Tuesday, May 07, 2013
Amber Heard in a red dress by Emilio Gucci attends The Metropolitan Museum of Art's Costume Institute benefit celebrating "PUNK: Chaos to Couture" in Manhattan.
Anne Hathaway made good after opting out of wearing her go-to designer at the Oscars. "It's vintage Valentino from 1992," she said of her edgy gown.
Kerry Washington wore Vera Wang. "I have purple (highlights) going in to match the dress," she said. "I've had lots of misguided (fashion) moments. Who hasn't? I had a big hip-hop phase, jerseys and that kind of stuff."
Kate Beckinsale, in Alberta Ferretti, said her most rebellious moment was getting her ears double- and triple-pierced as a teen without telling her mom. "I hope my daughter doesn't read this!" says the mom of Lily.
The last to arrive: Madonna. Her top rebellious fashion moment? "It depends on the week!" she retorted. Source: www.usatoday.com
Diane Kruger in a black dress by Chanel (Haute Couture) & Joshua Jackson
Sienna Miller wore gown and jacket by Burberry Prorsum
Kristen Stewart wore a burdeos outfit by Stella Mccartney
Kirsten Dunst in a green dress by Louis Vuitton
Jessica Biel in a black outfit by Giambattista Valli
Mosh pits and punk rock don't usually mix with Upper East Side galas, but Beyoncé, Rooney Mara, Anna Wintour, Tiger Woods, Alec Baldwin and Anne Hathaway all tried to rock it like the Sex Pistols (or some fashionable facsimile) at Monday night's Metropolitan Museum Costume Institute Gala.
Peter Sarsgaard and Maggie Gyllenhaal (she wore a red dress by Calvin Klein and and Bulgari jewels)
Nora Zehetner in a printed Marchesa dress accessorized with Edmundo Castillo heels
"I don't think I'm very punk," Mara admitted, wearing a white lace Givenchy gown that, in truth, seemed more "Little House on the Prairie" -- although it did have some heavy-duty zippers. The gala celebrates the Costume Institute's new exhibit, "Punk: Chaos to Couture," which opens Thursday, tracing punk rock's influence on high fashion, from its birth in the 1970s onward. Source: www.newsday.com
Monday, May 06, 2013
As Josh Harnett and his girlfriend Tamsin Egerton stepped out in New York's Soho neighbourhood on Saturday, their love wasn't the only thing in bloom. Marvelling at the white and yellow petals in the city's landscaping, the 34-year-old Wicker Park actor stopped to savour their beautiful surroundings.
Diane Kruger and Josh Hartnett in "Wicker Park" (2004) directed by Paul McGuigan
His 24-year-old girlfriend smiled in awe as she watched him pull one of the blossoming branches towards his face, breathing in the fresh floral scent. Appearing to be in sync with one another, the couple coordinated their ensembles for their afternoon outing.
Tamsin donned a striped tee beneath a red plaid shirt and grey collared jacket. She teamed the tops with a pair of skinny denim trousers that she cuffed above her black ballet flats.
The blonde beauty's eyes were concealed with plastic-rimmed sunglasses as her wavy locks were neatly tied back into a bun. But throughout their day date, the British actress decided to loosen up a bit, releasing her strands from the sleek style and letting them flow freely past her shoulders.
On her left, Josh sported a heather grey tee that he teamed with a lightweight navy jacket, fitted denim trousers and laced brown shoes. He kept his eye concealed as well, sporting jet black plastic-rimmed sunglasses. The two stars have been dating since August 2012, but the Hollywood actor hasn't appeared in a film since 2011. Source: www.dailymail.co.uk
“Walk in the rain, smell flowers, stop along the way, build sandcastles, go on field trips, find out how things work, tell stories, say the magic words, trust the universe.” ― Bruce Williamson
Scan of Jake Gyllenhaqal in Die Zeit Magazine (Germany), May 2013
Jake Gyllenhaal attending the 28th Annual Lucille Lortel Awards on May 5, 2013 in New York City
Sunday, May 05, 2013
Claire Trevor and Dick Powell in a promotional portrait for Edward Dmytryk's film "Murder, My Sweet" (1944) based on Raymond Chandler's novel "Farewell, My Lovely" (1940)
Raymond Chandler would be the prime beneficiary of the noir renaissance of the 1970s, as two previously filmed Marlowe novels returned to the big screen. Chinatown’s success permitted director Dick Richards to mount a handsome period production of Farewell, My Lovely (1975) that even got to use Chandler’s original title. (The 1944 adaptation was called Murder, My Sweet so that audiences would not expect a musical, given that the star was song-and-dance man Dick Powell beginning his transition into harder-edged roles).
