scriptgirl
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Thank you! Glad you like my pics!
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Grace Kelly
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scriptgirl
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Scandinavian Magazines
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lenin imports
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Thank you! I thought it was on DVD.
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ebay
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The Telegraph
Diane Lane: a fortysomething sex symbol
Last Updated: 12:01am BST 05/10/2008
Page 1 of 3
Described by Olivier as the new Grace Kelly when she was 14, Diane Lane always seemed fated to remain the best actress who never quite made it. Until, that is, she was nominated for an Oscar, and smouldering lead roles started to flood in. She talks to Strawberry Saroyan about life as a fortysomething sex symbol
Diane Lane is dangling an iridescent gold mesh thong from her ring finger. We are sitting in a French pastry shop in Beverly Hills, and she has been searching for a piece of chewing-gum in her handbag - when out this pops. 'See, these are the things that get me in trouble,' she says with a laugh. 'It's called being a working mom. You're constantly changing clothes. You go to the gym or you're trying on a ball-gown and it's, like, "That's uncomfortable. I'm not going to wear that all day!"'
Diane Lane: 'I'm too chicken to have cosmetic surgery. What scares you more? Getting old or looking weird?'At 43 Lane is at an age when Hollywood actresses who have been used to being cast as romantic leads suddenly find that the telephone stops ringing and ball-gown fittings cease to be an issue. (As Whoopi Goldberg once said, after actresses have turned 40, film producers 'want you to think that you are done'.) Lane, however, has managed to buck that trend, and finds herself, the mother of a 15-year-old daughter, slap bang in the middle of the most productive and demanding period of her career to date. Since her acclaimed - and Oscar nominated - turn as a housewife who embarks on a passionate and destructive affair in Unfaithful (2002), she has become the actress to hire if a director needs a sexy, but emotionally complicated, depiction of a woman on the cusp of middle age. With lesser or greater variations on a theme, she has played that role in Under the Tuscan Sun (2003), Fierce People (2005), Must Love Dogs (2005) and Hollywoodland (2006). In her next film, Nights in Rodanthe, based on a novel by Nicholas Sparks, she's at it again, playing an unhappily married (but sexy and emotionally complicated) middle-aged woman who has a passionate (though this time not necessarily destructive) affair. She reprises her partnership with Richard Gere, whom she betrayed so vigorously in Unfaithful but with whom she here does the betraying.
Perhaps Lane's ability to keep on bagging romantic leads into her forties is simply the exception that proves the Hollywood rule. Lane, however, does not think so. She believes there has been a shift in society, and that the roles for older women in Hollywood are beginning to reflect that. 'I peaked [emotionally] at 38,' she says, 'and these days I think late thirties is the new 25.'
Nights in Rodanthe is, in fact, the third film she has made with Gere - she first starred opposite him as an 18-year-old in Francis Ford Coppola's 1984 homage to the jazz age, The Cotton Club. Indeed, it is easy to forget, given Lane's comparatively late rise to fame, that she was a child star. At the age of 14 she was cast alongside Laurence Olivier in A Little Romance (1979). He was so impressed that he compared her to a young Grace Kelly. By the time she was 20, she had made 10 feature films, three of them directed by Coppola. Scripts continued to roll in throughout her twenties and early thirties, but she never managed to capitalise on her early promise. Or rather, the films she chose - Chaplin (1992), Judge Dredd (1995), Jack (1996) - let her down, because the one constant throughout her career, whether she has been cast in a hit or a flop, has been the quality of her acting - to which her many glowing reviews attest.
When we meet, Lane is dressed in a plain white shirt, blue jeans, preppy black flats and no make-up. There is the slight frown that gives her perfectly proportioned face poignancy, and her vaguely sarcastic delivery is softened by her deep brown eyes. In conversation Lane is thoughtful, engaging and open. She has, in addition, a rather eccentric habit of speaking in extended metaphors (at one point Lane invokes a vision of an athletic octopus to describe her experience of single motherhood: 'It was like having a croquet mallet in one hand, a tennis racket in the other, a baseball bat in the other, and some fins on my feet'). This can sometimes be disorientating, as if she has failed to hear your question, or has decided to head off on a tangent. When, for instance, I ask her about what it is like to be back working with Richard Gere, she says this: 'You know, I had a black eye when I was a teenager once from a jar of honey - it's a long story - and I tried so hard to cover it up with make-up at school the next day, and then years later I had another little black eye and I didn't feel like covering it up at all. That's the difference between being 18 and being with Richard now. I was so busy covering my insecurities that it made them stick out more. Today I just walk in and announce them.'
