“This picture is perfect, end of review.” That may not be 100 true, but Leo McCarey’s unabashed leap into romantic Nirvana really hasn’t been bettered, although his color & ‘scope remake is very good. Never was smart adult dialogue this winning — Irene Dunne and Charles Boyer’s cinematic courtship is a highlight of the Big Studio years. And Maria Ouspenskaya’s performance will send you out to pamper the nearest grandmother. The restoration for this one is a revelation, as the show has looked terrible for sixty years- plus. Serge Bromberg and Farran Smith Nehme make the extras especially valuable.
Love Affair
Blu-ray
The Criterion Collection 1114
1939 / B&w / 1:37 Academy / 88 min. / available through The Criterion Collection / Street Date February 15, 2022 / 39.95
Starring: Irene Dunne, Charles Boyer, Maria Ouspenskaya, Lee Bowman, Astrid Allwyn, Maurice Moscovitch, Ferike Boros, Scotty Beckett, Bess Flowers, Harold Miller, Dell Henderson, Frank McGlynn, Sr., Joan Leslie.
Cinematography: Rudolph Maté
Art Director: Van Nest Polglase,...
Love Affair
Blu-ray
The Criterion Collection 1114
1939 / B&w / 1:37 Academy / 88 min. / available through The Criterion Collection / Street Date February 15, 2022 / 39.95
Starring: Irene Dunne, Charles Boyer, Maria Ouspenskaya, Lee Bowman, Astrid Allwyn, Maurice Moscovitch, Ferike Boros, Scotty Beckett, Bess Flowers, Harold Miller, Dell Henderson, Frank McGlynn, Sr., Joan Leslie.
Cinematography: Rudolph Maté
Art Director: Van Nest Polglase,...
- 2/26/2022
- by Glenn Erickson
- Trailers from Hell
Author Caroline Young has just released a fascinating new book entitled Hitchcock’s Heroines (published by Insight Editions). It celebrates and studies the women in Hitchcock movies; their influence, semblance and iconography. What’s more, Young also examines the role costume design plays with these women, both the characters and the actresses who played them, and how they can be interpreted as far more than just ‘icy blondes’. Here we have an extract of the book exclusively for Clothes on Film:
Kim Novak’s grey suit the colour of San Francisco fog in Vertigo, Grace Kelly as the too-perfect woman in Rear Window, and Janet Leigh’s black and white sets of underwear to indicate both good and evil in Psycho – these are just some of the classic imagery of Alfred Hitchcock’s films, where the style and elegance of his leading lady was carefully planned.
Hitchcock was meticulous about the visuals,...
Kim Novak’s grey suit the colour of San Francisco fog in Vertigo, Grace Kelly as the too-perfect woman in Rear Window, and Janet Leigh’s black and white sets of underwear to indicate both good and evil in Psycho – these are just some of the classic imagery of Alfred Hitchcock’s films, where the style and elegance of his leading lady was carefully planned.
Hitchcock was meticulous about the visuals,...
- 6/6/2018
- by Lord Christopher Laverty
- Clothes on Film
In light of Prada, Tiffany & Co., and Brooks Brothers, all producing Great Gatsby inspired lines and the much publicised drama between fashion and costume designers, we should consider the influence that costume has over fashion. The alliance between costume and fashion designers has been both beneficial and contentious. Fashion does have a much longer history than film costume design, but since the beginning of moving pictures, both industries have nurtured an intimate relationship.
In the advent of cinema, fashion was placed centre stage in filmed fashion shows. These fashion shorts slowly evolved from runway shows via the introduction of a stories surrounding the garments (Bruzzi, 4). Early costume design was influenced by current runway fashions, such as Vionnet’s signature bias cut gowns hugging actress’ bodies on the big screen. Starting in the 1930s, costume design and current fashion slowly began to pull away from each other. This changed when MGM...
In the advent of cinema, fashion was placed centre stage in filmed fashion shows. These fashion shorts slowly evolved from runway shows via the introduction of a stories surrounding the garments (Bruzzi, 4). Early costume design was influenced by current runway fashions, such as Vionnet’s signature bias cut gowns hugging actress’ bodies on the big screen. Starting in the 1930s, costume design and current fashion slowly began to pull away from each other. This changed when MGM...
