Introducing... In "Vertigo"

I've only written about Alfred Hitchcock's immortal Vertigo (1958) once for an episode of the old series "May Flowers" so I thought I'd dig up that old piece now that Vertigo is in the news having been named "The Greatest Film" by Sight & Sound. I always think of Vertigo as an early summer movie. What other movie besides its closest descendants Robert Altman's Three Women and  David Lynch's Mulholland Drive feel more ruled by twin sign Gemini? Hitchcock films generally deserve complete dissertations but we don't have Scottie Ferguson's (Jimmy Stewart) stamina when it comes to fetishizing doppelgangers. So today let's merely glance back at his introductions to Madeleine/Judy (Kim Novak).

Ferguson has been hired to follow Madeleine and as he first spots her in a deep rose red restaurant. [Click here to open a panoramic shot in a new window]. Hitchock slow zooms out from Scottie (far right) at the bar and pans left, following his gaze, into the dining area filled with flowers and well heeled customers and even a painting of a floral arrangement framed by floral arrangements before it finally stops at Madeleine (tiny, far left) in her emerald green dress.

As she leaves the restaurant we get Kim Novak's first bewitching close up, carefully calibrated and emphasized by Hitchcock's editor George Tomasini and cinematographer Robert Burks. Scottie likes what he sees but this is a job.

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Pfeiffer Pfriday

I recently got a Pfacebook message from one of her biggest pfans  and he asked me if I'd misplaced my love for the one and only Michelle Pfeiffer. "Of course not!" I wanted to shout only to immediately realize that though she's been far less elusive than usual: magazines, press conferences for Dark Shadows, fresh on DVD with New Year's Eve, at premieres -- I've said pfew words. This must be corrected.

This is my favorite 2012 pfoto of her, taken last month at Cinema Con where she was honored as a "Cinema Icon".

Catwoman black / Susie Diamond sexy.

Since I abandoned my Thursday "Burtonjuice" series which y'all didn't seem to be into, I'll redirect my eyeballs and pfantasize about Pfeiffer each Pfriday till People Like Us premieres... even if it's only a pfoto. Deal?

With Pfeiffer back on the red carpet I was expecting a parade of sleek black but she's been mixing it up: Red and gold to Dark Shadows premieres; black at Cinema Con; gray at the Globes in January (couldn't find a full length pfoto since she didn't do the press lines); purple at New Year's Eve in December.

poll by twiigs.com

Red and black are her standbys (it's easy to see why) but it's nice to see variety. Lock-wise Pfeiffer has never much believed in variety, preferring long curly toussled for most of her career give or take stick straight detours here and there.

With Dark Shadows opening today (more on that later) here's a pflashback to the Batman Returns premiere 20 years ago...

Penguin. Batman. Catwoman. Burton

Hit Me With Your Best Shot: "Easter Parade"

If you have yet to join in the "Hit Me With Your Best Shot" series we urge you to participate next week on April 11th when we look at a movie you've surely seen: Snow White and the Seven Dwarves (1937). Last time we did an animated film we had a super turnout. All you have to do is 1) choose your favorite shot 2) post it on your blog, tumblr, site or pinterest page before next Wednesday night and 3) let me know. Presto, The Film Experience links up. The first step, choosing your best shot, is the only hard part.

This week's film is EASTER PARADE (1948).  

I love a perfect title. Easter Parade promises exactly what it delivers. The Judy Garland / Fred Astaire musical features two actual easter parades which form a through line on which the film can hang its gowns and musical numbers. In the first Nadine (Ann Miller), Don Hewes' (Fred Astaire) ex-girlfriend and ex-dance partner, stops traffic with a smashing gown and the chic accessories that are her show dogs.  Hewes, still hurt over the breakup promises his new partner Hannah (the immortal Judy Garland) that a year from then she'll be the one that no one can take their eyes off of. But the title offers more than just these two holidays. The movie is an easter parade all by itself. The whole movie doubles as one big lavish procession of color. It's got all the yellows, greens, whites, blues, pinks and purples you could possibly expect from an easter movie and every other color in the rainbow, too. Like many real parades it's alternately amazing and garish but there's always something to gawk at for better and worse.

The "worse" would be a hateful brown and pink gown (gag) that may well be the ugliest thing I've ever seen on Judy Garland. The "best" might be the white into hot pink gown that Nadine just floats in near the climax when she attempts to take Don back from Hannah.

The two shots that thrilled me the most both exploded by focusing on only one particularly saturated color. The first of these was Ann Miller's bright yellow gloves and bright yellow tear away skirt in her jaw-dropping toe-tapping solo "Shakin' the Blues Away". 

Keep dancing (and reading)

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Don't Mess With Saoirse's Baby Blues!

The teaser trailer for The Host, another dread Stephenie Meyers (Twilight) adaptation...

It begins by visually equating a possible apocalyptic danger to the earth with blue eyes and it ends with a series of eyes, all computer or contact enhanced toward possessed creepiness.

If you ask me it's entirely regrettable to fuck with Saoirse Ronan's unforgettable blues because they need no computer enhancement to spook and thrill.

I saw him. I saw him with my own eyes."

What do the Oscar gowns of the past 22 years tell us?

It's something like an urban legend that actresses only wear gold to the Oscar ceremony if they think they are going to win. But check out this frankly amazing infographic from US Dish for lots of other interesting statistics regarding our favorite public thing (Oscars) and one of our secret favorite things: colorology.

What pleasurable research hours they must have put in! They've broken down Supporting Actress and Actress gowns from 1990-2011 ceremonies to determine the top trends for the nominees based on designer, color, dress style, and hairdo. And they've crunched those numbers further to show which elements are most likely to appear with winners and losers. So, for instance, if you really really really want to win you should be wearing gold with your hair up in a floor length gown designed by Gautier. Or at the very least updo, floor-length, brown Randolph Duke!

IT'S SCIENCE!

It won't surprise you to hear that of the 200+ dresses of the nominees, black was worn most often (28% of the time) but I was mildly surprised to see that red was down in 4th place (8%).

I only wish they would have had a Streep Sidebar, since she's there the most frequently and it's actually really hard to find EVERY Oscar dress worn by one specific actress over the years. Not that I've tried b... okay, I've tried. Don't judge.