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Insecure though Lane may have been, she would have walked on to the set of The Cotton Club with an enviable CV for such a young actress. The daughter of an acting coach, Burt Lane, and a singer and model, Colleen Farrington (who was named Playboy's Miss October 1957), Lane made her stage debut aged seven at the fashionable La MaMa Experimental Theatre Club in New York. She played a child who is murdered in a production of Medea. 'One time,' she remembers, 'I fell asleep and missed my cue and they were crying over a nonexistent dead body. It was bad. But I was a baby!' Roles in Electra and As You Like It followed, and Lane went, without her parents, on theatrical tours to Europe and the Middle East. By 12, Lane was performing alongside Meryl Streep in a stage production of The Cherry Orchard. What made her so brave and driven as a child? Lane laughs. 'I wasn't. I was sort of dared by my father. Like, "Come on, do this really cool thing." You know how when your parent is like the sun shining on you - the approval, all the "You're so wonderful"? That's what he was like when I was doing the plays.'
Diane Lane: a fortysomething sex symbol
Last Updated: 12:01am BST 05/10/2008
Page 1 of 3
Described by Olivier as the new Grace Kelly when she was 14, Diane Lane always seemed fated to remain the best actress who never quite made it. Until, that is, she was nominated for an Oscar, and smouldering lead roles started to flood in. She talks to Strawberry Saroyan about life as a fortysomething sex symbol
Diane Lane is dangling an iridescent gold mesh thong from her ring finger. We are sitting in a French pastry shop in Beverly Hills, and she has been searching for a piece of chewing-gum in her handbag - when out this pops. 'See, these are the things that get me in trouble,' she says with a laugh. 'It's called being a working mom. You're constantly changing clothes. You go to the gym or you're trying on a ball-gown and it's, like, "That's uncomfortable. I'm not going to wear that all day!"'
Perhaps Lane's ability to keep on bagging romantic leads into her forties is simply the exception that proves the Hollywood rule. Lane, however, does not think so. She believes there has been a shift in society, and that the roles for older women in Hollywood are beginning to reflect that. 'I peaked [emotionally] at 38,' she says, 'and these days I think late thirties is the new 25.'
Nights in Rodanthe is, in fact, the third film she has made with Gere - she first starred opposite him as an 18-year-old in Francis Ford Coppola's 1984 homage to the jazz age, The Cotton Club. Indeed, it is easy to forget, given Lane's comparatively late rise to fame, that she was a child star. At the age of 14 she was cast alongside Laurence Olivier in A Little Romance (1979). He was so impressed that he compared her to a young Grace Kelly. By the time she was 20, she had made 10 feature films, three of them directed by Coppola. Scripts continued to roll in throughout her twenties and early thirties, but she never managed to capitalise on her early promise. Or rather, the films she chose - Chaplin (1992), Judge Dredd (1995), Jack (1996) - let her down, because the one constant throughout her career, whether she has been cast in a hit or a flop, has been the quality of her acting - to which her many glowing reviews attest.
When we meet, Lane is dressed in a plain white shirt, blue jeans, preppy black flats and no make-up. There is the slight frown that gives her perfectly proportioned face poignancy, and her vaguely sarcastic delivery is softened by her deep brown eyes. In conversation Lane is thoughtful, engaging and open. She has, in addition, a rather eccentric habit of speaking in extended metaphors (at one point Lane invokes a vision of an athletic octopus to describe her experience of single motherhood: 'It was like having a croquet mallet in one hand, a tennis racket in the other, a baseball bat in the other, and some fins on my feet'). This can sometimes be disorientating, as if she has failed to hear your question, or has decided to head off on a tangent. When, for instance, I ask her about what it is like to be back working with Richard Gere, she says this: 'You know, I had a black eye when I was a teenager once from a jar of honey - it's a long story - and I tried so hard to cover it up with make-up at school the next day, and then years later I had another little black eye and I didn't feel like covering it up at all. That's the difference between being 18 and being with Richard now. I was so busy covering my insecurities that it made them stick out more. Today I just walk in and announce them.'
