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Category Archives: 1930’s

The Conformist

26 Friday Apr 2013

Posted by Angie in 1930's

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Bernardo Bertolucci, Dominique Sanda, Jean-Louis Trintignant, Stefania Sandrelli, The Conformist, Vittorio Storaro

“The Conformist,” Bertolucci’s 1970 study of the human desire to conform to society. Set in the 1930’s, as Hitler and Mussolini have a grip on Europe, people start picking sides. Beautifully shot by Vittorio Storaro (I have his autograph!!!), and costumes by Gitt Magrini.

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.

the conformist windows

Dark, cold, devoid of human emotion.

the conformist stairs

the conformist asylum

the conformist window pane

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 conformist stained glass window

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.

the conformist stefania sandrelli

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.

the conformist Jean-Louis Trintignant
Marcello is in the dark, ignorance, and his professor, in the light, knowledge.
the conformist Dominique Sanda

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

the conformist Stefania Sandrelli 2

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.

the conformist sandrelli sanda

It could be a Valentino ad, non?

the conformist stefania sandrelli dominique sanda

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

the conformist stefania sandrelli dominique sanda

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.

the conformist stefania sandrelli

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

the conformist stefania sandrelli dominique sanda dance

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

the conformist jean-louis trintignant

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

the conformist car

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 conformist trintignant sandrelli

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?

the conformist Jean-Louis Trintingnant

the conformist jean-louis trintignant

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

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2011 Award Season is under way

26 Monday Dec 2011

Posted by Angie in 1910's, 1920's, 1930's, 1940's, 1950's, 1960's, 1970's, 1990's, Men, stuff to see, Women

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Arianne Phillips, David Fincher, Los Angeles Times

I’m SO behind in reading my papers.  But I’d be remiss for not mentioning Dec. 18th, LA Times Image Section.  Lots of great articles on this year’s crop of exciting costumes.

On David Fincher’s “Girl with the Dragon Tattoo.”

http://www.latimes.com/features/image/la-ig-dragon-tattoo-20111218,0,7503394.story

On the surge in 20’s inspirations, “The Artist,” and Baz Luhrmann’s “The Great Gatsby.”

http://www.latimes.com/features/image/la-ig-artist-20111218,0,6082131.story

Arianne Phillips talks about “W.E.” and the work remaking Wallis Simpson’s stunning wardrobe.

http://www.latimes.com/features/image/la-ig-phillips-20111218,0,7127321.story

Costume Design as part of building a character.

http://www.latimes.com/features/image/la-ig-honorable-20111218,0,6699626.story

Menswear from this season’s films.

http://www.latimes.com/features/image/la-ig-mens-styles-20111218,0,7403329.story

This just illustrates how little time I have to actually go see movies!!!  Oy.  You single childless people go frolic carefree into the night and see them for me!

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Bonnie and Clyde

10 Thursday Nov 2011

Posted by Angie in 1930's, R.I.P., Women

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Arthur Penn, Bonnie & Clyde, Faye Dunaway, Theadora Van Runkle

Theadora Van Runkle, passed away on Friday November 4th.  She worked on many memorable films like “Bullitt,” and “Godfather II,” but is widely remembered for her work on “Bonnie and Clyde.”

This film is a constant source of inspiration for designers.  Directed by Arthur Penn in 1967, it tells the tale of Bonnie Parker and Clyde Barrow‘s crime spree in the early 30’s.  America was deep in the Great Depression and pissed off at bankers.  Hmmm… Sounds familiar.

Theadora Van Runkle‘s costume design for star Faye Dunaway is timeless, and casually elegant.  It can be adapted for both spring and fall collections, just change the weight of the knits and wovens.

Theadora's costumes give Bonnie a softness and sophistication in contrast to her "hillbilly" confidants, and symbolizes her yearning for more than her current existence provides.

Theadora's use of berets actually come from Bonnie Parker, but she styles them a little differently and that makes a world of difference.

