Ava Gardner #1
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scriptgirl
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atomic pinup
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ebay
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ebay
scriptgirl
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ebay
scriptgirl
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ebay
scriptgirl
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ebay
scriptgirl
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luxist
Italian publisher Skira is about to release the gorgeous catalog of an exhibition at the Shanghai Museum of Contemporary Art commemorating the eightieth anniversary of design house Ferragamo. Founder Salvatore Ferragamo died in 1960, but his name lives on in the firm which has become "synonymous with shoes that embody wildly creative design, painstaking construction techniques, blissful comfort, and the finest materials" - not to mention over-the-top items such as the $250,000 crocodile trench coat we wrote about the other day.
Salvatore Ferragamo: Evolving Legend 1928-2008 is a "fully illustrated monograph of the legendary Italian purveyor of luxury, this book also serves as a journey through the history of fashion from the 1920s to the present." Mr. Ferragamo made his name creating footwear for the most beautiful movie stars in Hollywood including Marilyn Monroe, Greta Garbo, Ava Gardner, Rita Hayworth, Marlene Deitrich, and Audrey Hepburn. The book is filled with a rich collection of photographs, archival material, sketches, and drawings exploring Ferragamo's design process.
Italian publisher Skira is about to release the gorgeous catalog of an exhibition at the Shanghai Museum of Contemporary Art commemorating the eightieth anniversary of design house Ferragamo. Founder Salvatore Ferragamo died in 1960, but his name lives on in the firm which has become "synonymous with shoes that embody wildly creative design, painstaking construction techniques, blissful comfort, and the finest materials" - not to mention over-the-top items such as the $250,000 crocodile trench coat we wrote about the other day.
Salvatore Ferragamo: Evolving Legend 1928-2008 is a "fully illustrated monograph of the legendary Italian purveyor of luxury, this book also serves as a journey through the history of fashion from the 1920s to the present." Mr. Ferragamo made his name creating footwear for the most beautiful movie stars in Hollywood including Marilyn Monroe, Greta Garbo, Ava Gardner, Rita Hayworth, Marlene Deitrich, and Audrey Hepburn. The book is filled with a rich collection of photographs, archival material, sketches, and drawings exploring Ferragamo's design process.
scriptgirl
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LA Times
If you thought Brad Pitt (best actor nominee for "The Curious Case of Benjamin Button") and Angelina Jolie (best actress nominee for "Changeling") might have made history when they both received nominations for acting Oscars on Tuesday, think again! Here's a look at the other couples that have done the same thing in the past, going back more than 75 years...
If you thought Brad Pitt (best actor nominee for "The Curious Case of Benjamin Button") and Angelina Jolie (best actress nominee for "Changeling") might have made history when they both received nominations for acting Oscars on Tuesday, think again! Here's a look at the other couples that have done the same thing in the past, going back more than 75 years...
- 1931/1932Alfred Lunt (best actor for "The Guardsman") and Lynn Fontanne (best actress for "The Guardsman") were married.
- 1939Laurence Olivier (best actor for "Wuthering Heights") and Vivien Leigh (best actress for "Gone With the Wind") were domestic partners and would marry a few months later.
- 1953Frank Sinatra (best supporting actor for "From Here to Eternity") and Ava Gardner (best actress for "Mogambo") were married, but had separated a few months earlier.
- 1957Charles Laughton (best actor for "Witness for the Prosecution") and Elsa Lanchester (best supporting actress for "Witness for the Prosecution") were married.
- 1963Rex Harrison (best actor for "Cleopatra") and Rachel Roberts (best actress for "This Sporting Life") were married.
- 1966Richard Burton (best actor for "Who's Afraid of Virginia Woolf?") and Elizabeth Taylor (best actress for "Who's Afraid of Virginia Woolf?") were married.
- 2008Brad Pitt (best actor for "The Curious Case of Benjamin Button") and Angelina Jolie (best actress for "Changeling") are domestic partners.
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contra costa times
6 Burt Lancaster double feature: Oh, heck, why not just skip the Super Bowl — Arizona's going to win by 10, anyway — and go see a double dose of Lancaster in his glorious prime. As part of its Film Noir festival, the Castro is presenting "The Killers" (1946) and "Sweet Smell of Success" (1957). Young Ava Gardner is, umm, quite good in "The Killers."