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Insecure though Lane may have been, she would have walked on to the set of The Cotton Club with an enviable CV for such a young actress. The daughter of an acting coach, Burt Lane, and a singer and model, Colleen Farrington (who was named Playboy's Miss October 1957), Lane made her stage debut aged seven at the fashionable La MaMa Experimental Theatre Club in New York. She played a child who is murdered in a production of Medea. 'One time,' she remembers, 'I fell asleep and missed my cue and they were crying over a nonexistent dead body. It was bad. But I was a baby!' Roles in Electra and As You Like It followed, and Lane went, without her parents, on theatrical tours to Europe and the Middle East. By 12, Lane was performing alongside Meryl Streep in a stage production of The Cherry Orchard. What made her so brave and driven as a child? Lane laughs. 'I wasn't. I was sort of dared by my father. Like, "Come on, do this really cool thing." You know how when your parent is like the sun shining on you - the approval, all the "You're so wonderful"? That's what he was like when I was doing the plays.'
scriptgirl
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The Sun Daily
WE may not go through winter season in Malaysia, but you can definitely play dress-up with Seed’s Fall 2008 Collection which is fabulously stylish and good for the indoors. With colours toning down to a muted palette, each piece is simple yet infused with a tinge of sophistication, allowing you to feel comfortable in your clothing wherever you may be.
Seed’s Fall 2008
Collection
For a more cosy feeling, fabrics, texture and embellishments also give you a quirky look for those of you who think grey and black are dull colours. Giving these colours a flavourable twist, now you can wear those dark tones as if they were red, orange or yellow!
For the ladies, the Seed collection brings back the hippies, Woodstock and debauchery styles, adding some glitz and glamour where it recalls those days of the disco divas. These are seen through maxi dresses, airy bias ruffles, luxury glitter fabrics and lavish faux fur. With such sizzle, it allows the black and grey to blend with blue.
Inspired by the bohemian chic, mismatched prints, smocking, tiers, ruffles and frills dominate styles together with an easy, trapezed-shaped silhouette and wide-legged pants. Featured colours are dark grey and off-white with strong accents of blue, red and orange reminiscent of the vintage era.
Looking for a more formal cut but yet stylish, Seed brings to life the decade with form flattering voluminous silhouettes in jackets, skirts and tops, cinched waist midi dresses, decorative embellishments, frills and pleats. Subtle colours of dusty green, earthy brown and a touch of pastel pink harmonises with textured fabric and fancy ornaments make you feel like Jackie O, Grace Kelly or even Audrey Hepburn.
Seed introduces a new layering of volume, length and proportions as well as interesting finishing that gives texture and complexity to simple silhouettes for your party attire and dinner-out-nights. Basic black, grey and white are punctuated by contrasting colours like dark pink and purple.
As for the men, styles are seen through an oscillation between the bad boy skinhead individualism of London and uncompromising fashion expression of the Saint-Moritz crowd - this collection plays contrast to a hilt. Look out for eccentric mixes of camouflage distressed denim and tartan checks, fur-trimmed jackets juxtaposed with skinny pants and military styles injected into pants.
Something English, but not too much of it, Seed gives a makeover to the preppy British appeal by mismatching fabrics like cotton plaids, corduroy and checks are mixed with small collars and fine embroidery details to create a collection that is classic yet modern.
Tactile fabrics give a luxurious yet relaxed touch. This combination of sleek polished suiting and pumped-up extravagant oversized jumbo sweater result in an irresistible combination of chic and chill. Colours are noticeably black, white, grey-blue and brown stoic jazzed up with quirky check and stripe prints.
Feel nostalgic and romantic moods inspired by beautiful old Lowry paintings and sweep through the collection with ruffle front shirts and slim pants. Wallpaper prints and hand crotchet details are interpreted in a dusted colour palette of muted browns, dusky green, grey and white.
Both men and women’s collection can also be paired with a new range of bags and accessories. This eases the hassle of having to hunt for matching complements.
Maybe it all sound too warm for the humid climate. Think of a holiday then, the Seed Fall 2008 Collection will definitely be able to fill some luggage space.
The Seed Fall 2008 Collection is now available at all Seed and Padini Concept Store outlets.
WE may not go through winter season in Malaysia, but you can definitely play dress-up with Seed’s Fall 2008 Collection which is fabulously stylish and good for the indoors. With colours toning down to a muted palette, each piece is simple yet infused with a tinge of sophistication, allowing you to feel comfortable in your clothing wherever you may be.
