Monday, April 25, 2011

Pillow Talk and Down with Love











Pillow talk, a contemporary film of the year of its release; 1959 has feminist themes and counters the idea of patriarchy. The film Down with Love, which was released in 2003, depicts the year 1962 and has many elements indicative of Second Wave Feminism. Pillow Talk has copious examples of Feminist themes within its storyline, but the film that plays homage to it; Down with Love raises the bar, with a push by its female characters for equality in the American workplace.
            Pillow Talk provides a Feminist Perspective because its lead female; Jan Morrow counters what is the norm by the way she lives her life and her actions in the plot of the story (Sellnow). The idea of Patriarchy where a man is the authority figure of a household and responsible for his family is also challenged in the film (Sellnow).
In Pillow Talk, Jan Morrow is an independent woman who works as an interior decorator, and lives alone in an upscale apartment in New York City. The other characters in the film don’t believe Morrow when she says that she enjoys living alone. Morrow’s living situation is an example of feminism because it counters the norm of the late 1950’s since Morrow gives the impression that she doesn’t need a man. These facts suggest that in American culture, it was out of the ordinary for a woman to live alone in the late 1950’s and that it was considered a bad thing. In today’s American culture, it is perfectly acceptable for a woman to be single and live alone, but her friends and peers may still not believe that she is truly happy about it.
            Being an interior decorator, Jan Morrow doesn’t have to rely on anyone else for financial support. When her rich friend Jonathan Forbes tries to convince her to marry him because he is rich, young, and handsome, Morrow declines on the grounds that she isn’t in love with him. While the 1950’s wasn’t a time in American culture that practiced arranged marriages or an extreme suppression of women, women still often relied on their husbands to be the “bread winners” of the family while they stayed home and assumed the role of Housewife. The fact that Morrow is self reliant for financial stability gives her the luxury to choose who she will marry based on love. American culture today has many more women who have financial independence than in the 1950’s, but many women are still pressured into marrying partially for financial stability.
            A major part of the plot of Pillow Talk is Morrow’s frustration with the manly playboy, Brad Allen whom she shares a phone party line with. Allen is always monopolizing up the phone line, when Morrow needs to make important calls. Allen spends his time on the phone wooing his many girlfriends and singing the same love song to them with the only lyric changed being the girl’s name. Over the phone, Morrow is irate towards Allen and very aggressive and demanding. It is clear that she thinks Allen’s playboy habits are disgusting. This fact has not changed much in American culture today. Men are still labeled as “dogs” if they romance many women at the same time; they are looked down on by women. But, the morality in America has declined since the 1950’s and playboys are often glorified in American Pop Culture. In the 1950’s most American’s would frown upon a Playboy with many conquests. Scandalous activity was often swept under the rug.
Another female character in Pillow Talk is Alma, Morrow’s maid. Alma is notoriously hung over when she comes to work. In one scene towards the end of the film, Alma drinks Brad Allen under the table. This scene with Alma is unconventional and therefore comical. A female character with an alcohol problem would be less funny in a movie in American culture today than it was in the 1950’s. Today, we know that there are many alcoholic American women and it is taken more seriously and seen more as a problem rather than a point of comic relief.
Since Down with Love was released in 2003, it is a look back at 1962’s American Culture. This is probably why its feminist themes are more extreme than Pillow Talk’s which was set in a period of time just before the onset of Second Wave Feminism. Down with Love is set in a time that is considered to be the start of Second Wave Feminism, which is thought to have taken place from the 1960’s until the 1970’s (Sellnow). The plot of Down with Love consists of author Barbara Novak writing a book which becomes a best seller. Novak’s book strives to teach women how to have “a la carte” sexual encounters with men so that they can gain equality with men in the workplace without the distraction of love, marriage, and family. The theme of women pushing for equality in the workplace is present in many scenes of the film.
