The Furniture: The Spy Who Loved My Supertanker

1977 is our "Year of the Month" for July. So we'll be celebrating its films randomly throughout the month. Here's Daniel Walber...

Looking back at the films of '77, the clear production design stand-out is Star Wars. It won the Oscar and changed the world, though not necessarily in that order. Science fiction was crossing over, pushed even further by fellow nominee Close Encounters of the Third Kind. But why talk about harder sci-fi when you could focus on the futuristic gadgetry and technological excess of the James Bond franchise?

The Spy Who Loved Me is a remarkable showcase for legendary production designer Ken Adam, who passed away earlier this year. He built models of the Pyramids, a cavernous office for the head of the KGB and a decadent underwater lair for nefarious shipping magnate Karl Stromberg (Curt Jurgens). But the real showstopper is the interior of the Liparus supertanker, the site of the film’s climax. Or, rather, the liveliest of its many climaxes. This is a Bond film, after all.

This was Adam's sixth contribution to the franchise, and he made a point of outdoing his prior work. The set for the Liparus was to be an entirely new sound stage, among the largest ever constructed. 

The final product was gigantic, 334ft by 136ft. Cinematographer Claude Renoir couldn’t actually see from one end to the other. Adam had to call in Stanley Kubrick, with whom he had worked on Dr. Strangelove and Barry Lyndon, just to figure out the lighting...

Click to read more ...

ICYMI: The Furniture

Our new contributor Daniel Walber is taking the 4th of July off but I wanted to take this wee break from his column "The Furniture," to sing its praises. When he first pitched the series I requested only that it be really focused, not solely Oscar-nominated specific (so much brilliant work isn't honored each year, after all), and that we alternate contemporary and classic cinema so there's something for everyone. But the series is all him. It's been a joy to read each week and the exact type of thing I've long wanted to do for my favorite craft category costume design. He beat me to it but I find it inspiring and am looking forward anew to our coverage of the below-the-line Oscar categories this year. 

If you haven't yet read any of these episodes, I think you'll learn something about the cinema and the power of production design to enhance a theme, sell a heightened reality, and underline character arcs.

The episodes to date: The Witch (2016), Hail Caesar! (2016), Deadpool (2016), Lady in the Van (2015), Joy (2015), The Force Awakens (2015), Embrace of the Serpent (2015), Carol and Brooklyn (2015), Orlando (1992), Batman (1989), The Exorcist (1973), Wonderful World of the Brothers Grimm (1962), How the West Was Won (1962), A Streetcar Named Desire (1951), Black Narcissus (1947), That Hamilton Woman (1941) 

Halfway Mark: Cinematography & Production Design

We've celebrated the male performances and the heroes and villains of the year's first half. But before we get to the actresses -- what? foreplay makes it hotter -- let's revel in the beauty of Cinematography & Production Design. These five choices in each category are what yours truly, Nathaniel, would nominate if the year ended on June 30th. Please share your list of praiseworthy achievements in the comments. Movies are communal and loving them should be, too.

HALFWAY MARK BEAUTY BREAK
CINEMATOGRAPHY & PRODUCTION DESIGN
(January to June theatrical releases only. Disclaimer: I have not yet seen The Mermaid which I hear is an eyeful) 

Best Cinematography
If I had a ballot right now (January to June releases only...) 

A Bigger Splash, Yorick Le Saux
From gold dust sunshine to postcard istas, from the ambient light of off white seaside architecture to intimate dinners by candlelight, Le Saux is always caressing the already sensual actors with light.

 

Embrace of the Serpent, David Gallego
In glorious black and white but for hallucinogenic sequences, the sharp contrast photography does wonders to make this already foreign world look ever more forgotten and alien. And there's something about that inky water that makes the whole picture more suspenseful in its rowing languours.

8 more honorees after the jump...

Click to read more ...

The Furniture: The Venomous and Fanatical 'Embrace of the Serpent'

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber... 

Embrace of the Serpent, Colombia’s first-ever nominee for Best Foreign Language Film, contains multitudes. Ciro Guerra filters the Amazon Basin into a tremendous cinematic document, a rich cornucopia of unexpected tableaux. The choice to confine this colorful landscape to black and white would be uncanny enough on its own, but the narrative is also unmoored by transitions between the two timelines. Long before the final hallucination, our perceptions are overwhelmed by the range of complex images.

And, of course, the work of production designer Angelica Perea, art director Ramses Benjumea and set decorator Alejandro Franco is an essential component. The best example of their work comes right at the film’s midpoint, with a pair of profoundly unsettling episodes that interrogate the role of Catholic missionaries in Colombia’s colonial history. [More...]

Click to read more ...

The Furniture: Orlando's Otherworldly Pageantry

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber...

Sally Potter’s Orlando is a work of otherworldly character. It does not take place in a fantasy land or on a distant planet, but all the same it does not really seem to take place in our own reality. This might seem an obvious thing to say about a movie whose protagonist is an Elizabethan nobleman (Tilda Swinton) who lives for centuries and abruptly becomes a woman midway through the story, but there’s more to it than that. Its mood is one of near-anachronistic magic, built with a narrative logic that resists the strict signposts of linear storytelling, and lit by a shimmering queer sensibility.

Each of the film’s changing atmospheres has something quite specific to say. The central Istanbul section, filmed in the ancient walled city of Khiva, Uzbekistan, uses architecture to isolate Orlando in the disorienting fog of war. A later chapter, labeled “SEX,” wraps the Lady Orlando and her lover, Shelmerdine (Billy Zane), in the windswept Victorian fantasy of a Bronte novel.

But the singular triumph of the production design team, led by Ben Van Os (Girl with a Pearl Earring) and Jan Roelfs (Gattaca), is the Elizabethan first act. Here is when the young Lord Orlando is the most vulnerable, the most restricted, and the most confused.  [More...]

Click to read more ...