Richards’ Marlowe was Robert Mitchum, who had already delivered a piercing, valedictory performance as the low-level Boston hood working both sides of the law in 1973’s The Friends of Eddie Coyle. Once again, Marlowe is asked by newly-sprung pug Moose Malloy (ex-boxer Jack O’Halloran, taking the role played by Mike Mazurki in the first film) to find his “cute as lace pants” girlfriend Velma. Aside from changing “psychic consultant” Jules Amthor into a madam, screenwriter David Zelag Goodman largely sticks to Chandler’s novel. This fidelity isn’t a bonus as it saddles the film with Chandler’s plot, as easy to track as mercury on a tabletop. The production design smartly conveys the 1940s setting while the script overemphasizes it, with Marlowe offering commentary on Joe DiMaggio’s ongoing hitting streak and a newsie asking him at one point, “Whaddaya think of this guy Hitler?” Farewell offers its share of incidental pleasures.
Charlotte Rampling was born to play an icy femme fatale, and novelist Jim Thompson amusingly cameos as her power broker husband. In the film’s best scene, Mitchum duets with Sylvia Miles’ dipsomaniacal faded actress Jessie Florian and she bursts into tears over her lost youth. (Miles received an Oscar nomination largely for this scene alone). As good-looking and sincere as Farewell is, it leaves no lasting impression.
Robert Mitchum on the set of the movie 'Farewell, My Lovely', 1974.
It is infinitely better than Mitchum’s second turn as Marlowe. 1978’s The Big Sleep is set in then present-day England. The locale is addressed with a throwaway line about Marlowe coming to the U.K. during World War II and never going back. The time period seems to have been purely a financial decision, meant to save money on wardrobe and cars. In The Long Goodbye, Robert Altman restlessly probes the Marlowe-as-man-out-of-time conceit. Here, writer/director Michael Winner doubles down on the issue by moving the detective across the pond and never addresses the complications.
Mitchum was several decades too old for the role the first go-round. He played tired in Farewell. In Sleep he actually is tired. Understandably so, given how much of the film’s running time consists of shots of the actor striding across empty rooms. Marlowe is hired by fellow ex-pat General Sternwood to bail his hellion daughters out of trouble. The Sternwood clan is played by James Stewart, Candy Clark and Sarah Miles.
In 1950, Fleischer was continuing his upward trajectory with his fourth RKO noir, 'Armored Car Robbery.'
The film stars Charles McGraw, a man whom William Friedkin calls “the quintessential B picture film noir actor.” Friedkin sums up McGraw’s on-screen persona when he describes him as “the most hard boiled of the tough guys.” McGraw, who was a contract player for RKO and appeared in many “B” noirs during the late 1940s and early 1950s, had a face cut from granite, the leftover pieces of which were dumped down his throat and left to chafe against his vocal cords.
He was the perfect fit for the type of character he played in Armored Car Robbery: a hard-nosed cop out for blood after a gang of thugs botches—you guessed it—an armored car robbery, offing his partner in the process. The film boasts great performances, excellent nighttime cinematography, a stripped-down, fastmoving plot, and a fantastic final scene that preceded a similar ending in Stanley Kubrick’s noir classic The Killing (1956). But it wasn’t Armored Car Robbery that was destined to put Fleischer on the map. He reteamed with McGraw in 1950, and once he completed directing The Narrow Margin in just thirteen days, he knew he had something special.
