curtiz for Warner Brothers (1946), in which Cary Grant plays Cole Porter. But it is Fred Astaire who the song is associated with.
'Nighttime and Day' was written for Astaire. His recording was an enormous success which topped the charts for ten weeks in the early thirties; and indeed the spirit of Fred Astaire haunts this exhibit. Firstly because of the evening dress he then casually wore, the glamorous and glistening Art Deco which was the background to his dancing the final number in so many of his films with Ginger Rogers at RKO, and the ancestry of a sporty elegance he is associated with. Well-cut clothes that enhance and adorn the figure but too permit ane to movement in them well enough to burst into dance. Fred who from the twenties was a superstar of both Broadway and the West-Cease, embodied the mid-atlantic best of both worlds: He was always associated with ' Peak Lid, White Necktie & Tails' but wasn't limited to that look. His clothes and how he wore them is analogous to the sentiment behind Coco Chanel'south neat contribution to mode. She made the combination of coincidental and elegant possible for women in the way that information technology was for men like Astaire: American men who were every bit gratis in their movements as in their outlook but were dressed by Saville Row.
The Spirit of Fred Astaire
The movies in general and Fred Astaire in particular are everywhere evident in this exhibition. The sections are named after popular songs of the Thirties, which are either the names of movies or taken from movies of the period and which in turn evoke the period of The Cracking Depression (1929-1939): 'Blood brother….can You Spare a Dime?' (too written for the stage and made into a hit past Bing Crosby; 'Whistle While Y'all Work' (taken from Disney's Snow White and the 7 Dwarves,1937); 'I've Got a Pocketful of Dreams' (Bing Crosby again from Sing You Sinners, 1938); 'Let's Face the Music and Dance' (Astaire again, this time from Follow the Fleet, 1936: y'all tin can see the marvellous excerpt below); 'Somewhere Over the Rainbow', eternally associated with Judy Garland and from 1939'sThe Wizard of Oz;'Life is just a Bowl of Cherries' ; 'Happy Days Are Here Again'; 'The Way Y'all Wear Your Hat,' which is a lyric from 'They Can't Take That Way From Me' Astaire once more, this fourth dimension fromShall We Dance (1936).
More Movies:
Along with the glorious dress, the showroom as well features movies stars, and shows them to united states in the very collectible cigarette cards so evocative of a way of life and a construction of feeling in the Thirties. Nosotros also see how Madeline Carroll and Ronald Colman are featured in the Miss Modern magazine below, demonstrating how interlinked movies were with other mass media and how fashion was a thread which knit them together. Motion-picture show stars wore the wearing apparel ordinary people dreamed of wearing and and manufacturers made sure they could, as for example with Joan Crawford's famous Letty Lynton wearing apparel. The movie popularised the dress, the magazines popularised the clothes and picture, the availability of the dress sanctified the star and increased the fandom for both magazines and movies.
Cecil Beaton: 30 from the 30s: Fashion, Film and Fantasy
The exhibit also features a mini-exhibition within it with Cecil Beaton's photographs of the famous: royalty, writers, guild people merely more than anything film stars (meet below)
This being a British exhibition, royalty of course features:
Simply Hollywood's influence dominates:
Sonja Henie, to left; Ruby Keller, top right; Tallulah Bankead lesser: From Cecil Beaton'southward Scrapbooks
The exhibition is very good at contextualising the developments in fashion. The guide, for example, tell usa: 'Women'due south fashions, which had reached giddy heights of youthful freedom (and brevity) during the Roaring Twenties, reflected the more mature and sober decade that followed. By the end of the 1920s the styles had already begun to modify as the flapper grew up. Waits returned to a normal, rather than dropped, position. Skirts, which had begun to dip in the back by 1927-1928, fully descended to the knees and mid-calf for suiting, and the ankle for the afternoon and evening dresses. Construction infiltrated the relaxed shapes of 1920's dressing: 'difficult chic' became a watchword as couture houses such as Schiaparelli introduced a stylised and emphatic shoulder line.
As a decade the 1930's presented the extremes: from the depths of poverty for many to a sparkling party-filled escape for the wealthy and international set'.
The exhibition's corking intendance with contextualisation really does pay off, though it also gives rise to moments of amusement, such as in the timeline below where Hitler's rise is juxtaposed on the timeline right in between the drib of a hemline and the rise of the neckline.