Details: "The Killers" screens at 1 and 7 p.m., "Sweet Smell of Success" at 3:15 and 9:30 p.m. Sunday, Castro Theatre, 429 Castro St., S.F.; $7-$9.50; 415-392-4400, www.thecastro theatre.com.
6 Burt Lancaster double feature: Oh, heck, why not just skip the Super Bowl — Arizona's going to win by 10, anyway — and go see a double dose of Lancaster in his glorious prime. As part of its Film Noir festival, the Castro is presenting "The Killers" (1946) and "Sweet Smell of Success" (1957). Young Ava Gardner is, umm, quite good in "The Killers."
Details: "The Killers" screens at 1 and 7 p.m., "Sweet Smell of Success" at 3:15 and 9:30 p.m. Sunday, Castro Theatre, 429 Castro St., S.F.; $7-$9.50; 415-392-4400, www.thecastro theatre.com.
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telegraph
If you thought £1,000 was expensive for a pair of ripped, designer jeans by Balmain, brace yourself for fashion's latest excess – the £30,000 pair of Roger Vivier heels.
The stilettos are designed by Bruno Frisoni, the creative director of the French luxury cobblers.
They feature an assortment of life's little luxuries such as 24 ct gold-coated mesh, semi-precious stones, jet, satin ribbons, silk chiffon, diamanté and crocodile skin fashioned into dainty rosettes.
The "Dovima", an 11cm, spike-heeled confection of gilded silk mesh and jewels, is embellished with a pair of rose pink-dyed, taxidermy birds with gold and crystal heads.
Another style called "Daphne", in honour of the best-dressed socialite and millionairess, Daphne Guinness, the ex-wife of Greek shipping heir, Spyros Niarchos.
They are a midnight lace creation of jet, silk, crocodile and satin bows.
The collection of six hand-made creations, starting at £9,500 a pair and rising up to a stratospheric £30,000.
They were unveiled during the Paris Haute Couture season this week.
They can be made-to-order – but allow between two to three months for delivery.
The collection is called "One is Too", for each pair can be inserted into and buckled onto matching crocodile or snakeskin protective "platforms", based on the "pattens" of the Middle Ages.
They add height and save the expensive, fragile works-of-art for the feet from actually making contact with anything as rugged, commonplace and downright dirty as the pavement.
Roger Vivier, who died in 1998, began designing for Elsa Schiaparelli in the 1930s and was known as the inventor of the stiletto.
At the height of his fame he was called "the Fragonard of Shoes" and his customers included Ava Gardner, Elizabeth Taylor and the Queen.
Vivier's most famous creation was the "Pilgrim Shoe", a buckled pump, which Catherine Deneuve wore in the film, "Belle de Jour".
M. Frisoni, who joined the company in 2004, has also revived the "Pilgrim" at a more down-to-earth price of £315.
If you thought £1,000 was expensive for a pair of ripped, designer jeans by Balmain, brace yourself for fashion's latest excess – the £30,000 pair of Roger Vivier heels.
The stilettos are designed by Bruno Frisoni, the creative director of the French luxury cobblers.
They feature an assortment of life's little luxuries such as 24 ct gold-coated mesh, semi-precious stones, jet, satin ribbons, silk chiffon, diamanté and crocodile skin fashioned into dainty rosettes.
The "Dovima", an 11cm, spike-heeled confection of gilded silk mesh and jewels, is embellished with a pair of rose pink-dyed, taxidermy birds with gold and crystal heads.
Another style called "Daphne", in honour of the best-dressed socialite and millionairess, Daphne Guinness, the ex-wife of Greek shipping heir, Spyros Niarchos.
They are a midnight lace creation of jet, silk, crocodile and satin bows.
The collection of six hand-made creations, starting at £9,500 a pair and rising up to a stratospheric £30,000.
They were unveiled during the Paris Haute Couture season this week.
They can be made-to-order – but allow between two to three months for delivery.
The collection is called "One is Too", for each pair can be inserted into and buckled onto matching crocodile or snakeskin protective "platforms", based on the "pattens" of the Middle Ages.
They add height and save the expensive, fragile works-of-art for the feet from actually making contact with anything as rugged, commonplace and downright dirty as the pavement.