The Narrow Margin (1952) publicity still of Peter Virgo, Jacqueline White, & Charles McGraw
As he put it, “everyone who saw it at the studio was convinced it was my breakthrough film.” And it would be. But not in 1950, and not in 1951. As Fleischer put it, in 1950, the film “came to the attention of Howard Hughes, who promptly put it in his projection booth, where it sat for more than a year.” His improbable run of autonomy had finally come to an end. He’d run up against the one-man wrecking crew who was unintentionally, but systematically, destroying RKO.
Check out lots of riveting articles you can find in the NOIR CITY magazine - Contribute to Film Noir Foundation ordering the Spring issue of NOIR CITY online.
Friday, May 03, 2013
Lauren Bacall and Humphrey Bogart in "Key Largo" (1948) directed by John Huston
"The Humphrey Bogart Estate and the Key Largo Chamber of Commerce have created an annual Humphrey Bogart Film Festival in Key Largo, Florida. The inaugural edition will be held today, May 2 through May 5, 2013. The festival will be hosted by Stephen Humphrey Bogart, the son of Humphrey Bogart and Lauren Bacall, and will feature preeminent film historian and critic Leonard Maltin as a special guest. The festival opens with a cocktail reception and an outdoor screening of the Bogie-Bacall classic Key Largo.
The Humphrey Bogart Film Festival features a formal Bogart Ball, a display of Bogart memorabilia, and rides on the original, fully-restored African Queen. The theme of the inaugural festival is film noir, and Leonard Maltin will give a presentation at the Bogart Ball about Humphrey Bogart's contribution to the genre. The Bogart Ball is a formal event, and features a cocktail reception, dinner, and dancing. The Bogie memorabilia include personal letters, signed contracts, movie posters, trophies and awards, clothing, and other unique artifacts.
The festival will screen Bogart movies and other iconic films from the film noir genre. Tracing Bogart's career arc and the history of noir's golden age, the following Bogie classics will be screened: The Petrified Forest, High Sierra, The Maltese Falcon, The Big Sleep, Dark Passage, The Treasure of the Sierra Madre, Key Largo, and In a Lonely Place. Because the actual African Queen boat is in Key Largo, Bogie's Oscar-winning turn as Charlie Allnut in The African Queen will also be shown.
Lastly, since it's hard to imagine a Humphrey Bogart festival without Rick Blaine, Casablanca will be screened. In between the Bogie classics, in order to provide a fuller picture of the history of film noir, classics such as Double Indemnity and Sunset Boulevard will be screened. More recent noirs, such as Memento, Brick, and Drive will complete the journey through the world of film noir. Source: movies.broadwayworld.com
THE CANYONS is a contemporary L.A. noir from director Paul Schrader, writer Bret Easton Ellis, and producer Braxton Pope about the dangers of sexual obsession and ambition, both personally and professionally, among a group of young people in their 20's and how one chance meeting connected to the past unravels all of their lives, resulting in deceit, paranoia, cruel mind games and ultimately violence.
Filled with intrigue and suspense, the story follows a beautiful troubled former ingenue as she follows a path of possible self destruction … and that’s just the casting Lindsay Lohan.
The saga behind the making of Bret Easton Ellis’ modern-day film noir “The Canyons” is perhaps just as tawdry as the plot itself. Since the first day of shooting, “The Canyons” has been a dream come true for TMZ editors: naked scene shoots, screaming matches, porn stars and, of course, the media’s ever-present anticipation of Lohan’s next potential misstep.
Lindsay Lohan: 'Anger Management' Guest Spot Still
In November, the second trailer portraying Lohan as a femme fatale caught in a ’50s melodrama hit the Web. Borrowing heavily from noir period pics like “Man Bait” or “Blonde Ice,” the trailer comes closest to “The Canyons’” tone. “Film noir is a huge interest of mine, and when Bret wrote the script, he defined it as a contemporary noir, so that was the style that we shared an affinity for,” says Pope. Source: www.variety.com