The the main reason to see this exhibition is the wearing apparel. No photos practise them justice. You actually need to meet them in three-dimensions to encounter how they hang, to get a real sense of what the fabric is like, to walk around them and get the whole picture. I actually recommend the exhibition. Simply for those of you who tin can't go, here are some examples of what yous are missing:
José Arroyo
'La vie en rose', the archetype written and made famous by Edith Piaf, is the opening musical number in Noches de Casablanca (Henri Decoin, Spain/France, 1964). Sara Montiel sings information technology in her leisurely suggestive way (see clip below), so hands imitable by drag queens across the Spanish speaking world, in a military camp staging that's a depression-budget hodge-podge of the 'Stairway to Paradise' number in An American in Paris(Vincente Minnelli, 1951) and every MGM musical that had whatsoever staircases, candelabras and semi-clad women, which is to say quite a few, many by Minnelli, and sometimes even surrealistically deployed by him similar in The Ring Railroad vehicle so that the semi-clad women *are* the candelabras.
The number led me to wonder if there is an international repertoire that 'Gay Divas' share. And I write this both as a argument and as a question. Do you know of any more? Off the height of my head, bated from Sara Montiel,La vie en roseis sung past Piaf, Marlene Dietrich, the superb version by Grace Jones. Eartha Kitt covered it. Donna Summertime, who was 1, was bumped off her throne by the time she fabricated her version, which is not especially proficient, due to homophobia. Peggy Lee does a lovely duet with Aznavour. Madonna and Bette Midler have performed information technology in concert. I'm not sure if Celine Dion qualifies as a gay diva but she sang it also..and well. Audrey Hepburn who is everybody's icon, sang it in Sabrina (Billy Wilder, USA, 1954). It's a staple of cabaret and theatre divas such as Ute Lemper. And in the forthcoming A Star is Born Bradley Cooper finds Lady Gaga singing 'La vie en rose' in a drag bar. See how a instance builds?
'La vie en rose' was a big hitting and so and now. Marion Cotillard won the Oscar for playing Piaf in the film of her life called La vie en rose (Olivier Dahan, France, 2007). Ostensibly, co-ordinate to wiki, there were seven versions of the song that made the 1950 Billboard charts. Now neither Bing Crosby, Tony Martin, Paul Weston, Louis Armstrong etc. are gay divas. So nosotros can't say everyone who sings this song is 1. And as well, nosotros can't say that if information technology'south not in their repertoires they're not gay divas as lots of other gay divas accept, as far as I know, not done a version: Garland, Minnelli, Cher, Diana Ross, Beyoncé, Britney. Niente!
Andy Medhurst told me that 'Some landmark diva-songs seem welded very strongly to me to one detail diva ('The Homo That Got Away for Garland', 'People' for Streisand etc etc) so much that other versions are overshadowed. Even though your 'Vie En Rose' list shows the opposite, for me it will always belong to Piaf.' To this Kevin Stenson has also added Doris Day and 'Clandestine Love' besides seem welded whilst noting that songs like 'I'thousand Still Here' and 'Broadway Baby, both by Sondheim, are office of a shared repertoire amongst the 'more mature divas'.'
All this I agree with, and then we're talking almost intersections rather than absolutes. Only isn't it interesting that whilst each diva has songs that are entirely associated with them, and that are part of an appeal/address to a gay audience, so many also tend to add to their own unique repertoire past gravitating to item songs that aid constitute a shared one? Can you think of other covers of this song by gay divas. Are in that location other songs that seem a particular magnet to gay divas and and whose performance might plant function of their appeal and address to a gay male audience, in turn helping consolidate the identify these performers occupy in gay male person cultures?
Is there a shared or intersecting repertoire? Exercise please let me know your thoughts.
Enquiring minds want to know.
You tin wait at some of the versions below:
Marlene Dietrich sang it in Hitchcock's 'Phase Fright' (and I'll post a clip from the film in due time):
Audrey Hepburn:
Eartha Kitt did a growly embrace:
Grace Jones classic dance version was the closing vocal of the beginning gay bar I went to.
Donna Summertime in Tribute to Edith Piaf album:
Chrstos Tsirbas directed me to this lovely version by Bette Midler:
Adrian Garvey directed me to this version by Madonna in concert:
Peggy Lee with Charles Aznavour:
Celine Dion. Is she really a gay diva. Qua importa? She sings it well.
Matthew Motyka has pointed out to me that 'Iggy Pop's also covered information technology, and his sexually destructive persona I would contend, makes him qualify for queer cult if not full fledged icon condition'. In my view he'southward got a greater merits than Celine. But what do I know.
Chiliad.D. Lang duets with Tony Bennett on information technology here:
Information technology's a staple for Cabaret and Theatre divas like Ute Lemper:
.and, Kevin Stenson tells me that calling Gracie Fields a 'Gay icon is pushing it but her records especially the comic ones were used by drag queens and played by DJ in gay pubs in lighter moments'.
