The Furniture: 10 Favorite Sets of 2020

"The Furniture," by Daniel Walber. (Click on the images for magnified detail)

Our year in review list-making continues but this is not a “Best Production Design” list. The thing about production design is that it's hard to compare. Obviously all films are collaborative, but at least in such Oscar categories as “Best Original Score” and “Best Actress” you’re focusing on the work of easily identifiable individuals. “Production design” is the combined achievement of a whole slew of production designers, art directors, and set decorators, and more.

But beyond that, different productions task designers with using wildly different tools. How do you compare sets built on a soundstage to the careful decoration of a real historic home? The physical sets of period pieces with the digitally-conceived spaces of science fiction? Animation! It’s dizzying.

So herewith this is a list of ten favorite movie sets of 2020, using the loosest definition possible. It’s in alphabetical order, because ranking is stressful. Enjoy...

Click to read more ...

The Furniture: Ellen Revolts Against the Upholstery in Leave Her to Heaven

"The Furniture," by Daniel Walber. (Click on the images for magnified detail)

This week marks the 75th anniversary of Leave Her to Heaven, a technicolor noir blockbuster with set decoration so opulent, you will find yourself shouting at the upholstery.

It has other virtues, of course: Gene Tierney’s wickedly genre-shifting performance, Leon Shamroy’s shadow-wielding cinematography, Vincent Price’s height, etc. But the last time I watched it, I couldn’t take my eyes off the sets. The film takes place in a fever-dream of post-war prosperity before the fact, an endless parade of over-decorated vacation homes.

Frankly, it should have won the Oscar for Best Art Direction - Interior Decoration, Color...

Click to read more ...

The Furniture: Ammonite's Many, Many Fossils

"The Furniture," by Daniel Walber. (Click on the images for magnified detail)

Fossils! They’re cool.

In Ammonite, they’re also a metaphor - a simple one, I’d argue. To be frank, I found the 19th century seaside lesbian paleontology drama to be a bit dull, throwing quite a bit of symbolism up on the screen without ever making a real case that this director needed to make this film about these women.

But I did quite enjoy the sheer number of visual cues, some of which do work quite well. Victorian women, the film suggests, were like fossils. Society confined them to small, dim spaces where they slowly ossified...

Click to read more ...

The Furniture: The Nest and Its Not-Haunted House

"The Furniture," by Daniel Walber. (Click on the images for magnified detail)

Don’t marry an investment banker!

This, as far as I can tell, is the central message of Sean Durkin’s The Nest. And it’s good advice! Rory O’Hara (Jude Law) is a Gordon Gekko without any of the charm, a stiff Englishman determined to perform his financial success in front of a vaguely imagined audience of the rich and powerful. His wife, Allison (Carrie Coon), is miserably along for the ride. It’s a period piece, but it’s laser focused on toxic aspects of our culture that certainly haven’t gone away. The ‘80s never ended, not really.

And so we watch as Allison and her two children are dragged from their house in the US, already their third home in 10 years, and across the pond to an enormous old mansion in Surrey. Rory’s determination to make it big back in the UK upends everything, from Allison’s equestrian interests to their daughter’s gymnastics. I bring this up because it’s one of our few glimpses at the life before, represented in wide spaces like the sun-dappled walls of the stable and the well-lit, colorful gym...

Click to read more ...

The Furniture: "À Nous la Liberté" and Freedom from Industrial Design

"The Furniture," by Daniel Walber. (Click on the images for magnified detail)

Once upon a time, the Oscars were in November! Well, thrice upon a time. The 3rd, 4th and 5th Academy Awards were held in the fall - the last of them on November 18th, 1932. Nathaniel covreed the biggest piece of trivia from that night earlier this morning. But there were also a few firsts, including the debut of the short film categories and the first-ever foreign-language nominee. René Clair’s À nous la liberté was nominated for Best Art Direction, an award it lost to a cruise ship comedy called Transatlantic.

But it’s Clair and art director Lazare Meerson who have the last laugh, as their losing film is now largely regarded as a classic and Transatlantic barely has a Wikipedia page. A nous la liberte is a charming little oddity, a musical comedy about the alienation inherent in modern industry. It opens in a prison, where cellmates Émile (Henri Marchand) and Louis (Raymond Cordy) are at work hand-carving toy horses. The cavernous space evokes the ominous architecture of the modern prison, its high balconies a reminder of constant surveillance...

Click to read more ...