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Entries in Isabella Rosselini (8)

Tuesday
Mar312015

Top Ten: Movie Shoes

The new Cinderella really goes all out in fetishisizing the glass in glass slippers, in a way that few renditions of Cinderella have, from their translucency to their refracting beauty, to the way one of them shatters when Cate Blanchett's wicked Lady Tremaine has had it with the talk of them.

She will cut you!

It reminded me of an anecdote I shared a few years back about a brunch conversation with a friend's daughter when I asked her who her favorite Disney Princess was:

The question rendered her completely shy. I had given up hope of an answer, reverting my attention to the food when she shouted "CINDERELLA" at the top of her lungs over her waffles. "But why" I say? This answer came much more swiftly, like it was the silliest question any adult had ever asked her. "The glass slippers."  She didn't add "...duh" but it was right there, loud and clear, in her squeal of laughter

So for today's top ten let's celebrate the best of movie footwear from slippers of ruby or glass to fake legs to super boots. What lurks beyond the jump? Do they come in your size?

Be as curious as rollerskating Kira and find out... 

TOP TEN
BEST MOVIE FOOTWEAR

Click to read more ...

Monday
Jan262015

Beauty vs Beast: Legend In Blue Jeans

Jason from MNPP here, eyeing the white-out weather outside the window of my office as I write this to you from New York City - everybody stay safe on the East Coast over the next couple of days! It's apparantly gonna be a biggun, this storm. I know, here, I'll give you something to keep you warm - Paul Newman!

It's the 90th anniversary of Paul Newman's birth today. A few years back I'd have wagered he'd still be around to celebrate this one with us - he retained his youthful glimmer right up til the end - but it wasn't to be. His death was one that hit me hard -- he was "The Legend" of my youth, still going strong, still beautiful and affecting. But hey his lifetime love the great Joanne Woodward is still around, so let's all send our happy movie memory vibes her way. And so today's "Beauty vs Beast" is for Paul, and my favorite performance of his...

 

 

Paul Newman is totally a beast in this movie - drunken, boorish, and an attempted rapist to boot - but all that said it's still a major struggle slapping him with anything but "Beauty. Beauty. BEAUTY." Ya know? Ya know. (See the episode of TFE's "Hit Me With Your Best Shot" series devoted to this movie right here.)

PREVIOUSLY Last week we got lost in the picket-fence nightmare of David Lynch's Blue Velvet, pitting Dennis Hopper's PBR lover against Isabella Rossellini's dewy-lipped songstress - well turns out y'all love the sultry way Dorothy suffers, as she sauntered away with 70% of the vote. Said Mike in Canada:

"Team Dorothy all the way. I'm always looking for her in my closet."

Monday
Jan192015

Beauty vs Beast: Blue Beauty On Velvet Beast

Jason from MNPP here wishing everyone a blue blue Blue Monday. When I tell you that it feels as if I've been having an awfully Lynchian series of months, I'm sure your first reaction is to 1) shudder and 2) to call the police on my behalf. But this is not a cry for help, don't worry - I haven't turned into a door-knob or anything.  It's just been a random confluence of events - I saw David Lynch speak at BAM a few months ago; then I read Lynch on Lynch (a terrific book of interviews with the director); then there was the news about the Twin Peaks revival; then I met Laura Dern at a party and told her she needs to get herself into the Twin Peaks revivial; then I went to Philadelphia and saw an exhibit of his paintings. It's been Lynch up the wazoo, basically.

And since tomorrow is Mr. Lynch's 69th birthday it seems a heck of a good time to give him the "Beauty vs Beast" treatment. I mean, what other director works in such extremes of dreamy beauties and nightmare beasts after all? Laura Palmer and the BOB at the end of her bed, for instance. And when the beauty & beast meet, watch out - you could argue that Laura Dern's become the perfect muse for him since she can so effortlessly stretch her sunny beauty out out out way too far for comfort. Those examples aside, it was pretty clear where we needed to mine this week's competition from...