Other versions include:
Martha Wainwright:
(Thanks, thus far, to Adrian Garvey, Andy Medhurst, Gary Needham, Kevin Stenson, Christos Tsirbas , and Phil Ulyatt for their input)
José Arroyo
Dottie Ponedel was the make-upwards artist to the stars in the classic era. She helped develop Dietrich'due south wait and did her make-up throughout the thirties. She also developed Garland's 'natural' look beginning in Meet Me in St. Louis. For years she was the only female make-up artist, hard to believe now, and for years the boys in the union tried to get her kicked out (see prototype below). The book is a reminiscence, jottings from memory once all the adventures had been lived and whilst Ponedel was living through a difficult and all too early retirement brought on by Multiple Sclerosis. In a manner it's a slight book; a person's memories, treasured, vividly rendered, but of a past already afar when they were written.
But what a person Dottie Ponedel was! She moved to LA with her mother and on 300 dollars they ready a bakery. She was picked off the street to piece of work as an actress, and LA being a small town then, got to know all the big stars; Valentino and his first married woman, Jean Acker, Carole Lombard when she was a Mack Sennett bathing beauty. She moved from bit parts to dancing bits and fifty-fifty got a contract with Goldwyn. She became a make-upwardly artist only when she solved a spit-whorl problem for Nancy Carroll and Carroll insisted on having her onset. The film was Follow Thru in 1930. And so, by her business relationship, Von Sternberg had seen what she'd done with Carroll and wanted her to do something similar for Dietrich. In the book Ponedel goes to keen lengths to explain what she did do, and why Dietrich's expect in her American films was so unlike than in The Blue Affections. Soon she was under exclusive contract to Paramount every bit a make-up person, at a fourth dimension when all of them were men, the nearly famous of them, the only one who enjoyed a similar level of fame to hers, beingness Perc Westmore, and that because he was caput of the whole make-upwards department at Warners.
'At the studios, the brand-up men hated my guts' writes Ponedel. 'They called me everything nether the sunday because I wouldn't make charts to show them what I was doing. Why should I, the manner they were treating me. If they were smart, they would accept done the same as I, take a little from this painting and that painting and use a little imagination and they would have the Ponedel make-upward fashion. That's how I became and so well known'.
Whilst Ponedel had been an actress, bit histrion and dancer, men had been a certain kind of problem. The sexual harassment seems relentless: 'it seems every time I did a dance I got into trouble with the male person sexual activity.' And information technology was structural, from the everyman to the highest: 'Those large guys had offices that looked similar Chiliad Central Station. I did a hop, skip, and jump around the oval table and he after me'.
Once Ponedel became a make-up artist almost of that stopped. The make-upward men and the union boys might have hated her. But the stars, peculiarly the women –Dietrich, Mae W, Tallulah Bankhead, Barbara Stanwyck, Judy Garland — loved her. The volume evokes a strong sense of female person solidarity, women creating all-women networks in which they could observe common support, help, vocalization their troubles. And we all know the hair and make-upwardly people are privy to all the secrets. And Ponedel still respects them. Nosotros hear of Dietrich's boggling generosity and kindness. How Paulette Goddard credited her with getting her function in Unconquered later on De Mille had rejected her. How Garland stole dorsum some of her ain money from Sid Luft so that she could become to Rome. What come beyond here is the kindness and generosity of women 1 thinks of a chip every bit monstres sacrées.
Almost a third of the book is devoted to Judy Garland. The affiliate that begins the story of their human relationship is entitled 'My Wonderful Judy' and begins, 'Now that Judy Garland has taken her final trip over the rainbow, information technology'southward upwardly to me to write the story that Judy and I were going to write together. I was with Judy a quarter of a century and if she wasn't at my house or me at hers, or on the phone, I e'er knew what she was upward to. Few people meant more than to me in my life than Judy Garland.'
What follows, for almost a third of of the book or more is an business relationship of that friendship, its professional ancestry and how it flowered into something deeper. Men do not come beyond well in this account. Here's Danny Kaye jumping on Ponedel in a hotel room whilst she'due south comatose and pretending he' assaulting her for a practical joke. Ha Ha: the humour curdles the claret. Here'due south Minnelli, distant, ineffectual, complete powerless to assistance, uncaring of the many adventures Garland is undertaking with other men; here's Sid Luft, exhibiting the archetype behaviour of an abuser and stealing her money; worse he's stealing her money whilst she knows he's stealing her coin and she lets him because…well, 1 can always make more money.
