Scarlett O'Hara's Best Looks

by Cláudio Alves

Since 1939, Gone with the Wind has been re-released countless times in American theaters. This year, it's enjoying another of those on April 7th, 8th, and 10th to celebrate the picture's 85th anniversary. While defined by gross politics and a nostalgic view of the Confederacy that was already cause for contestation by some in the 1930s, it endures as a symbol of Old Hollywood craftsmanship at its peak. Indeed, it's difficult to think of a production that better exemplifies the sheer ambition of the studio system, its grandeur, and stunning spectacle. Technical ingenuity abounds, as does an eye for powerful imagery. It's so beautiful that some of its shots endure as cultural artifacts, even when divorced from their origin.

Today, I want to celebrate one aspect of its splendor near and dear to my heart – the costumes by Walter Plunkett. Specifically, I've given Scarlett O'Hara the same treatment Bella Baxter got, and ranked her ten best looks…

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Spellbound @ 75 and the cinema of Salvador Dalí

by Cláudio Alves

Alfred Hitchcock's third and final film for producer David O. Selznick was released 75 years ago. During a time when psychoanalysis was gaining popularity and notoriety, Hollywood was quick to cash in on the phenomenon. They created psychobabble Pablum like Spellbound and its view on dreams are both too literal and ephemeral. It's a message picture in the costume of a radical polemic, devoid of authentic psychic unrest even though Selznick brought his own therapist to act as an advisor. All in all, it's rather mediocre with some blindingly bright highlights... 

For starters, this was Hitch's first collaboration with Ingrid Bergman, a partnership that would bear majestic fruit one year later with Notorious. She's not nearly as good in Spellbound, but there's an interesting tension between her and a profoundly miscast Gregory Peck. The two even had an affair on the set of the movie. Then, we have the score by Miklós Rózsa, an experiment in the use of Theremin for soundtracks that proved influential on the development of horror movie sonority. Finally, one can't talk about Spellbound without mentioning the surrealist sequence in the middle of its runtime. It was devised by none other than Salvador Dalí…

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Monty @ 100: The Italian misadventure of "Terminal Station"

by Cláudio Alves

Some movies are more fascinating than they are engaging, working better as a discussion topic than as cinema. Such pictures tend to find their home in writings about film history or critical academia, living on as curious artifacts that thrive on the page while failing on screen. Montgomery Clift's seventh feature, the only time he ever worked with celebrated Italian auteur Vittorio De Sica, is one of such films. Perhaps more accurately, it's two of them…

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Podcast Smackdown Companion: Gaslight, Since You Went Away...

Please read the Supporting Actress Smackdown of 1944 before listening please!

After voting in the Smackdown Nathaniel and the panel which included Mark Harris, Loren King, Farran Smith Nehme, Molly Pope, and Matthew Rettenmund got together to talk about the five films we watched and that era in Hollywood during World War II. We hope you enjoy the conversation!

Index (62 minutes)
00:01 Introductions of the Panel
03:00 Dragon Seed, yellowface, production trouble, and Oscar theories
11:50 Since You Went Away, war propaganda, and acting styles
24:00 None but the Lonely Heart, Cary Grant, Barrymore and "great lady" acting
38:50 Gaslight and Mrs Parkington
51:30 Our favorites of 1944 including Meet Me in St Louis and Double Indemnity
57:30 The forgotten Wilson, final Oscar notes and goodbyes.

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you?

Gladys Cooper downing the drinks! Was she watching Dragon Seed, too?

FYC after listening...
Mark's "Five Came Back" as a miniseries on Netflix
Matthew's new nostalgia site Gr8ter Days
Molly co-stars in Bulldozer: The Ballad of Robert Moses (previews begin Nov 25th)
Farran's book "Missing Reel"

Smackdown 1944

Dr Jekyll and Mr Hyde and Ingrid Bergman Transforming

All month long we're celebrating Ingrid Bergman's centennial. Here's Jason on Bergman taking charge of her own career...

By 1941 Ingrid Bergman had followed up her first Hollywood foray Intermezzo (which abstew so beautifully introduced this series with on Thursday) with two more movies where she played, and these are her words, "a Hollywood peaches-and-cream girl," meaning the nice nicer nicest girl you ever did see, and she was fed up with it. In Adam Had Four Sons she was "the nice housekeeper" and in Rage in Heaven she was "a nice refugee." She wanted to actually be an actress, and act, and challenge herself. Producer David O. Selznick thought he had the winning formula though, and wanted to keep the ship steady. In her autobiography Bergman said of Selznick:

"David believed the Hollywood legend: the elevator boy always plays the elevator boy, the drunk's a drunk, the nurse always a nurse. In Hollywood you got yourself one role and you played it forever. That's what the audience wants to see, they said, the same old performance, the familiar face."

Selznick loved her already familiar face though and he was lining up projects left and right for her -- next on her plate was a remake of Dr. Jekyl and Mr. Hyde...

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