The Armani Aesthetic and Film Costume Appropriation: Sam Shepard in Voyager
Giorgio Armani’s menswear, and womenswear, aesthetic defined and ruled an era, giving birth to a new form of democracy, a…
Recent Posts
La Dolce Vita Meets New York Jazz and Beat Scene: Jude Law in The Talented Mr. Ripley
It begins with a Princeton jacket and an innocent identity mix-up. Tom Ripley (Matt Damon), a working class young man,…
The All-Natural Look of Two Mythical Creatures: Thelma and Louise
She rips the sleeve off of a denim shirt and makes herself two bandanas to wear around her neck. She’s…
Beyond Character: Michel Piccoli and Romy Schneider in Max et les ferrailleurs
A bleak, dark detective story that taps into noir, Claude Sautet’s Max et les ferrailleurs (1971) is more than a…
A New Kind of Rebel
Rebel Without a Cause (1955) was the film that gave the confused and alienated teenager an identity. But before James…
Renaissance Woman and Dance Hall Days in the Alienated City
Special Service agent Richard Chance (William Petersen) approaches both his job and his life with reckless abandon, throwing caution to…
François Truffaut’s Heroines: Part II
Catherine Deneuve (Marion Vergano) in La sirène du Mississippi, 1969 François Truffaut attributed part of the failure of La Sirène…
François Truffaut’s Heroines: Part I
Cinema is a woman’s art, François Truffaut used to say, and the great moments in cinema involve “the convergence of…
Dressing the Classes: La règle du jeu and Gosford Park
“I learned the rules of the game from The Rules of the Game,” said Robert Altman about Gosford Park (2001),…