 

Treat yourself to some cherry pie, climb inside a stranger's closet, do whatever it takes, and then hit the comments to tell us whose disease you want put inside of you in the next seven days, and why and how. And here's to your...

Thursday
May312012

Twins: Isabella & Isotta Ingrid

We're celebrating twins while we're in Gemini

Did you know that Isabella Rossellini had a twin sister? They aren't identical but she does. The legendary screen goddess Ingrid Bergman had four children, the first Pia arrived with her first marriage to Peter Lindstrom. After her scandalous affair with Italian director Roberto Rossellini (which sank her career in the US for a good long while -- her third Oscar was seen, to some extent, as Hollywood's forgiveness) she moved to Italy, and had son Roberto Rossellini folllowed by daughters Isabella and Isotta Ingrid.

The Rossellini kids in 1959: Isabella, Roberto and Isotta Ingrid

Do you think Isotta Ingrid is as fascinated by animal sex* (Green Porno forever!) as her sister Isabella? Well, Isotta is in Academia, so... maybe.  

a more recent picture of the twins and more after the jump.

Click to read more ...

Saturday
Oct292011

Oscar Horrors: The Death-Defying Effects of 'Death Becomes Her'

Oscar Horrors continues...

Here lies...the 1992 Oscar for Visual Effects – err, here he would be lying, lamenting his fate as a reward to the f/x folks behind Batman Returns or Alien 3, had he not been bewitched by Isabella Rossellini's youth potion. Now, he stands immortal on a mantle shared by Ken Ralston, Doug Chiang, Tom Woodruff Jr. and Douglas Smythe, who brought you the butt-tightening, head-twisting, belly-blasting cinemagic of Robert Zemeckis's Death Becomes Her.

Kurt here. I LOVE this movie – or should I say, I'm "Mad as Hel" for it. Regardless of what it might say about me, it's a major film of my youth. Prepping for this post, I planned to just skip around and watch the expensive effects scenes, but by the time a grossly overweight and psychotically vengeful Goldie Hawn was twisting her hankie and growling through gritted teeth, "I want to talk about Madeline Ashton," I was hooked yet again and watched the entire thing. Flaws be damned, Death Becomes Her is so funny and so cleanly paced. There's hardly a wasted moment. It's packed with great sequences (such as the tongue-in-cheek imagined plot in which Hawn's Helen Sharp tells Bruce Willis's Ernest Menville how they're going to drug and kill Meryl Streep's Madeline), but what it's most remembered for are its nifty visual tricks, which support the crimes-against-nature moral by serving up the comic mutilation of two A-List actresses' undead bodies.

The film's centerpiece scene is one that sees all secrets revealed. After being pushed down a marble staircase by Ernest, an incident that twists her into a pretzel and makes a periscope of her head and neck, a pulseless Madeline takes her rage out on Helen, whose gut she blows a hole in with a double-barrel shotgun. When Helen stands up, it's clear both women have drunk the neon pink Kool-Aid, which gives eternal life, for better or worse. What follows is a shovel duel that, for me, is quite iconic, beginning with the immortal line, "On guard – bitch!"

In general, I'm no more easily surprised than the next seasoned moviegoer, but when it comes to visual effects, I do tend to be a "how'd they do that?" kind of person. For example, even looking back at a film from nearly 20 years ago (wow), I'm not sure how that Oscar-crowned quartet was able to seamlessly present Hawn with a dinner-plate-sized hole in her mid-section, through which you can clearly see the rest of the scenery. At one point during the duel, Helen sits down on a couch that's been speared with a broken shovel handle, and she lets the handle poke through her new orifice. There's a flash where you can see the handle nudge the edge of the hole. Streep's rubbery neck is one thing, but how'd they do that?

If you ask me, the true visual effects of Death Becomes Her are Hawn and Streep themselves, which sounds like a gooey cliché, but never, ever have these two ladies looked more breathtaking than they do in this movie. Streep was 43, Hawn was 45, and both looked utterly flawless, like they'd never passed age 32. The irony, of course, is that watching this movie now gives you a sting that validates Rossellini's rants about "life's cruel curse," and reminds of how even stunning actresses are slave to the ticking clock. Which is certainly not to say that time hasn't been kind to both ladies (it has), but you can't help but wonder if, when they revisit Death Becomes Her, they wish they had just a couple drops of that pink stuff.