It's quite an boggling tale, partial, lacking in context, but offering information one doesn't get elsewhere and told with a personality that jumps off the page. I recommend.
José Arroyo
Les innocents aux mains sales/ Dirty Hands is an ingenious thriller by Claude Chabrol with a glorious opening: Romy Schneider plays Julie Womser, a St. Tropez housewife saddled with a rich but impotent husband (Rod Steiger every bit Louis Womser). As the film begins, she's sunbathing nude, a kite falls on her bum, a beautiful man (Paolo Giusti playing Jeff Marle) chases subsequently his kite, she asks him to remove information technology and offers herself to him. She brings him habitation; the husband's at that place, drunk; they brand out anyway; and in what seems a nanosecond, they're planning his murder. I won't go into the plot because information technology's full of clever twists and continues to surprise until the cease. Suffice it to say that information technology's an elegant, almost minimalist bedchamber slice, with outstanding use of sound and the zoom lens and then typical of that menstruum.
What I desire to focus on hither are the clothes. The 70s are often seen as something of a sartorial joke; and that may be truthful of men's style, particularly when we wait at sometime family photographs of ourselves wearing psychedelic prints, long pointy collars, flares and platform shoes. But it'south a glorious period for women'due south fashion, and so influenced by vintage forties clothing with it's variant on the platform, the articulatio genus-length arrange, the cinched-waisted gowns etc. And as the 2015 showroom, Yves Saint Laurent + Halston: Fashioning the 70s, at the Style Institute of Engineering in New York in 2015 demonstrated, 'No two designers defined and dominated the decade more than Yves Saint Laurent and Halston. They were the era's nigh influential and celebrated vesture creators, becoming celebrities in their own right. Both have been the subject of endless books, manufactures, films, and exhibitions.'
I have already in this web log commented on St. Laurent's apparel for Romy Schneider in Max et les ferrailleurs and César et Rosalie. I here simply desire to explore the various looks adult by Romy Schneider, Chabrol and St. Laurent in Les innocents aux mains salesand how they function as aspects of the mise-en-scène to evoke something near the type of adult female Romy Schneider's Julie Womser is, how she'southward feeling, how she'due south hiding what she'southward feeling; how they express what's happening to her; how the apparel serve the storytelling, characterisation and mood in the film.
Look 1:
After her nude introduction, we're shown Romy Schneider in a sexy, hip-hugging black dress; elegant, with a jewelled strap simply as well showing lots of mankind. What'due south evoked is wealth, elegance a sexyness that remains distanced , sober and sheathed, but that nevertheless is offered up to Jeff Marle on a white shag rug as soon every bit her husband has drunk himself into a shock
Look 2: The kaftan, such a staple of 70s vesture, particularly St. Laurent's, here carrying elegant couture casual; perfect for St. Tropez and the opposite of what we acquaintance with Demis Roussos. Information technology's the setting where the husband surprises her with the gift of the car that is to play such an of import office in the plot later on.
Look iii: The murder
How does a murderess look? Well, a chignon helps. Here Julie/Romy is dressed in black, the collar a hint of the sexuality that drives the passion and edges it into murder. Note too the cut of the wearing apparel, the fleck of leg and the heels, which seem as much of a weapon every bit the chignon.
Look 4: The Sleepless Nighttime. Light blue on a darker shade of blue for 'une nuit blanche' when she thinks she's murdered her husband, can't sleep and gets gear up to make up her lies, clothes them into view, and prevarication convincingly to the police.
Look 5: A Kaftan for The Morning time Later a Murder. This evokes and might be a precursor to St. Laurent's famous Russian and Chinese inspired collections of the belatedly 1970s. See besides wait 7.
Look vi and 7 : Changes to Call the Police, in a darker shade of bluish, closer to her sheets than her nightgown in Look 4, merely and then returns to Kaftan though this 1 is slightly different than the ane above whilst clearly aiming to recall information technology. Romy's Julie clearly'due south got a collection in her closet
Expect 8 and 9:
She returns to look 2, where her hubby had bought her the motorcar, merely this time to receive a letter from her lover; and then goes to meet with her banking company manager and the constabulary at the depository financial institution but in the same dress she called the police in earlier but now wearing a black widow'due south greatcoat. The looks are clearly associative, symbolic, meant to unconsciously render situation and character whilst also recalling situations and events (hither she'southward wearing the kaftan she wore when she received the car that was her husband'southward token of love but which we're here told is how her lover drove away the husband's body. Dear turned to murder via money and passion)
Looks 10 and 11, Turbaned in blackness and wearing a respectable and elegant grey tweed to meet her husband'south friend and business manager, where she again meets with the police force who are getting suspicious of her. When she goes to see the gauge she wears the same sober and elegant color scheme but in a different outfit (see epitome three, below right). It's like at this point in the plot the looks, colours, fifty-fifty textures of the character are seeping into one another.