Liberal Feminist Perspective, which focuses primarily on providing opportunities for the inclusion of women in traditionally male dominated areas occurs in scenes within Down with Love. Marxist Feminist Perspective, which seeks to ensure economic equality for women and equal work for equal pay is also included in Down with Love’s plotline (Sellnow). In the years between 1962 and 2003, much had changed in the American workplace for women. However, the reason that Down with Love resonated with an American audience is because women still face discrimination in their personal and professional lives. 
In the montage sequence of the film, Novak’s book is becoming a worldwide sensation and its effect on Americans is shown. An American wife and mother is first shown serving dinner to her rowdy and unappreciative family but in the next scene she is shown reclining while reading Novak’s book as her husband serves dinner to the kids. A group of three American women pass by three men having their shoes shined. The men shake their heads and laugh as the women reading Novak’s book pass by them, but in the next scene, the three women are having their shoes shined as the men look on. Another American wife and mother sits in front of the TV enjoying a TV dinner with her family and in the next scene, she is lying in bed reading her copy of Novak’s book and smacks her husband on the head with it when he tries initiate intimacy. Novak’s book is liberating the women of America and making them demand equality from the men in their lives.
In another scene when Novak goes to pick up her clothes at the Dry Cleaners, which is run by a husband and wife, there is a copy of Novak’s book on the counter and it is clear that the wife has read it. When Novak enters, the wife shoos her husband away from the front counter and tells him to go in the back and iron while she deals with the customers stating that they are “equal now”. Similarly Barbara’s editor, Vikki Hiller, demands equality in the workplace and quits her job in the publishing industry when she isn’t treated the way she wants. Also, one of playboy Catcher Block’s girlfriends; Gwendolyn who is a flight attendant decides to try for her pilot’s license after reading Novak’s book. These scenes are indicative of Second Wave Feminism which focuses on the goals of equal rights and opportunities for both women and men (Sellnow).
            Since Down with Love is playing homage to Pillow Talk the main characters are very similar. Jan Morrow and Barbara Novak start out very strong, independent women who claim that they don’t need a man to be happy. Both Brad Allen and Catcher Block are playboy’s who are able to assume an alias to trick Morrow and Novak since they have only had phone conversations with them. During the time that Allen and Block are in disguise they fall in love with Morrow and Novak. Jan Morrow does fall in love with Brad Allen’s fake identity “Rex Stetson” and she is oblivious that he is the same man she argued with over the phone for dominating her party line. However, Barbara Novak appears to have fallen in love “Major Zip Martin,” Catcher Block’s alias, but her identity is also a pseudonym for her real name Nancy Brown. So, the female protagonist of Pillow Talk; Jan Morrow is swindled by Brad Allen because the movie was set before the empowerment of women that came with Second Wave Feminism. Nancy Brown (Barbra Novak), on the other hand, was deceiving Catcher Block all along and knew his true identity. Brown is more empowered than Morrow since her character was written from a modern day perspective after Second Wave Feminism had taken place. Since in today’s American culture, women are more empowered, it is appropriate to have Novak out smart Block in Down with Love.
            Pillow Talk, which was filmed and released in 1959, just before Second Wave Feminism, countered the idea of Patriarchy in America. The plot of Down with Love, which was set in 1962, but released in 2003, comes from a more modern perspective and has themes of equality in the American workplace. Since Down with Love is a film that is playing homage to Pillow talk, the four main characters have similar personalities. Jan Morrow and Barbara Novak and Brad Allen and Catcher Block go through many of the same motions within the plots of the films. Novak however, is a more empowered woman than Morrow since she is influencing other women in America to fight for equality. 

