This weekend you can stroll around a storied studio and see work from some of the world’s finest photographers. The third edition of Paris Photo Los Angeles runs Friday, May 1, to Sunday, May 3, at Paramount Pictures Studios in Hollywood.
Featuring exhibitors from 17 countries, Paris Photo Los Angeles shows work from nearly 80 art galleries and specialized art book dealers. In addition to still photos, moving images will be displayed.
New this year is the INTRODUCING! Young California Photographer Award, in partnership with J.P. Morgan. After the success of last year’s UNEDITED! Archives of the LAPD exhibition, the program returns with CALIFORNIA UNEDITED!: a collection of 19th Century photographs from the R.J. Arnold Archive.
The exhibition also includes a conversation series called SOUND & VISION.
“Gilda,” arguably Rita Hayworth’s most famous role, will screen this Saturday, April 25, at the Egyptian Theatre in Hollywood. Preceding the movie, costume historian Kimberly Truhler will give a one-hour presentation called: “Femmes Fatales, Innocents and Intrigantes: Can the Costume Design of Film Noir Tell Us the Difference?” The talk will start at 2 p.m.
‘Gilda’ shows that if you’ve got it, you might as well flaunt it
First published on FilmNoirBlonde.com on Sept. 19, 2012
“Gilda” is all about Gilda and that’s the way it should be – for any femme fatale and particularly for Rita Hayworth the most popular pinup girl of WWII, a talented entertainer and Columbia Pictures’ top female star in the mid-1940s. This 1946 movie by director Charles Vidor is essentially a vehicle for the drop-dead gorgeous Hayworth to play a sexy free spirit who lives and loves entirely in the present moment.
Hayworth revels in the sexual power she wields over any man who crosses her path, despite the fact that in post-war America a woman with a mind (and body) of her own spelled nothing but trouble. As the Time Out Film Guide points out: “Never has the fear of the female been quite so intense.” That said, the “independent” Gilda is only briefly without a husband and has to endure a lengthy punishment from her true love.
She first appears, after a devastatingly dramatic hair toss, as the wife of husband Ballin Mundson (George Macready). Suave, but aloof and asexual, Ballin runs a nightclub in Buenos Aires. Gilda passes the time plucking out tunes on her guitar and propositioning other men. Nice work if you can get it.
Enter Johnny Farrell (Glenn Ford), an American gambler who runs Ballin’s club. Johnny’s job extends to keeping an eye on Gilda when she’s carousing on the dance floor. Ballin isn’t around much because he’s off trying to form a tungsten cartel with some ex-Nazi pals. But babysitting the boss’ wife (Ballin calls her a “beautiful, greedy child”) is especially tough for Johnny because he and Gilda used to be an item and endured a bitter breakup.
The script is laced with taunts, barbs and innuendo. For example, Gilda tells him: “Hate is a very exciting emotion, hadn’t you noticed? I hate you, too, Johnny. I hate you so much I think I’m going to die from it.” (And some see homosexual undertones in Farrell and Ballin’s relationship.)
Director Vidor, whose other films include 1944’s “Cover Girl” (also starring Hayworth), “A Farewell to Arms” and “The Joker Is Wild” (both 1957), holds his own in the noir genre. “Gilda” is a dark tale (alluding to sexual perversion and repression) and there’s some moody cinematography, courtesy of Rudolph Maté. But Marion Parsonnet’s script, despite many sharp, clever lines, doesn’t hold together and that throws off the pacing. The first third meanders along too slowly while the ending seems abrupt and slapped together.
The plot is thin and vaguely confusing – Ballin is up to no good and at one point is thought to be dead, only to turn up later at a pivotal point in Johnny and Gilda’s romance. They reunite of course and their push-pull tension is the engine that drives the story. Luckily, that tension, combined with solid direction and acting, save the movie.
(The legendary Ben Hecht is an uncredited writer on “Gilda” and if the storyline rings a bell, you might be thinking of “Notorious” also from 1946, written by Hecht, which is another story of ex-Nazis up to no good in South America. Ingrid Bergman and Cary Grant play the wary, mistrustful lovers in Alfred Hitchcock’s superior rendering of similar material.)
The chemistry between Ford and Hayworth is about as real as it gets. Longtime friends, they had a brief affair during the making of the movie. In his book, “A Life,” Glenn Ford’s son Peter writes that Vidor coached Glenn and Rita with “outrageously explicit suggestions.” Peter Ford quotes his father as saying: “[Vidor’s] instructions to the two of us were pretty incredible. I can’t even repeat the things he used to tell us to think about before we did a scene.”
According to Peter Ford, this off-screen fling stemmed from Hayworth’s unhappy marriage to Orson Welles. The romance also drew the ire of Columbia Pictures chief Harry Cohn, who reportedly lusted after Hayworth and whom Hayworth rejected. “Gilda” was the second film Hayworth and Ford appeared in together; they worked together three more times afterward as well.