I also desire to bring in here some of the associations turban sand berets have for us: Frenchness, equally nosotros can see beneath with Michèle Morgan; a Parisian variant of it we associate with the 'we'll always have Paris' flashback in Casablanca with Bergman and Bogart; the intelligence and coolness we associate with De Beauvoir (here with Nelson Algren; the turban was a signature look for her as information technology avoided having to do her pilus, clearly not a problem for Julie/Romy); and lastly the underworld of noir femme fatales evoked by Bergman'southward take on Dietrich in Curvation of Triumph (Lewis Mileston, United states of america, 1948)
Await 12: At her nadir, when all the evidence points against her plotting with her lover to impale her husband; Chabrol and cinematographer Jean Rabier picture show her in silhouette in a flowing dress, with a flowing scarf; when she comes in we see her all in black, like the unfortunate black widow she believes herself to be. Then, when her hubby tells her what happened we wink back to her making dearest to her lover, the glittering strap being all that's needed to associate this scene with the beginning (Look ane) where she had sex with her lover and which we now know her husband watched. Now she offers herself to her husband in an echo of the start time she offered herself to her lover, naked and in the sunshine; here enclosed in darkness and distance. At the finish, he pays her, like the whore he believes her to be.
Look xiii: Afterward her hubby returns and pays her to have sexual activity with him, Julie makes herself upwards to be her version of an elegant whore, with St. Laurent seeming to describe inspiration from Lauren Bacall's expect at the stop of To Have and Have Not (Howard Hawks, The states, 1944) and Dietrich in Blonde Venus (Josef Von Sternberg, USA, 1932). The Dietrich reference also recalls how in her biography of her mother, Marlene Dietrich past her Daughter,Maria Riva recounts how difficult Dietrich worked at her looks, that she designed them in consultation with Von Sternberg and Travis Banton, and how her performances were powerfully based on the progression of 'looks' that had a narrative and dramatic function in the motion-picture show, especially every bit 'put on the scene' by Von Sternberg as part of his mise-en-scène
Look fourteen: In black now, notwithstanding trying to pretend she'south the innocent and respectable widow just the mise-en-scène showing usa the situation is not as every bit articulate equally it seems. The greyness tweed jacket she wore when she went to see her lawyers is hanging nonchalantly from the chair she's sitting in and later revealed to be accompanied by a matching skirt:
Look15: In most of the last one-half-hour of the flick Romy's half blackness/half tweed turns into total blackness, eventually accompanied by a crochéd shawl of the sort you'd await rural peasant widows to habiliment (and echoing the greatcoat she wore in Look 9 when she first went to meet the authorities). It' southward in this wearing apparel that the plot and the actress goes through a whole serial of events: she's discovered non to be a widow, the lover she though dead returns, she gets raped in that dress, and she discovers that when she was thought to be guilty there was no sentence whereas when she's known to be innocent there is. She does a lot of running — seeking help, fleeing danger — in this dress; and the hem seems to be weighted so that it moves beautifully, in sync and as a event of Julie's turmoil and distress. It's the 'piffling black wearing apparel' in motion and in performance every bit put into the scene by Romy Schneider and Yves St. Laurent
Look 15:
All the same in black, after she'southward been rescued from a rape, and comforted by a red and black tartan blanket, of the sort one associates with Canadian lumber jackets, kilts, homey blankets, and worn similar a shawl.
Wait sixteen:
Telling her lawyer (the wonderfully cynical and funny Jean Rochefort), 'when I tried killing my hubby, nothing happened to me, now I try to relieve him and I'k been punished'. Her look is entirely calm, sophisticated (the hairstyle), demure (the heavy scarf/collar) and every bit we can tell non only from the cut and material of the wear just from those earrings, rich. Nonetheless, the chignon seems to show to murder.
Await 17: Suffering chic-ly in minimalist modern interiors that evoke wealth, richness (the gold cigarette lighter on the otherwise empty tabular array), anomie and lonelyness and earlier the nifty finale where the darkness calls out her name.