Sources
Gordon, Michael. Pillow Talk. Universal International Pictures. 1959. Film. 

Reed, Peyton. Down with Love. Fox 20th Century Pictures. 2003. Film.

Sellnow, Deanna D. The Rhetorical Power of Popular Culture Considering Mediated Texts. Ed. Todd R. Armstrong. California: Sage Publications. 2010. Print.

Monday, April 18, 2011

This was not on purpose!


Okay...I am on the left, this was a photo taken about a year ago, that I snapped myself. Sucker Punch's Emily Browning is on the right. I saw the photo of her on IMDB and it reminded me of this photo of myself. Even our hair is parted the same!..weird...thoughts?

Sunday, April 3, 2011

My Top 5 Short Elie Saab Dresses

The detailing on this short baby blue frock is beautiful, Leighton Meester made a good choice for the Red Carpet!
Saab Sparkle done right! Another awe inspiring dress that could be dressed up or down.
The detailing on this is so feminine, the sheer fabric on the top of the dress adds a sexy touch to this sweet look.
I love the splash of color on this white simple dress, it is a fun and funky look!
Purple and Puffy? I am so there, this is something I would wear in a heartbeat and it's appropriate for a dressy casual occasion.

Saturday, April 2, 2011

My favorite Long Elie Saab Dresses

This dress, made famous by Racheal McAdams who wore it at the 2010 Oscars is my favorite Elie Saab dress to date!
Mila Kunis looked gorgeous in her 2011 Oscar dress which is another one of my favorites
I love the flow of this fabric and the deep dark pink is both sexy and feminine.
This orange ensemble has such vibrancy, it is a color that should be seen more on the red carpet.
I love the colors in this, they are dark, but beautiful jewel tones.
The hue of blue is gorgeous and the jeweled straps add a nice sparkle to this gown!
I love the detailing of the fabric on the bottom of this dress and the muted blue color makes the look understated and old fashioned.
Here is a youthful and fun look with the stripes of rainbow colors on this dark, sheer fabric, it's funky and pretty at the same time!
This rosy pink is so feminine and perfect for Spring! Plus the color has a deep enough saturation so that it won't blend in with a pale skin tone
This look is very gypsy-like, bohemian even. The detailing on the bodice of the gown adds a sparkle to the dark hue.
Anyone who knows me, knows I LOVE purple! The cut of this dress is so slimming and I like the unique neckline.
Here is a deeper shade of purple, the sparkles are patterned like shooting stars!
Here is another look that seems old fashioned to me, the intricate detailing is beautiful!
The ruffles on the sheer white strapless dress adds texture and a billowy quality to this simple cut.
And now time to pop the question...Elie Saab, Will you...design my Wedding gown?