Bonnie's looks hand knitted and is worn past the crown of the head.

Dunaway's is a finer gauge knit and is worn to the hairline. Big difference. Notice, the deep V-neckline and the open weave detail all point to her GUN. She's definitely not that innocent anymore.

Here's a better detail of the sweater and scarf. I think this most of all, captures the allure of Theadora's work. It's easy, something we can do; a beret angled just-so, a printed silk scarf worn unexpectedly, and a fitted short-sleeved sweater. But it looks so cool. Image mptv.com

Again, beret + deep V-neck (this time with a great print) = cool.

And wasn't Faye Dunway just gorgeous at this age? Image mptv.com.

Bonnie visits her mother for the very last time. Penn shot this with a filter and instantly gives it a worn photograph look, like whatever happiness she's feeling now, is already a memory in a photo, never to be experienced again.

And Warren’s pretty cute too, but Theadora’s clothes are what endure in my mind.

Related articles

  • Theadora Van Runkle, Costume Designer, Dies at 83 (nytimes.com)

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Happy Halloween!

31 Monday Oct 2011

Posted by Angie in 1890's, 1930's, Men, Women

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Barry Levinson, Dracula, Francis Ford Coppola, Glenn Close, Halloween, Robert Redford, Sadie Frost, The Natural

Two best things about October, 1) the World Series, and 2) Halloween.

There are lots of baseball movies, and I love them all from “Major League,” “A League of Their Own” (I worked on that film as an extras casting asst. while I was in film school), and “Eight Men Out.”  But stylistically, “The Natural,” stands out.  Directed by Barry Levinson in 1984, it does a terrific job of elevating ballplayers and baseball to mythic proportions.  Robert Redford still doing the leading man thing, and doing it well, Kim Basinger as the dangerous moll, and Glenn Close, the sweet-looking home town girl.

Redford gives Brad Pitt a run for his money.

Her sunlit hat is a beacon of Roy's past perfection, and the promises of his youth.

Dracula.  What is it about this character that continues to fascinate and inspire?  The latest iteration being the “Twilight” series.  In 1992, Francis Ford Coppola, no less tackled the adaptation of Bram Stoker’s “Dracula” with mixed results.  One image I still remember is Lucy’s wedding gown.

Eiko Ishioka was the Costume Designer, but professionally, she’s done it all.  She was one of the best graphic designers in Japan, she won a Grammy for a Miles Davis album cover.  She was promoted to Creative Director at the top ad agency in the 1970’s when there weren’t many women in that position.  She then turned to production and costume design.  In 1988, she won a Tony for Best Scenic Design and Best Costume Design for “M. Butterfly.”  Her latest work is in the new Broadway “Spiderman.”

She’s known for her avantgarde/sensual designs, which made her a perfect match for “Bram Stoker’s Dracula.”  She won the Oscar that year for her showstopping work.

From the back, Lucy played by Sadie Frost.

This collar was so over-the-top and unexpected. I remembering hearing gasps from the audience. In a funny way, it also foreshadows Lucy's beheading, by making her head seem detatched from her body.

Macabre but beautiful glass coffin.

Undead Lucy looks like a frightful angel with the winged headdress and dressed in white lace.

Eiko is so amazing I think I’ll have to devote a whole post to her.

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FAVES, no particular order

Directed by James Ivory, Costume Design Jenny Beavan, 1985

Directed by Jack Clayton, Costume Design Theoni V. Aldredge, 1974

Directed by Sally Potter, Costume Design Sandy Powell, 1992

Direct by Arthur Penn, Costume Design Theadora Van Runkle, 1967

Directed by Iain Softley, Costume Design Sandy Powell, 1997

Directed by Wong Kar Wai, Costume Design William Chang, 2000

Directed by Paul Thomas Anderson, Costume Design Mark Bridges, 2007

Directed by Cary Joji Fukanaga, Costume Design Michael O'Connor 2011

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