Roger Vivier, who died in 1998, began designing for Elsa Schiaparelli in the 1930s and was known as the inventor of the stiletto.
At the height of his fame he was called "the Fragonard of Shoes" and his customers included Ava Gardner, Elizabeth Taylor and the Queen.
Vivier's most famous creation was the "Pilgrim Shoe", a buckled pump, which Catherine Deneuve wore in the film, "Belle de Jour".
M. Frisoni, who joined the company in 2004, has also revived the "Pilgrim" at a more down-to-earth price of £315.
scriptgirl
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san franscisco chronicle
Vanity Fair's Tales of Hollywood
Rebels, Reds, and Graduates and the Wild Stories Behind the Making of 13 Iconic Films
Edited by Graydon Carter
Penguin Books; 338 pages; $16 paperback
Introducing this collection of Vanity Fair articles, the magazine's editor, Graydon Carter, urges us to forget about film critics (a "sorry lot") and get ready for some real reportage about the movies. The book, in his words, delivers "the definitive, untold sagas" behind 13 "unforgettable" films. But that's not all. Carter promises plenty of dish: "Who doesn't want to know about the knockdowns, the hissy fits, the brawls, and the breakdowns?"
The book is Vanity Fair through and through, including the magazine's trademark name-dropping. Sam Staggs begins his piece on "All About Eve" with these words: "When I asked Nancy Reagan recently ..." Not to be outdone, Carter's introduction mentions "the man Brooke Astor used to tell me was the love of her life."
The films covered here run from "The Magnificent Ambersons" (1942) to "Reds" ('81) - all made before the first issue of the magazine (in its present incarnation) was published. The book focuses on some standards (like "Rebel Without a Cause," "The Graduate" and "Midnight Cowboy") and a few big-time bombs ("Cleopatra," "Myra Breckinridge"). All but one of the writers are past or present Vanity Fair contributing editors.
The book begins with "Ambersons," which some believe could have been Orson Welles' masterpiece if not for RKO's interference. David Kamp's article focuses on the search for the lost 132-minute version approved by Welles, as against the 88-minute disaster released by the studio.
The writer, who's done impressive research here, can't resist inserting himself in the piece, at first distancing himself from the "obsessives" and "Ambersons" geeks, but eventually succumbing to the quest. In the end, he raises two interesting questions: Was the lost movie not that good, as some contend? And was Welles to blame for the debacle? Kamp says no on both counts.
Peter Biskind's chapter on "Midnight Cowboy" is perhaps more typical of the book. The piece details the woes of screenwriter Waldo Salt, who, before the film, believed himself washed up. Director John Schlesinger, we learn, wasn't sold on Dustin Hoffman and wanted Michael Sarrazin for the title role. It was the film's good fortune to have Marion Dougherty as casting director - she scoured all levels of the New York theater scene for new talent, and she liked Jon Voight for the lead.
Biskind also has a good story about Hoffman's famous "I'm walkin' here" line (it was improvised when a real cab almost hit the actors).
The inimitable James Wolcott is represented by a relatively short piece on "Tommy." He skewers director Ken Russell ("his was not a light touch"), admittedly an easy target, and rhapsodizes about Ann-Margret's over-the-top acting, calling her the true star and hero of the film. "Hers is a performance beyond vanity, beyond good and bad, beyond good and evil, beyond camp. ..."
Sam Kashner's "Graduate" chapter is full of delectable detail, such as Mike Nichols' visit to Ava Gardner, who was under consideration to play Mrs. Robinson. And I hadn't been aware that Gene Hackman had been hired, then fired, as Mr. Robinson. The article gives due credit to producer Larry Turman, who saw the film potential of Charles Webb's novel and honed in on Nichols as the right director. And Kashner relishes the irony that Nichols and Hoffman took a film aimed squarely at young people on a college tour, only to be criticized by the students that the film wasn't about Vietnam.
I found the pieces on "Cleopatra" and "Saturday Night Fever" less intriguing, but there are good tidbits on "Rebel," "Sweet Smell of Success" and "Reds." And the chapter on "Myra Breckinridge" is fascinating in a gruesome, car-wreck way.