Wednesday, March 9, 2011

West Side Story 1961

The film version of West Side Story was unconventional in many ways including the selection of its director and the casting of the two leads. It also employed groundbreaking music tempos and choreography. These elements were necessary to tell this tragic love story encased in social conflicts and the restlessness of the American youth of the time. Although the film did stick to many facets characteristic of movie musicals, it broke with many traditions resulting in it becoming the most highly awarded musical of all time.      
Robert Wise was chosen to direct the film, and later went on to direct the highly successful The Sound of Music. He was an unconventional choice since, at that time, he hadn’t done a musical before. He had however edited Citizen Kane and The Magnificent Ambersons and was considered a Hollywood veteran (Frost).
The casting for the film was also unconventional. Many Hollywood actors auditioned for the male lead Tony. The list included Elvis Presley, Warren Beatty, Tab Hunter, Anthony Perkins, Burt Reynolds, Troy Donahue, Bobby Darin, Richard Chamberlain, Dennis Hopper, Gary Lockwood and Russ Tamblyn (who would be cast as “Riff” after impressing the film’s producers). Strangely enough, Richard Beymer, a former child actor, who was considered the most doubtful among the contenders, won the part of Tony (Wikipedia).  
Natalie Wood, who had never done a musical before, had not originally been considered by the producers of West Side Story for the part of Maria (Frost, Wikipedia). At the time, she was dating Warren Beatty and was also his onscreen romance in Splendor in the Grass. Wood had been practicing reading lines opposite Beatty and accompanied him to the screen test for the role of Tony. When the producers of the film heard Wood read the part of Maria, they decided to cast her in the lead role, but not Beatty (Wikipedia). These unexpected casting choices contribute to the uniqueness of West Side Story as a film musical.
At the films beginning, the fighting and confrontation of the two gangs is characterized by stylized dancing. Later in the opening, the dance becomes a choreographed fistfight (TCM). The story’s original scriptwriter, Arthur Laurents had outlined the prologue to not include dialogue, which allowed the films choreographer and co-director Jerome Robbins to introduce the street gangs. This establishing of the street gang allowed Robbins to show “their pecking orders, celebrate their swagger in the street, demonstrate their physical grace, and establish their hostility…” (Ebert). Right off the bat, the ‘dance-fighting’ occurring between the Caucasian Jet’s gang and the Puerto Rican Shark’s gang on the streets of New York in the opening of West Side Story is unconventional to the musical genre.
The street fights, which were smoothly choreographed dancing, showed violence which was never present in the musicals made in the years of the 1930’s to the 1950’s (Frost). Also, the music in the film reveals the reasons for the street gags’ angst which was a big change in the genre of musicals (Frost). When the characters verbalize the reasons for their unhappiness and discontentment through use of lyrics, it breaks with the tradition of singing upbeat songs typical of musicals. Turf wars, problems at home, and violence are among many of the unconventional topics explored in this musical (Frost).
The cast filmed on the streets of New York for five weeks (TCM). Location shooting had been done for musicals before, but was still not the norm (Frost). Robbins thought that the film needed a more realistic setting and didn’t want to utilize the stylized sets that were used for the stage production. Robbins adapted his stage choreography to match the locations used for the film (TCM). The look and feel of West Side Story is not as safe and shiny as many other musicals, because the location shooting and realistic sets provided a more raw and earthy feel. “The gritty, urban tenement setting, the use of street language and the serious exploration of societal problems such as bigotry and juvenile delinquency were a marked change from the standard musical of the time” (TCM).
West Side Story confronts many grim social problems and has a cynical tone because it is depicting a society on the verge of explosion. Issues from racism, to the widening generation gap, to drugs, to alcohol, to sex, to authority, and to violence were explored in the film (Frost). This film goes beyond the conventions of the musical genre because it defies the “Boy Meets Girl” formula ever present in traditional movie musicals (Frost). Moving into the 1960s, the musical had evolved. No longer was it just a place for escapism, but for dealing with social issues (Frost). West Side Story was a catalyst for change because it broke with so many traditions and propelled the genre into a new, more meaningful role.
The musical and dancing styles of West Side Story were truly non traditional for the time period. Laurents put it best. “You couldn't have a story about murder, violence, prejudice, attempted rape, and do it in a traditional musical style.” (Ebert). Leonard Bernstein, who composed the music, employed wacky time signatures such as 5/4 time, 6/8 time, and 25/6 time. Rita Moreno who was cast as Anita found them “crazy” and said the music was difficult to dance to, because it didn't “make dancer sense.”(Ebert). Bernstein's irregular rhythms and Robbins' precise choreography created a genuinely new kind of movie dancing, (Ebert). The differences in musical style were a necessity because of the nature of the plot and topics of the story.
