Marcello Clerici, Jean-Louis Trintignant, son of an aristocratic Italian family, rebels by trying to join the fascist secret police. His father is in an insane asylum, and his mother, a morphine addict, is in a veritable asylum herself. She lives in a broken-down decrepit estate, which represents the decadent, decaying class system.

The film abounds with repetitive imagery, driving home the conforming nature of society, whether it be a democratic one or a socialist one. Repeating windows, or benches, or lines, the sense of unending, and expected sameness.

Dark, cold, devoid of human emotion.

The repetition in the window is obvious, but all the nuts that this guy cracks in his office while giving Marcello his assignment, is strangely funny.

The visual theme of repetition is present in the opposing side, with the warm tones and the green plants contrasting the dark, cold fascist interiors.

Marcello meets his old professor in Paris. Professor Quadri has been targeted by the secret police, and Marcello has been picked to pull the trigger.

Marcello becomes obsessed with Professor Quadri’s wife, Anna. Bertolucci has said that it’s Marcello’s latent homosexuality that makes him want to conform so badly, but it seems his obsession with Anna is genuine. The dude is just cornfused.

Marcello reviews Plato’s cave myth, which was his senior thesis in the Professor’s class.

Giulia, Marcello’s new bride, is just a box to checked off in his life. No real connection to her.

It’s funny that Anna, is wearing this leopard wrap. She is like a cagey wild animal, primal and aggressive. In the last scene she is chased and hunted down by the secret police like a wild animal in the woods.

It could be a Valentino ad, non?

Don’t you LOVE this black and white dress on Giulia?

Here it is from the back. Giulia is from a world of absolutes, everything is black or white. Anna dress is neither yellow or white, but somewhere in between, just like her sexuality and her loyalties.

Here’s Anna’s dress from the front. I want those earrings!

And here’s the most memorable image of the film in all its Sapphic glory.

Marcello, in the midst of exuberant humanity, does not know how to act or relate.

Marcello on his way to watch Anna and the professor’s murder. He can’t pull the trigger. Is he a coward or is he smart getting others to do it? The fog represents the gray area between good and evil, neither the dark nor the light.

The second most famous shot in the film. Anna lets out a primal scream for help while Marcello impotently watches the inevitable.

Flashforward to 1943, Mussolini is about to be dragged through the streets, and all of a sudden people aren’t fascist anymore. Marcello included. He denounces it and outs his blind friend Italo as one. A mob quickly sweeps Italo up in a human wave.

Plato’s cave imagery returns in the last shot with Marcello, sitting in a cave-like structure next to a small fire, looking behind him instead of the shadows in front of him like Plato’s prisoners. Has he finally learned to think for himself?

In light of recent tragic events in Boston, we sit shellshocked and horrified and wonder, why and how could someone enact such a thing?

If you want to see restored films such as, “Badlands,” “The Great Escape,” “Giant” with James Dean lookin’ fine as all get out, and Buster Keaton’s classic, “The General,” this is the place to be.

Anyone doing a denim story or denim photo shoot should know this film as a reference.

If you want a fashion fix go see, “My Fair Lady,” “Bonnie and Clyde,” “A Room with a View” (my favorite film, with Julian Sands speaking after!)

If you want big Golden Age of Hollywood musicals they got, “South Pacific,” “On the Town,” “Guys and Dolls,” “Flying Down to Rio.”

Wash those men right outta your hair… One of the few Hollywood films that dealt with racism directed at Asians, in a musical no less.

Gay men, they got “Funny Girl,” and “Mildred Pierce,” OH-KAAAAY. Not to mention all the guests, everyone from Max von Sydow to Eva Marie Saint, to Jon Voight (speaking after “Deliverance,” insert dueling banjo music here.)

How many editorial spreads and collection inspiration feature Hitchcock blondes? Too many to count.

I wish I could just camp out and watch them all!

http://filmfestival.tcm.com/

Not only could I take a peek at all the new movies (the arty ones did not make it up to Anchorage), I got to listen to a heated debate pro or con on the film’s merits or missteps. It lit a fire in me to seek out different films, foreign films, independent films. It opened me up to the dimensions of film, what characters really were, the importance of directors, the craft of great writing. This set the stage for me deciding to go to film school and abandoning a more financially stable path, much to the chagrin of my immigrant Korean parents. So yeah, my parents can blame Roger Ebert for me not being a lawyer.

I followed Siskel and Ebert to their syndicated show, “At the Movies,” hanging on their every word, and starting to agree or vehemently disagree with them. I was more of an Ebert gal. Gene Siskel didn’t have the credentials I required if one is to be so full of himself. You could tell Ebert was a great writer. He was awarded a 1975 Pulitzer for criticism. You also could tell he was smarter than Gene, and that’s why Gene was such a dick. Most film criticism involved summarizing the plot, but Ebert made reviewing a movie like reviewing a book or a play or any other piece of serious art. He elevated being a film fan from something passive to something active.

He succumbed to cancer, but fought valiantly, and served as an inspiration to all of us.

RIP Mr. Ebert. Photo latimesblog.latimes.com.

I went to the show with the little guy, so forgive the out of focus pix. I debated whether I should even put them up. Or whether I should go back alone to take better pictures… I was fooling myself. Who’s got the time, really?

But hey, an out-of-focus pic is better than nothing. I was literally pulled in every direction and only had my iphone (3GS, sigh) because dealing with the mommy bag, and real camera and a 3 year old was not happening.