“Gilda” wasn’t a critical hit, but it proved popular with audiences, especially the famous “Put the Blame on Mame” scene.
Choreographed by Jack Cole, a bold and brilliant innovator, the number is as close to a strip tease as was possible in 1946. Hayworth was dubbed by Anita Ellis in that number, though there is some debate as to whether it’s Hayworth’s voice when she runs through the song with Uncle Pio (Steven Geray) earlier in the movie.
Though “Gilda” cemented Hayworth’s celebrity status, her fame came at a price. “Every man I’ve known has fallen in love with Gilda and wakened with me,” she said. But, despite her career ups and downs, five failed marriages and a long struggle with Alzheimer’s, she kept her sense of humor. In the 1970s, Hayworth was asked, “What do you think when you look at yourself in the mirror after waking up in the morning?” Her reply: “Darling, I don’t wake up till the afternoon.”
Last night, the COLCOA French Film Festival kicked off with a lovely reception and a screening of “A Perfect Man,” directed and co-written by Yann Gozlan.
In the movie, Pierre Niney plays Mathieu Vasseur, a sensitive smart loner and struggling fiction writer. When he happens to find an unpublished manuscript written by a French soldier in the Algerian War (who is now deceased), Mathieu takes a gamble and sends it to a publisher. It’s an instant success and Mathieu’s once-dismal existence is transformed, bringing him money, acclaim and the love of Alice Fursac (Ana Girardot), a beautiful and brainy literature professor who hails from a prominent family.
But three years later, Mathieu’s lies catch up with him: he’s spent all his money and he’s made zero progress on a second book. Also bothering him: a blackmailer and a nosy friend of the Fursac family. As Mathieu gets more desperate to cover his tracks (à la Patricia Highsmith’s Mr. Ripley), he turns to increasingly dire methods to hang onto his pretty illusion.
Granted, there are several times where “A Perfect Man” might inspire head-shaking incredulity. But I found that easy to forgive because there is so much that’s highly entertaining about the film – Niney and Girardot are just right for their parts, not to mention the luscious cinematography, shocking twists, taut pacing and gorgeous locations.
Alfred Hitchcock had a name for viewers who quibbled with the likelihood of a suspense movie’s plot points occurring in real life: The Plausibles. In his view, these nitpickers were missing the point, which was to enjoy the story’s thrills, both narratively and visually.
Of course, there needs to be some semblance of reality as well as sophistication in terms of storytelling in order to gloss over pesky points of fact. And it’s a difficult balance to maintain – some films are so compelling that it’s easy to forgive even major errors, others we dismiss completely because we just can’t buy into the film’s reality.
In the case of “A Perfect Man,” ditch your Plausibles checklist and just have a good time.
The COLCOA French Film Festivalopens tonight, Monday, April 20, with an elegant reception and the opening night film, a thriller called “A Perfect Man,” directed and co-written by Yann Gozlan and starring Pierre Niney and Ana Girardot.
It’s a story of shifting identities as a struggling author stumbles upon a wildly unethical way to make the best-seller list.
With echoes of Patricia Highsmith’s Mr. Ripley, “A Perfect Man” strikes us as a divinely decadent way to kick off this wonderful festival, now in its 19th year.
There is much to see this year (check the COLCOA site for info on free screenings and cool events) and we are counting the days until Friday’s Film Noir Series.
The fest takes place at the Directors Guild of America, 7920 Sunset Blvd., Los Angeles, 90046.
Sunday was the closing day of an essential film fest, for noiristas and others: Noir City Hollywood, presented by the American Cinematheque in collaboration with the Film Noir Foundation. The foundation’s urbane noirphiles Eddie Muller and Alan K. Rode were on hand throughout the fest to introduce the movies. This year, they brought another excellent selection (heavy on adaptations of the great master of pulp suspense Cornell Woolrich).
The lineup included a real find: the American debut of three almost unknown but brilliantly done and stunningly visualized film noirs from Argentina: “The Black Vampire” (Roman Vinoly Barreto, 1953), a remake of Fritz Lang’s “M,” and superb adaptations of Woolrich stories in “Never Open That Door” (Carlos Hugo Christensen, 1952) and “If I Should Die Before I Wake” (Christensen, 1952).
The fest wrapped up with a four-movie proto-noir marathon:
“The Ninth Guest” (1934, Roy William Neill) a mystery with a generous dollop of Deco glam.
“Let Us Live” (1939, John Brahm) featuring the great Henry Fonda as a wrongly identified killer and a riveting performance from Maureen O’Sullivan as his girlfriend.