- 5/14/2013
- by Contributor
- Clothes on Film
New York — A new exhibition is hailing the fashion sense of Katharine Hepburn, whose trademark khakis and open-collar shirts were decidedly unconventional in the 1930s and 40s, when girdles and stockings were the order of the day.
The fiercely independent Hepburn famously once said: "Anytime I hear a man say he prefers a woman in a skirt, I say, `Try one. Try a skirt.'"
But skirts and dresses abound in "Katharine Hepburn: Dressed for Stage and Screen" at the New York Public Library for the Performing Arts, which opens Thursday.
Hepburn, who died in 2003 at age 96, saved almost all the costumes from her long career that included four Oscars and such memorable films as "The Philadelphia Story," "The African Queen," "Guess Who's Coming to Dinner" and "On Golden Pond." Forty are on view at the exhibition, which runs through Jan. 12.
One of the first things visitors will notice is...
The fiercely independent Hepburn famously once said: "Anytime I hear a man say he prefers a woman in a skirt, I say, `Try one. Try a skirt.'"
But skirts and dresses abound in "Katharine Hepburn: Dressed for Stage and Screen" at the New York Public Library for the Performing Arts, which opens Thursday.
Hepburn, who died in 2003 at age 96, saved almost all the costumes from her long career that included four Oscars and such memorable films as "The Philadelphia Story," "The African Queen," "Guess Who's Coming to Dinner" and "On Golden Pond." Forty are on view at the exhibition, which runs through Jan. 12.
One of the first things visitors will notice is...
- 10/18/2012
- by AP
- Huffington Post
From Dorothy's shoes to Christian Bale's batsuit, costume is a crucial, although often unnoticed, part of film. Bee Wilson takes a tour of Hollywood's wardrobe department at the V&A's starry new exhibition
Carole Lombard "was just a tootsie when she came to Paramount," a movie insider once remarked. What transformed Lombard into a 1930s screwball goddess, the most highly paid in Hollywood in her day, were her gorgeous costumes, flowing, ornate and bias-cut. Designer Travis Banton "saw things in her even she didn't know she had". It was said of Banton that he could take a girl to lunch and instantly see what qualities he needed to accentuate. In Lombard's case, he weighted the gowns to drag backwards, giving her the elongated stature of a star. One of Lombard's most dazzling Banton dresses can be seen in the forthcoming Hollywood Costume show at the V&A. It is...
Carole Lombard "was just a tootsie when she came to Paramount," a movie insider once remarked. What transformed Lombard into a 1930s screwball goddess, the most highly paid in Hollywood in her day, were her gorgeous costumes, flowing, ornate and bias-cut. Designer Travis Banton "saw things in her even she didn't know she had". It was said of Banton that he could take a girl to lunch and instantly see what qualities he needed to accentuate. In Lombard's case, he weighted the gowns to drag backwards, giving her the elongated stature of a star. One of Lombard's most dazzling Banton dresses can be seen in the forthcoming Hollywood Costume show at the V&A. It is...
- 10/12/2012
- by Bee Wilson
- The Guardian - Film News
The title of Lee Server’s acclaimed 2002 biography, Robert Mitchum: Baby I Don’t Care (MacMillan), offers a perfect encapsulization of the eponymous actor: a hard-partying Hollywood Bad Boy who didn’t give a damn what moralizing finger-waggers thought of him, or what his peers in the movie business thought, or the press, or even the public. He was going to go his own way and to hell with you, and anyone positioning themselves to make strong objection was just as likely to get a punch in the nose as shown the actor’s broad back. He worked hardest at conveying the idea that the thing he did for a living – acting – was also the thing he cared least about; an impression that may have been his most convincing performance.
The Bad Boy part of Mitchum’s reputation was honestly come by. As a youth, he’d been booted from more than one school,...
The Bad Boy part of Mitchum’s reputation was honestly come by. As a youth, he’d been booted from more than one school,...
- 2/28/2011
- by Bill Mesce
- SoundOnSight
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