"Do you remember where you parked the car?"

Related Posts
Oscar Horrors - Poltergeist, The Birds, The Exorcist, Rosemary's Baby and more...
She's "Mad" at "Hel" and She's Not Going To Streep It Anymore - Nathaniel on Meryl Streep's sudden swerve towards comedy in the 90s and the many joys of Death Becomes Her.
Great Moments In Screen Bitchery #701 - 'I can see right through you!' 

Wednesday
Aug102011

Peeking through the "Keyhole"

Andreas from Pussy Goes Grrr here, with some good news for cinephiles! Guy Maddin, the Wizard of Winnipeg, will be premiering his new movie Keyhole at TIFF. It's been four years since My Winnipeg, and for one of the greatest living directors, that's clearly four years too many. Here's the official synopsis for Keyhole via The Playlist:

A gangster and deadbeat father, Ulysses Pick (Jason Patric), returns home after a long absence. He is toting two teenagers: a drowned girl, Denny, who has mysteriously returned to life; and a bound-and-gagged hostage, who is actually his own teenage son, Manners. Confused Ulysses doesn’t recognize his own son, but he feels with increasing conviction he must make an indoor odyssey from the back door of his home all the way up, one room at a time, to the marriage bedroom where his wife Hyacinth (Isabella Rossellini) awaits.

All of Maddin's usual tropes are here: amnesia, psychosexual tension, overwrought family melodrama, and voyeurism (it's right there in the title). This time around, it looks like he's mixing in some noirish atmosphere and hints of the supernatural. Furthermore, he's stacked the deck by casting his favorite actress Isabella Rossellini along with Lars von Trier's lucky charm, Udo Kier. All in all, this sounds like about the most characteristically Maddin-esque movie that Guy Maddin's ever made.

Does that mean he's repeating himself, though? I doubt it. Over the past two decades, Maddin's proven himself extraordinarily inventive and versatile, jump freely between war dramas, musicals, and autobiographical "docu-fantasias." According to Rossellini, Keyhole is "crazier than a Turin horse." I can't wait to see it so I can figure out what the hell that means.

Udo Kier and X-Ray via Guy Maddin

Are you a fan of Canada's weirdest son? Which of his snowy dreamscapes have you visited?

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Sunday
Apr032011

Take Three: Isabella Rossellini

Craig here with Take Three. Today: Isabella Rossellini

Take One: Blue Velvet (1986)
“She... Wore... Bluuuuuue Vel-vet.”
Indeed she did: bluer than velvet was the night. Ladies and gentlemen, Rossellini was the Blue Lady, Miss Dorothy Vallens, in David Lynch’s mid-eighties masterpiece Blue Velvet. Vallens was a tortured torch singer, a gas-guzzling freakopath Frank Booth’s (Dennis Hopper) late-night inviter and pervy amateur detective Jeffrey Beaumont’s (Kyle MacLachlan) sexual initiation vixen. And yet, behind it all, lay a fretful wife and mother. Rossellini’s introductory scene in the film showed her as a midnight siren, a depressed blue dahlia who, once done with her sad, strange rendition of Bobby Vinton’s titular song, seems to dematerialise into a pair of Lynch’s signature red curtains.

 After she finds snooping Jeffrey in her closet she’s both defender of her home and explorer of her own dark thoughts. She’s furious, but as excited by the imminent enveloping mystery as he is; you can just make out the glimmer of utter thrill creep across Rossellini’s face as she jabs his cheek with a breadknife. Here's to Rossellini for nearly making Dorothy as kinky as her male lead. She doesn’t so much break the fourth wall as demolish it, with an infuriated stare and exclamation to camera (“Grand Central Station!”) when more than one guest visits her gloomy apartment at once.

More of the sublime Saddest Music within Blue Velvet, plus the ageless silliness of Death Becomes Her after the jump.

Click to read more ...