intermezzo

I'm not sure why it took me so long to watch Intermezzo.  Ingrid Bergman and Leslie Howard are two of my favorite actors.  I didn't love it as much as I love other films they've each made--it's a love story, and a bit on the soapy side--but it was still worth watching.  Howard plays a famous concert violinist who falls in love with his daughter's piano teacher, played by Bergman. The movie came out in 1939 and was Bergman's first American film.  (She had already starred, three years earlier, in the original Swedish language version of the film, playing the same role.)

Bergman's wardrobe in this film is by Irene (a.k.a. Irene Lentz).  She is not as famous today as Edith Head or Adrian, but during Hollywood's golden age she was well-known as a designer of both elegant dresses and sophisticated, well-tailored, California style women's wear.  (She is possibly best remembered for the "scandalous" shorts and cropped top worn by Lana Turner in The Postman Always Rings Twice.)  

I love the dress Bergman is wearing here:  the large, contrasting collar, military style buttons and cinched-in waist with wide belt.  Bergman is so young and sweet-looking; this dress gives her piano teacher character a bit of gravitas.

Gratuitous tuxedo shot of Leslie Howard.

Bergman in a light colored pinafore style dress that emphasizes her youth. . . 

. . . especially when contrasted with the darker, more sophisticated-looking dress worn here by Edna Best, who plays Howard's wife.

This is, I think, one of just two evening gowns worn by Bergman in the film.  Notice again the belt and large buckle detail at the waist.

Despite its soapy ending, Intermezzo is worth watching for Bergman and Howard, and for the lovely music in the film.  Additionally, the cinematography is gorgeous.  I will always be a sucker for a lamplit foggy evening in a European city.  And there is just a hint at the terrible times to come for Europe during this scene when Howard says something to Bergman about "the time when Vienna was a happy city."

I have a small obsession with bar and restaurant scenes in 1930s and 1940s films.

Okay, back to the clothes.  My favorite outfits, of course, were those worn by Bergman when she and Howard are on holiday.  My screenshots aren't the greatest, but I love the skirts, pants and casual slingbacks she wears.

Those pockets!

This--the pants, the belt, the scarf/tie--is my favorite!  And those stripes on Howard are awfully cute.  It's interesting how here--just when they are at the pinnacle of happiness, which is about to disappear--Bergman looks so powerful and in control.  And Howard looks a bit like a little boy.

Some serious 1930s pouf action on those sleeves.  Bergman has decided she must let Howard go.  To say goodbye (although he doesn't yet know it's goodbye), she wears, arguably, the most romantic-looking outfit of the film.

The fabric those sleeves are made from really is gorgeous.  I think it's lace (click on the pic to see it bigger).  I love the echo here of their previous scene in the train station, where they were supposed to say goodbye and didn't.  Now they are saying goodbye for good. . . though Howard doesn't know it yet.

xo

K

gold diggers of 1933

I have to thank my Tumblr friend and fellow Christoph Waltz enthusiast, Amelia, for sparking me to finally rent and see the amazing pre-Code musical Gold Diggers of 1933.  She did this by writing about it and its follow-up, Gold Diggers of 1937, on her fantastic film blog, More Stars Than in the Heavens.  If you like movies--especially classic films--I strongly recommend following Amelia's blog.  She is an excellent writer, and has, in a very short period of time, made my Must See Films list ridiculously long.  

I won't go into great detail about the film's plot.  Basically, it's about a group of four showgirls during the Depression.  The Busby Berkeley musical numbers are beautiful, bizarre, magical, and extremely moving, by turns.  Just go rent the movie and see it. 

My post here is going to be frivolously full of pictures of pretty costumes.

My favorite gal in the film was Aline MacMahon's Trixie.  She plays the Funny One, and maybe it's just because she's the only one with eyebrows, I thought she was the loveliest.  (I never quite understood that 1930s no eyebrows look.)  Trixie also wears the best clothes.

...Like this amazing macro herringbone print dress.  I've been a little obsessed with the Wiener Werkstätte movement lately, and this print reminds me of some of the textiles made by those artisans.

Ruby Keeler tap dancing in a great little plaid-accented outfit.  Love how the scarf pulls through her lapels.

Here's Aline MacMahon in another great print, this time an op art-y shadow plaid.

Ginger Rogers (who is more than a little freaky in the film's opening musical number--watch it and tell me what you think!) in diagonal stripes and cute little jacket.

Um, this bar?  Send it to my house.  Also love Joan Blondell's black gown, which is accented with a sparkly sequinned plaid.

I should probably mention that the costumes are by famed Australian-born costume designer Orry-Kelly.  He moved to Hollywood in 1932, so Gold Diggers was one of his earlier gigs.

THIS IS A JUMPSUIT.  Yes, I had to put that in all caps.  How cute is it?  And just look at Aline's face.  Is she not lovely?

Here's Guy Kibbee in another of my favorite costumes--a very Wiener Werkstätte-ish dressing gown.

I had to include some shots of the musical numbers.  This being a pre-Code film, those gals behind the screen get even more obviously naked than you see here.

In this number, the ladies are "playing" violins edged in neon.  When the lights come one, you can see the electrical cords.  Apparently, the performers would occasionally get shocked.  Hey, it's what you do for Art.

xo

K

post Oscar shop preview

I watched the Oscars last night (which you'll know if you follow my Twitter feed).  I love movies, but as years pass, I seem to get less enjoyment out of watching these award shows.  I do not think--based on the nominations and often, the winners--that they mean anything much at all. 

I also can't say I was super inspired by any of the fashions I saw this year.  I can't recall being excited by any Oscar fashion since Michelle Williams wore that great saffron yellow gown, but I'm not really all that much into Oscar style glam anyway.  Still, it was cool to see the wins for Hugo and The Artist, two of the better films I saw this year (both of which have great period settings and costumes, as well).  I was also happy that The Shore won for best live action short film.  Andy and I saw all the live action shorts on Saturday; if you get a chance to see them, you should check them out.  (Tuba Atlantic was particularly good, also.)

Alright, enough about the silly awards ceremony.  Here's an epic preview of what's coming to the shop this week!

1960's L'Aiglon candy stripe dress.

1960s tapestry print cropped blouse, by Jo Matthews.

1940s gray chevron stripe suit by Lilli Ann.

1950s black silk blouse by Le Charme.

1960s tropical flower print shift with bow neck.

1950s red plaid skirt with belt, by Petti-gree.

1950s dot print cotton dress with Peter Pan collar.

1960s red floral print blouse, by The Villager.

Bohemian black floral print dress with woven bodice and bell sleeves.

1970s Levi's denim blazer.

1950s brick red shantung dress by Herman Marcus.

1950s yellow rose print blouse by Macshore Classics.

1960s robin's egg blue piqué dress with roll collar and bow.

1940s black sequin jacket.

1950s spring flowers dress, by Shelton Stroller.

Space dyed sweater vest.

1960s blue abstract print dress, by Pennypacker.

1960s mid century barkcloth print cotton blouse.

1950s gray tufted thread dress with scattered rhinestones and piqué trim.

xo

K