Undressing and Dressing:
In a way the whole film is well-nigh dressing and undressing Romy Schneider. She's a mystery the picture show 9and the audience) is meant to uncover. Nosotros first encounter her in shades, a reflection of the audience'due south desires, a morsel eager to exist eaten. The film, and so often films her in shadow, partially, in silhouette (encounter image two below)
The film undresses Julie/Romie only to dress her up in various guises, so she performs dissimilar types of femininity for her husband, her lover, the police, the approximate, and the audience. She'southward often shown having agency over this costuming/structure, the wearing apparel office of her masquerade, the torso a kind of currency with which she pays and rewards, both part of the manner she performs the various aspects of Julie's character into being. The most telling betoken is when her husband returns, pays her to have sex like the whore he thinks she is, and she curls her pilus and dresses in white in that Bacall/Dietrich echo is that is the only moment we come across her in white in the entire moving picture.
In between displaying her body, selling it or having it raped, the flick dresses her mostly in blackness, with various types of accents; shiny for the lover, sober and sleeklined for the murder, enclosing blue when she talks to the police, or framed by grey tweed at the solicitors, or accented by different shawls. The merely moments of colour and brightness are the kaftany casualness with the husband or the moment where she contrasts in binary whiteness to accept that she'south prostituted herself to her hubby and is wiling to accept the deal. It's really quite extraordinary what a look at the uses of clothing in a film tin can reveal most grapheme, story and storytelling, non to speak of the performer's art (which I have not quite washed so hither though Romy Schneider is glorious). It'southward a gorgeous wardrobe by Yves St. Laurent, expressively worn by Schneider and beautifully deployed past Chabrol.
José Approach
Hollywood Home Movies From The Academy Film Annal (USA, 1931-1970)
Il Cinema Ritrovato showcased a programme of home movies donated to The University Motion picture Annal and, in this case, narrated live by Michael Pogorzelski, who told usa where these movies came from (Fred McMurray, Douglas Fairbanks Jr's manor, etc.) and who was in them (the audience sometimes seemed to know more Pogorzelski). The collection of short abode movies was heady to see because these people figure in our pasts, sometimes in an intimate way, and then this was a way of making function of their private life intersect with office of ours.
It was wonderful to see Randolph Scott gently stroke Cary Grant's shoulder in a the way familiar to anyone who's e'er been in a couple, every bit a gesture, tender merely proprietary, that only established couples do to permit the other know they're there, besides them, and that they are thinking of them, with honey. And possibly to permit others know to buzz off – that person's taken, mine. That gesture did more than to convince me of something betwixt those two, than all the gossip I've heard and photos I've seen thus far.
I loved seeing: Marlene Dietrich and Douglas Fairbanks Jr. pretending to be Tyrolean peasants in their huge mansion-size 'little cottage' whilst changing into dozens of outfits; Cary Grant, more handsome than I've ever seen with practically no upper lip and a lower lip iii times the size of anyone I know, on the set of Gunga Din; some rare colour footage of Carole Lombard, always the liveliest and near beautiful person in any motion picture she graces, including these home movies; Fred McMurray'south home movies, in three-strip technicolor, and showing him as the athletic and handsome leading man he was but that can be then difficult to detect in some of his films, particularly the later ones, or for that generation of people who grew upwardly with him as a Disney star or every bit the father in My Iii Sons. Also who knew he was a blond?
I adored likewise the footage of one of Hearst'southward 1930s parties, all of the stars on their all-time behaviour, like at the boss' house, and pretending to relish the prank of a shaft of air being wooshed up lady'southward dresses from beneath. Marilyn was to be shown enjoying a heightened and eroticised version of this ii decades later in The 7 Yr Itch. But practically every '30s star you lot care to mention is shown here in that very human contradiction of being extremely annoyed and trying to have the proficient manners non to prove it, peculiarly to someone who's got power over one'southward task. It felt a privilege to have been able to see these films.
José Arroyo
I Don't Want to be a Man/ Icht thou öchte kein Mann sein is a delightful sex activity comedy, a movie nigh teenage rebellion from a hundred years ago, funny and amiable but not without edge. Ossie (Ossie Oswalda) is a young woman who enjoys eating, drinking, smoking, playing poker and flirting with the boys. What's not to like? Well, for i, her governess (Margarete Kupfer) doesn't call back it 'proper' for a young girl to do these things. She prevents her from smoking only then can't terminate herself from getting light-headed on a few drags herself. Likewise, Ossie'south uncle, Counsellor Brockmüller (Ferry Sikla) is shocked to grab her drinking a thimbleful of wine from an itsy-bitsy wine glass just and so gulps away on a huge goblet himself. The older generation has not merely forgotten what information technology is to exist young, they've become hypocrites in the process. The boys honey Ossie and gangs of them gather on the street equally she sits by her window. Merely when she flirts with them, the governess is appalled: 'And you want to be a refined young girl!' 'I don't want that at all!' says Ossi.