So I'll forgive Carter's slur against critics and give him the floor again: These stories, he writes, "are intended not simply for moviegoers but for true film obsessives who mark their memories by the Scorsese movie that was in theaters at a certain time in their lives, or for the old-studio-system-era-buffs who know whose arm Elizabeth Taylor hung from way back when." If that sounds like you, this is your book.
Vanity Fair's Tales of Hollywood
Rebels, Reds, and Graduates and the Wild Stories Behind the Making of 13 Iconic Films
Edited by Graydon Carter
Penguin Books; 338 pages; $16 paperback
Introducing this collection of Vanity Fair articles, the magazine's editor, Graydon Carter, urges us to forget about film critics (a "sorry lot") and get ready for some real reportage about the movies. The book, in his words, delivers "the definitive, untold sagas" behind 13 "unforgettable" films. But that's not all. Carter promises plenty of dish: "Who doesn't want to know about the knockdowns, the hissy fits, the brawls, and the breakdowns?"
The book is Vanity Fair through and through, including the magazine's trademark name-dropping. Sam Staggs begins his piece on "All About Eve" with these words: "When I asked Nancy Reagan recently ..." Not to be outdone, Carter's introduction mentions "the man Brooke Astor used to tell me was the love of her life."
The films covered here run from "The Magnificent Ambersons" (1942) to "Reds" ('81) - all made before the first issue of the magazine (in its present incarnation) was published. The book focuses on some standards (like "Rebel Without a Cause," "The Graduate" and "Midnight Cowboy") and a few big-time bombs ("Cleopatra," "Myra Breckinridge"). All but one of the writers are past or present Vanity Fair contributing editors.
The book begins with "Ambersons," which some believe could have been Orson Welles' masterpiece if not for RKO's interference. David Kamp's article focuses on the search for the lost 132-minute version approved by Welles, as against the 88-minute disaster released by the studio.
The writer, who's done impressive research here, can't resist inserting himself in the piece, at first distancing himself from the "obsessives" and "Ambersons" geeks, but eventually succumbing to the quest. In the end, he raises two interesting questions: Was the lost movie not that good, as some contend? And was Welles to blame for the debacle? Kamp says no on both counts.
Peter Biskind's chapter on "Midnight Cowboy" is perhaps more typical of the book. The piece details the woes of screenwriter Waldo Salt, who, before the film, believed himself washed up. Director John Schlesinger, we learn, wasn't sold on Dustin Hoffman and wanted Michael Sarrazin for the title role. It was the film's good fortune to have Marion Dougherty as casting director - she scoured all levels of the New York theater scene for new talent, and she liked Jon Voight for the lead.
Biskind also has a good story about Hoffman's famous "I'm walkin' here" line (it was improvised when a real cab almost hit the actors).
The inimitable James Wolcott is represented by a relatively short piece on "Tommy." He skewers director Ken Russell ("his was not a light touch"), admittedly an easy target, and rhapsodizes about Ann-Margret's over-the-top acting, calling her the true star and hero of the film. "Hers is a performance beyond vanity, beyond good and bad, beyond good and evil, beyond camp. ..."
Sam Kashner's "Graduate" chapter is full of delectable detail, such as Mike Nichols' visit to Ava Gardner, who was under consideration to play Mrs. Robinson. And I hadn't been aware that Gene Hackman had been hired, then fired, as Mr. Robinson. The article gives due credit to producer Larry Turman, who saw the film potential of Charles Webb's novel and honed in on Nichols as the right director. And Kashner relishes the irony that Nichols and Hoffman took a film aimed squarely at young people on a college tour, only to be criticized by the students that the film wasn't about Vietnam.
I found the pieces on "Cleopatra" and "Saturday Night Fever" less intriguing, but there are good tidbits on "Rebel," "Sweet Smell of Success" and "Reds." And the chapter on "Myra Breckinridge" is fascinating in a gruesome, car-wreck way.
So I'll forgive Carter's slur against critics and give him the floor again: These stories, he writes, "are intended not simply for moviegoers but for true film obsessives who mark their memories by the Scorsese movie that was in theaters at a certain time in their lives, or for the old-studio-system-era-buffs who know whose arm Elizabeth Taylor hung from way back when." If that sounds like you, this is your book.
scriptgirl
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Lewin Collection
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