Throughout West Side Story, dance was used to convey dramatic action and not only used for courtship purposes (Frost). Robbins incorporated the dance sequences flawlessly into the songs and action of the story and combined modern popular dance with classical styles (TCM). The dancers featured in the “Cool” number said that they never had, and would never again, work so hard on anything. It is not surprising that there were hold ups because the dancers were injuring themselves and collapsing (Ebert). In fact, Robbins’ challenging choreography was so difficult that no scene was ever able to be filmed all the way through (Ebert). It is obvious that West Side Story employed dance styles never before used because these experienced dancers struggled to keep up.
The final distinction of West Side Story as a film musical is the fact that it won more Academy Awards than any other film musical (Wikipedia). At the Oscar Award Ceremony, West Side Story took home ten of the eleven awards it was nominated for, including Best Picture for 1961 (Wikipedia). Fifty years later the record holds true, which goes to show that the creation of the film was truly unique and groundbreaking for its genre. Other outstanding achievements include the soundtrack album which created more revenue than any other album had previously. The film was also the second highest grossing film of 1961 in the U.S. (Wikipedia). Revolutionary on many levels, West Side Story is not only distinctive from other musicals, but an exceptional achievement for a feature film.  
As significantly different and innovative that West Side Story was, the film still did adhere to many aspects typical of the musical genre. Traditional musicals highlighted musical artists and dancing stars which was a category that Rita Moreno fit into (Frost). Great choreography for screen and orchestration often was typically used to enhance the musical numbers in this genre (Frost). Robbin’s choreography is a stand out element of the film version and a credit to its entertainment value and success. The film also took home an Academy Award for Best Original Score (Wikipedia). The musical score and the dance routines increased the strength of the musical pieces in the film. By 1955, the musical genre had stagnated and original scripts were being abandoned (Frost). This led to Broadway adaptations being brought to the screen (Frost). West Side Story is among many of the successful adaptations.
Film producer Arthur Freed, whose credits include film musicals such as The Wizard of Oz, Singing in the Rain, and Gigi, believed that the songs should be integrated into the plot of the story to advance the narrative and cause progress (Wikipedia, Frost). Emphasize on full-scale song and dance routines in a significant way, usually with musical or dance performance as part of film’s narrative, was typical of musicals (Frost). The lyrics of musicals often supported the storyline of the film and characters acted out familiar social conflicts through song and dance; oblivious to the camera or the audience (Frost). This change brought to musicals by Arthur Freed grounded them in reality and made the musical devices employed by West Side Story and other musicals more meaningful and effective in the telling of their narrative.
Many of the actors voices were dubbed or professional dancers stood in for them at times in movie musicals (Frost). Both Natalie Wood and Richard Beymer attempted to do their own singing for the movie, and Beymer does sing the opening lines of the song “Maria” in the film. However, both of their voices were inadequate, and the voices of Jimmy Bryant and Marni Nixon were dubbed over their singing parts in the film. Wood did pre-record all her songs, but struggled with the challenging soprano role. Music supervisors decided that Wood’s singing voice would be completely dubbed by Marni Nixon (Wikipedia).
Tucker Smith who played “Ice” in the film, dubbed the singing part of “Riff” in “The Jet Song”. However, Russ Tamblyn's own voice was used in “Gee, Officer Krupke” and the "Quintet". Betty Wand, Rita Moreno’s vocals in the song "A Boy Like That" because the song was in too low a register for Moreno. She did sing her own vocals in "America" and had intended to sing her parts in the musical number “Quintet” herself, but couldn't due to illness. Coincidently, Moreno’s voice stand in Betty Wand was also ill on the last day of recording, so Marni Nixon stepped in to record Anita's vocal line resulting in Nixon singing both Maria's and Anita's vocal parts (Wikipedia). dubbed
The theme of West Side Story and Shakespeare’s Romeo and Juliet, of which it is loosely based on, is “two lovers thwarted by circumstances beyond their control”(Gottlieb, Wikipedia). Many thematic devices were used to convey the theme of the film. The melancholy sounding song “Somewhere,” which reprises several times in the film, employs descending note patterns which manipulate the viewer’s emotions. Neither Maria nor Tony were directly involved in the conflicts between the Jets and Sharks gang at the start of the film. In fact, Tony tried to stop the “rumble” between the two gangs, but the boys on both sides were eager to fight one another. Also, toward the end of the film there is a scene in which Anita goes to Doc’s store to deliver a message to Tony from Maria of where to meet her. Anita is manhandled by the Jets gang and in her anger she tells the boys that Maria is dead. This turn of events, which is beyond Maria and Tony’s control, leads to Tony’s reckless behavior and eventually his death (West Side Story, 1961). 
The tension filled climate and the racism occurring in the film is representative of what was happening at that time in the United States. “In the 1960s & '70s, African-American and Puerto Rican political activism banded together to battle the common problems of racial discrimination, poverty and under presentation in many urban areas across the US like in New York City” (Wikipedia). Since West Side Story takes place on the streets of New York City and showcases the restlessness of Puerto Rican youth in the 1960’s, the film is a realistic representation of the climate in America during that time.        
Sources