It seems similar all the adults are preventing Ossie from having fun, from doing what they practice as a matter of course, from being a person, from being herself. All their urges to be 'proper' are experienced equally restrictions on personal freedom and individual desires. When her uncle goes away on a trip she gets a new guardian, Dr. Kersten (Curt Götz), a handsome simply stuffy disciplinarian who asks that she stand in his presence and bow to his wishes. 'I'll pause you down yet!' he tells her. ' Why didn't I come up into the world as a boy?' she in turn moans at us in the final inter-title of the 1st act, soliciting our agreement as to the unfairness of gender roles and the injustice of their social enforcement. These early scenes, showing equally they practice social constraints on individual freedom and identity; and more specifically, patriarchal constraints on women'due south desires and behaviour, are an heart-opener to anyone interested in the representation of women or the on-screen handling of gender. I had never seen Ossie Oswalda before. She's every bit live, witty and transgressive a presence every bit I remember on-screen and I found her a revelation: irrepressible, joyous, transparent, energetic, social; a utopian flower in the worldly garden of weeds, a lite that anybody'south out to extinguish. One would expect the Second Human activity to 'correct' some of Ossie's transgressions, to claw dorsum and reclaim for men some of the injustices towards women exposed in the kickoff deed. Simply this is Lubitsch. We exercise get to see some of the difficulties men have in dressing: those bow ties can exist such a problem; and poor men have to give up their seats in the U-bahn when ladies are standing up; and they musn't whine; and they're then aggressive at the coat-bank check!; and the way women chase them is and so ruthless! Boo-hoo. All of this 'poor men' malarkey is conspicuously undermined by Ossie being OUT, without a chaperone, on the street, in the U-bahn and in the hustle and bustle of a glamorous nightclub, doing what she wants and being free.
At the showtime of the 2nd act, we see the sly pleasures Ossie takes in having all the taylors fight to take her measurements for her men'south adjust. In the latter part, we meet her existence chased past women and non getting a lot of joy out of it: Ossie'south clearly heterosexual. We'll find out her guardian's sexuality is much more questionable. We already know that sex is the very air Lubitschland breathes. When Ossie sees her uncle at the nightclub flirting with a girl, she sets out to steal her abroad from him just before she tin practise so, the girl has already plant someone else and Ossie, masquerading as a young roué, becomes friends with her guardian. On the evidence of this second deed, Lubitsch is already a principal of the medium. When we're shown the nightclub (fig. 1), we get a wonderful composition with waiters entering from the left bottom corner of the frame on a diagonal and towards the band leader, set as the frame's horizon, to which waiter, later waiter, afterwards waiter, is heading. The limerick is brilliant, the staging sublime , and the rhythm of the scene, already that of the 'Lubitsch' nosotros know.
Lubitsch handles compositions in depth with ease and they recur frequently here. For examples, run into the scene where Ossie and her guardian are in reverse balconies whilst the dancing happens between them (Fig. 2), the frame divide vertically into 3 areas of activity, with Ossie in the upper, receding third. The upper two thirds of the vertical frame is as well divide three means horizontally, with Ossie, out of focus in the eye of the meridian third; her guardian and the woman Ossie sets out to steal from him are in focus and occupying all of the bottom tertiary of the frame. Meet also the marvelous apply of the mirror, when Ossie momentarily forgets she's a homo and is laughed at for powdering her nose, and how this enables us to come across space that would normally be off-screen, distinguish between foreground and groundwork, and create a dynamism in the composition through Ossie looking down, the women laughing and looking directly at the mirror, and the men looking in the opposite management, towards the coat-check. Note too how this composition is non just dynamic and aesthetically pleasing but also coheres narratively: Ossie is shown twice, herself and her reflection, at the moment that she forgets that she is a woman passing as a homo. Terrific.
I Don't Want to be a Homo/ Icht thousand öchte kein Mann sein well illustrates one of the things Lubitsch learned from Reinhardt and that Lubitsch would be an acknowledged master of from this period until he departed for Hollywood in 1922 and across (run across, for example 1929's Eternal Love) : his treatment of the crowd scenes. And this not merely in the nightclub scenes with their dozens of extras just in other story-telling moments where an abundance of extras does not on the face of it seem admittedly necessary: our introduction of the guardian in the nightclub for example, where he's framed by a bevy of people dynamically bundled in the staircase behind him; and the rhyming shot with Ossie in front of a similar group, before both of them coming together (see fig. 4)
Lubitsch likes actors so that he always gives each a bit of concern. One can look at any office of the crowd and find something interesting going on, something thematically linked to the story. See for example the still from the coat-cheque scene below (fig. five): Ossie is in the centre, the adult female on the bottom correct already checking 'him' out, the two women chatting on the right hand corner that will also presently be flirting with 'him', the man talking to the two women in the groundwork in front end of a drapery they will before long motion through, thus creating a feeling of depth; see also the man at the coat-check looking towards the oversupply of men who are all headed towards him jostling to get their hats checked-in. It's not simply beautiful to look at, but lively; one gets a sense of a whole world, a complex one, ane in which Ossie'southward story can take place. For if Lubitsch demonstrates he's a master of the medium, it'due south because of the stories he tells and how he tells them.