I think these are from “Eyes Wide Shut.” Sorry couldn’t write anything down either. You get the jist.

Here are some of Kubrick’s camera lenses. He was such a technician as well as having a superb eye.

I love how they displayed the slides from “Lolita.”

I almost gasped when I saw this. Of course one of the most famous film costumes, and my camera is out of focus. Sigh. Apologies.

This one isn’t that bad. Miracle.

So here’s Jack’s typewriter and creepy twins’ dresses from “The Shining.”

From “Barry Lyndon.”

More from “Barry Lyndon.”

Posters. I still crave that “Lolita” one. Where can I get those sunglasses?!!

It was such a well-rounded show. From his noir roots, to “Full Metal Jacket,” annotated scripts and set models, this is a show for all film fans, not just Kubrick devotees.

But wait! There’s more…

Filled with timelines, interviews, script notes. Jeez. Free on itunes, for iphone, ipad, and android.

http://www.lacma.org/kubrick-app

Playing dress up without dressing up. Available on iTunes. Happy Oscar viewing! Personally, I’m pulling for “Life of Pi.” I feel it’s the most ambitious of all the nominees in regards to story, technical challenges, originality, and a most unlikely worldwide box office success.

First off, if you haven’t noticed, I’m a huge sports fan. Can’t watch as much (OK, none at all now) sports as before after having a baby, but I did watch some football this weekend, and IT DID NOT DISAPPOINT. Hooo, weee, that was some good football! Heartbreaking for Peyton, but Ray Lewis and his Ravens will live to play another day. How they did it? Craziness and sheer force of will for Lewis, probably. And San Francisco? Kaepernick was on FUEGO. Stud. I lived up in SF for a few years and left in 2009, and they had been SUCKING for over a decade. Happy for them.

Secondly, was that the BEST Golden Globes/awards telecast ever? Tina Fey and Amy Poehler threw down. They dare you to be funnier than them. Ex-presidents! See-through dresses! Jodie Foster coming out of a very transparent closet! So good.

Will post soon, promise.

It’s a book and a doc. The doc is in limited release now. The book is over 350 pages of fantastic images that any would-be magazine editor, fashion designer, stylist, photographer, graphic designer should run out and buy.

And to think, she didn’t start her magazine career till she was in her 30′s and didn’t land the Vogue gig till she was in her 60′s.  Let all us late-boomers take heart.

It’s also a great pictorial reference book for you young-uns just learning the style icon vernacular.

She also has a blog: http://iloveyourstyle.com/

Closet App. Free on iphone and ipad.

http://closetapp.com/#

Anna, her boyfriend, Sandro, and best friend Claudia, go for a lovely boat ride one summer. Anna goes missing, and the boating party tries in vain to find her. Sandro and Claudia bond over the incident and start romantically seeing each other. Anna is never found, which begs the question, what happened to her? Which Antonioni never answers. It’s an art film. No tidy endings, people. It’s more like a meditation on love, life, and the transitory nature of it.

Anna’s father tells her Sandro will never marry her. Don’t you love his polka dot tie? Lea Massari and Renzo Ricci.

Anna’s simple dress is perfect for Spring/Summer. I love that there’s two ties at the waist. Monica Vitti and Lea Massari.

Anna fears losing Sandro, but simultaneously feels numb in her surroundings. This might reflect an Italian post-war sensibility. Intense feelings towards comforting emotions like love, but a numb psyche as a result of the recent WWII horrors, and unable to fully enjoy emotions like love.

Anna, Sandro, and Claudia embark on a short cruise.

Love the deep V back of Claudia’s, (Monica Vitti) swimsuit.

Love this Italian fisherman’s sweater.

Anna has misgivings about getting married to Sandro. She wants him but at the same time, would be fine without him. She’s cornfused. This is the last we see of her.

Anna goes missing. Claudia, Sandro, and their friend Corrado stay on the island to continue searching for her. Claudia and Sandro develop an attraction to each other.

This could be a Prada ad. Old Italian money + whimsy.

Antonioni is a master at framing. If I were a painter or photographer/DP, I’d be totally inspired by him.

A study in Italian working-class men’s scarves and layering.

Monica Vitti in repose. I love her shoes and that her sweater is not super fitted, but more blouse-like.

It looks even better with a great handbag.

Claudia, Monica Vitti, feels guilt for falling for Sandro. The ocean in the background remind you of Anna’s disappearance.

Antonioni goes out of his way to inject this little scene. This girl, Gloria Perkins, causes a near riot by walking around the city with a ripped side seam, exposing her undies and garter. The reporter Sandro sought out, explains it’s all a ruse to get some attention for herself and maybe a sucker willing to shell out big bucks to “date” her. Is Antonioni commenting on modern love being merely a transaction?

I like that the ruffles are arranged on the chair framing Monica. It makes the frame more dynamic.

Claudia dons one of Patrizia’s wigs, and looks like a certain missing girl.

Polka dot suit + scarf. Serious, but fun.

Interesting framing. Claudia’s double layered dress is too. Don’t see it being much for the masses though.

The last shot captures the theme of loneliness in love. Claudia fell in love with Sandro, then felt tremendous guilt for not wanting to find Anna. Sandro thinks he loves Claudia, but then gives in to his lust and hooks up with Gloria. Romantic love is difficult and complex and never is the answer to all of life’s problems. Claudia and Sandro are together but surrounded by emptiness.

Empty, desolate landscapes in natural and urban settings underscore the rudderless and lonely feelings of modern life.