“Heat Lightning” (1934, Mervyn LeRoy) a pre-Code delight about two sisters (Aline MacMahon and Ann Dvorak) running a garage and car-repair shop in the desert and ridding the place of rats, such as fleeing criminal and old flame (Preston Foster).
“Safe in Hell” (1931, William Wellman) Dorothy MacKaill is unforgettable as a sparkling blonde siren who spends the entire movie fighting off men as she waits in vain on a Caribbean island to be with the guy she truly loves (Donald Cook).
My attendance was spotty this year because I had to leave town unexpectedly (such is life for a femme fatale) but my colleague Mark Harrington caught quite a few.
Other highlights from this year’s fest were: “Woman on the Run,” “The Underworld Story,” “Abandoned,” “Circle of Danger,” “Berlin Express,” “Ride the Pink Horse,” “The Fallen Sparrow,” and “The Guilty” as well as that triple bill of Argentinian film noir.
The closing-weekend party was loads of fun, especially since I won a nifty raffle prize! I definitely needed my drink tickets that night. Why? By the small but mighty curveball in “The Guilty” when the lead character (Don Castle) reveals that he is studying “commercial geography” to land a good job.
What??? Education and hard work to get ahead? Was the movie going to start preaching about the virtues of a work ethic? Aaargh! Thankfully, this was, in fact, a temporary glitch and the character turned out to be crazy-bad.
Phew! I was freaked out there for a moment but everything was just as it should be in Noirville.
At a recent press screening, several of my fellow critics and I were lamenting the lack of good movies released so far this year. It’s about time for some titles worth touting.
The one standout, most of us agreed, is French writer/director Olivier Assayas’ “Clouds of Sils Maria,” a drama with neo-noir elements (set in Sils Maria, Switzerland) that revolves around a high-profile actress, exuding poise and sophistication, named Maria Enders (Juliette Binoche).
Maria’s enviable career comes full circle when she is talked into making the ultimate encore: She will return to the play that spurred her success 20 years before, though this time she will star as the older women whose life is falling apart. Cast as the luscious ingénue in this rendition is a Hollywood bad girl struggling to steer clear of the tabloids and be taken seriously as an actress (Chloë Grace Moretz). Kristen Stewart co-stars as Maria’s smart, cynical and chicly bespectacled assistant, Valentine.
We are introduced to Maria and Valentine on a train as it solemnly chugs though gorgeous mountain country and the story of these two women, a generation apart, unfolds like a long journey — freeing and claustrophobic, intimate and impersonal, predestined yet random and mysterious. We see the boundaries of their intense relationship stretch, fray and then suddenly, frighteningly vanish.
“Clouds of Sils Maria,” beautifully shot, impeccably cast and confidently directed, has deservedly garnered much praise, especially for the superb performances from leads Binoche and Stewart. (Never having seen “Twilight,” I am now a big Stewart fan).
Suspenseful and sly, wistful and resonant, “Clouds” should not be missed.
Meanwhile, many reviewers have been impressed with first-time director Alex Garland’s “Ex Machina” (Garland also wrote the script). This sleek sci-fi thriller is crisply smart, coolly shot with a chilly color palette and well acted. In fact, I failed to recognize Oscar Isaac as the mad but muted scientist. Domhnall Gleeson plays a young techie who wins the chance to assess the emotional intelligence of a sexy female robot — a truly heartless femme fatale (Alicia Vikander). It sounds good and looks great but somehow the film overall felt slightly shallow and short on ideas.
Similarly, “True Story,” fails to live up to its potential, despite grisly real-life details. James Franco plays Christian Longo, an Oregon man who received the death sentence in 2003 for murdering his family. While on the run in Mexico, Longo impersonated a journalist named Mike Finkel (Jonah Hill). In need of a career boost after being fired by the New York Times for making up one of the interviewees in a magazine story, Finkel agreed to write about Longo and later published a memoir about his experience.
Franco and Hill are compelling as is Felicity Jones as Finkel’s girlfriend. But director and co-writer Rupert Goold loses his way and the storytelling soon becomes murky.
Also, it’s a bit hard to take “True Story” seriously when it depicts the New York Times newsroom as a place where reporters raucously drink beer and play poker after submitting their stories. (Or maybe it’s just hard to take James Franco seriously after the fiasco that was “Child of God”). But it’s been a few weeks since I’ve seen it and nothing much of the movie has stuck with me. Still, there are worse ways to kill two hours.
Also drawing mixed but mostly good reviews is Levan Gabriadze’s debut feature “Unfriended,” a horror flick that takes place entirely on the small screen, ie Skype and Facebook. Shelley Hennig leads a cast of high-school friends who are harassed by a mysterious cyber-stalker. It’s a clever gimmick and the acting’s good, but other than that, “Unfriended” tells a same-old same-old story about the secrets and betrayals of teen friendships and romance.