“Arthur Freed.” Wikipedia. Web. 9 March 2011. <http://en.wikipedia.org/wiki/Arthur_Freed.>

Ebert, Roger. “West Side Story (1961).” Rogerebert.com. Web. 9 March 2011. <http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040215/REVIEWS08/402150301/1023>

Frost, Jacqueline. “The 60’s Musical Takes on Issues.” Cal State University Fullerton. 22 Feb. 2011. Lecture.

Gottlieb, Jack. “West Side Story Fact Sheet.” Web. 9 March 2011. <http://www.westsidestory.com/site/level2/archives/fact/fact.html>


 “Racism in the United States.” Wikipedia. 9 March 2011. <http://en.wikipedia.org/wiki/Racism_in_the_United_States.>

“West Side Story (film).” Wikipedia. 9 March 2011. <http://en.wikipedia.org/wiki/West_Side_Story_%28film%29/>

“West Side Story (1961).” Turner Classic Movies. Web. 9 March 2011. <http://www.tcm.com/tcmdb/title/23623/West-Side-Story/notes.html>

Wise, Robert, and Robbins, Jerome, dirs. West Side Story. MGM. 1961. Film.   


Monday, February 28, 2011

2011 Award Season Fashion

Mila Kunis' Oscar dress is by far my absolute favorite of the season. The color is gorgeous, she looks ethereal and elegant. LOVE the lace and the way it flows on her.





Emma Watson is showing us how to do nude right in her Bafta dress, it is far enough away from her skin tone, so that she doesn't blend in. Again, Lacey and Ethereal...a great way for her to still look feminine with the pixie cut.
The photo of Mandy Moore doesn't do the dress justice, she looked like she took a bath in glitter on the Oscar carpet, she was radiant. I loved Amy Adams accenting that deep blue dress with her jade jewelry, it set off her hair and eye color so well.
Natalie Portman made such a fitting, elegant choice for the Oscars, I love the flowing fabric, everything from her hair, to her earrings went well with the draping effect. She was so relaxed that night, but definitely glowing. 
This was a bit of a daring choice for Scarlett Johansson at the Oscars, and I know not everyone was a fan, but I am very partial to purple! I love the three shades, deep purple, mauve, and (almost) lilac lace. Her hair is so/so, but this ensemble is elegant and fun!
Again, Natalie is stunning here at the Golden Globes, best dressed of the night in my opinion, very girly and fun, but still classy.

Reese Witherspoon looked so retro at the Oscar's to me! Such a classic and timeless look, she is as cute as a button and I loved her jade earrings, they just added that little pop of color to the ensemble!
Out of Anne Hathaway's 75 Oscar dresses my favorites are (from L to R) TOP ROW: first 2, and BOTTOM ROW: First and third. She could have carried the entire ceremony herself in my opinion...Franco seemed a little high off something...

Michelle Williams seemed to blend into the background in this dress a bit, but I am in LOVE with her new haircut. Her look is very understated, but it all works well together. Again, it seems a bit retro.
Now this is a red carpet look! Mila Kunis looked so glamorous at the SAG Awards. This is a simple print which is very elegant and flows with the fabric.
HORRAY Helena! (Bonham Carter)! This is the most elegant I have ever seen her! Her choice for the Bafta's (during which she took home an award for her performance in The King's Speech) is worthy of applause.
Nicole Kidman looked RED HOTT at the Spirit Awards the night before the Oscars, looks a bit reminiscent of one of Lady Gaga's 2009 VMA dress though, no?
Susan Sarandon is beautiful in purple at the SAG awards.
Amy Adams is as fresh faced and glamorous as ever in this coral dress she wore to the Bafta's!

Harry Potter's Bonnie Wright gets full marks in my book for her Bafta ensemble, again, a simple print that goes well with the fabric! <3

Friday, February 4, 2011

New Look Alike Discovery


 I have just started watching Off the Map, ABC's new show about Doctors working in South America. At first I thought that actress Caroline Dhavernas was actually 300's Lena Headey. The brunettes share a striking resemblance...agreed?