In the last act, Ossie and her guardian get tipsy. They smoke, beverage champagne, and offer a toast to 'brotherhood'; and then…. their lips lightly brush. 'What'south your name,' asks the guardian. 'It'southward improve not to enquire', says Ossie. And then the lip-brushing becomes a more conscious, if still very low-cal kiss. Information technology'due south not a deep French as they used to say in my abode-town. They'll and so kiss some more and will continue to practice so in the cab on the way home. The scenes are undeniably erotic, very subtly handled, with a frisson of the transgressive that is yet so calorie-free as to exist mistaken for adventitious whilst going slightly over the edge. In this way, fifty-fifty the more staid members of the audience tin can feel daring without having their hair stand on end.
Nicola Lubitsch, Lubitsch's girl, has chosen this film Victor/Victoria fifty years before Victor/Victoria but information technology is and then much better than the Blake Edwards film (I'grand aware of the 1930s German language version but have not yet seen it). I Don't Want to exist a Man is less coy, more complex, more homo than Blake's film. For ane, Ossie likes being kissed, is clearly heterosexual, but is enjoying her transgressions which to her merely corporeality to kissing and which give her a kind of ability, in that she gets the upper hand over her guardian. Equally interestingly, the guardian knows he'south kissing a human and in the cab it becomes clear that he is not at all embarrassed by it, likes it, and does it once again. One can then hands observe how this film was an influence on Dietrich and Von Sternberg in Kingdom of morocco, non only sartorially, in that Dietrich is wearing a sleeker version of the height hat, white tie and tails that Ossie wears here, but in the labile view of sexuality, 1 with a 'twist' in that Ossie doesn't like the girls as much as Dietrich does whereas the guardian likes the boys a lot more than Gary Cooper.
At the end, they wake upwards in each others' beds, he with a feminine lace cap on. She has to trudge home through the streets of Berlin (and these are clearly shot on location). When he discovers that information technology was his guardian he had been kissing and asks her if this was so, Ossie retorts in the intertitle, 'That'south right. The one and only!' 'And you allow yourself exist kissed by me', 'Well, didn't you similar how it tasted?'. The film ends with her turning the tables on him 'I'll bring yous downwards notwithstanding…Down to hither', she says pointing to the floor simply equally he had done at the beginning. Every bit the end, they buss, and she tells u.s.a. 'I wouldn't like to be a man'. Just we're left with the impression that she actually had a really good time impersonating 1. She got to do the drinking, smoking and carousing that she'd been forbidden in the first of the film. She sure seemed to savour having a man'southward freedom and his bureau, even if it was exhausting stuff. Plus she got her human in the terminate and put him in his place whilst doing so. Extraordinary stuff.
Watching the last third, I wondered what audiences who saw it might have made of information technology; how exciting it must accept been to women and to the lgtb members of the audition, all the same such identities might have been constructed so, lucky enough to see this; and what it might have meant to them. I'd like to learn more about that. What I practise know at present, almost a hundred years later, is that the motion picture enchants and dazzles with its technique, its joy, its appreciation of freedom and its expansive notion of humanity and its foibles. And on superlative of that there's the brilliant exuberance of Ossie. 
Alice A. Kuzniar, writing inThe Queer High german CinemaonI Don't Want to be a Man and onDer Geiger von Florenzwrites that 'the "gender trouble" of these films does non reside solely in their depiction of independent, strong-willed women and their rejection of patriarchal say-so. Both films securely unsettle sexual every bit well as gender divisions in a way inconceivable for even contained gay movie theatre also as mainstream straight movie house today'. i I've non however seenDer Geiger von Florenzbut that is definitely the case in relation to I Don't Want to be a Homo and but ane of very many reasons to see information technology. i. Alice A. Kuzniar,The Queer High german Cinema,Stanford: Standford University Press, 2000, p. 33. José Approach
Source: https://notesonfilm1.com/tag/marlene-dietrich/
0 Response to "Write the First Review Mens K-swiss Gen-k Icon Knit Casual Shoes"
Postar um comentário