Collection
For a more cosy feeling, fabrics, texture and embellishments also give you a quirky look for those of you who think grey and black are dull colours. Giving these colours a flavourable twist, now you can wear those dark tones as if they were red, orange or yellow!
For the ladies, the Seed collection brings back the hippies, Woodstock and debauchery styles, adding some glitz and glamour where it recalls those days of the disco divas. These are seen through maxi dresses, airy bias ruffles, luxury glitter fabrics and lavish faux fur. With such sizzle, it allows the black and grey to blend with blue.
Inspired by the bohemian chic, mismatched prints, smocking, tiers, ruffles and frills dominate styles together with an easy, trapezed-shaped silhouette and wide-legged pants. Featured colours are dark grey and off-white with strong accents of blue, red and orange reminiscent of the vintage era.
Looking for a more formal cut but yet stylish, Seed brings to life the decade with form flattering voluminous silhouettes in jackets, skirts and tops, cinched waist midi dresses, decorative embellishments, frills and pleats. Subtle colours of dusty green, earthy brown and a touch of pastel pink harmonises with textured fabric and fancy ornaments make you feel like Jackie O, Grace Kelly or even Audrey Hepburn.
Seed introduces a new layering of volume, length and proportions as well as interesting finishing that gives texture and complexity to simple silhouettes for your party attire and dinner-out-nights. Basic black, grey and white are punctuated by contrasting colours like dark pink and purple.
Something English, but not too much of it, Seed gives a makeover to the preppy British appeal by mismatching fabrics like cotton plaids, corduroy and checks are mixed with small collars and fine embroidery details to create a collection that is classic yet modern.
Tactile fabrics give a luxurious yet relaxed touch. This combination of sleek polished suiting and pumped-up extravagant oversized jumbo sweater result in an irresistible combination of chic and chill. Colours are noticeably black, white, grey-blue and brown stoic jazzed up with quirky check and stripe prints.
Feel nostalgic and romantic moods inspired by beautiful old Lowry paintings and sweep through the collection with ruffle front shirts and slim pants. Wallpaper prints and hand crotchet details are interpreted in a dusted colour palette of muted browns, dusky green, grey and white.
Both men and women’s collection can also be paired with a new range of bags and accessories. This eases the hassle of having to hunt for matching complements.
Maybe it all sound too warm for the humid climate. Think of a holiday then, the Seed Fall 2008 Collection will definitely be able to fill some luggage space.
The Seed Fall 2008 Collection is now available at all Seed and Padini Concept Store outlets.
scriptgirl
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- 12,232
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Pittsburgh Live
'Rear Window: Special Edition'
A new version of an Alfred Hitchcock film must mean that Halloween is right around the corner. So, what better way to fill the time between trick-or-treaters than one of the Master of Suspense's best features -- "Rear Window." Starring local boy James Stewart and Grace Kelly -- also a Pennsylvania native -- the 1954 thriller brings us into the world of L.B. Jefferies (Stewart), an adventure-driven photographer laid up in his apartment with a broken leg. As time goes by, Jefferies becomes obsessed with a man who lives in an apartment across the way. Jefferies thinks the man -- played by Raymond Burr -- might have killed his wife, and he might be right. Through his binoculars and camera lens, Jefferies snoops, and he even uses his attractive girlfriend, Lisa (Kelly) to investigate the man's apartment. In addition to the feature film, the package includes a great set of extras. Commentary and Hitchcock interviews share space with featurettes on the film and the director's techniques. Teaming with "Rear Window," new versions of further Hitchcock films -- "Psycho" (1960) and "Vertigo" (1958) -- also make their way into stores. "Psycho" and "Vertigo" feature extended sets of extras that should be considered a treasure chest of goodies for Hitchcock fans. Unrated; 2008. Our Take: 4 Stars.
'Rear Window: Special Edition'
A new version of an Alfred Hitchcock film must mean that Halloween is right around the corner. So, what better way to fill the time between trick-or-treaters than one of the Master of Suspense's best features -- "Rear Window." Starring local boy James Stewart and Grace Kelly -- also a Pennsylvania native -- the 1954 thriller brings us into the world of L.B. Jefferies (Stewart), an adventure-driven photographer laid up in his apartment with a broken leg. As time goes by, Jefferies becomes obsessed with a man who lives in an apartment across the way. Jefferies thinks the man -- played by Raymond Burr -- might have killed his wife, and he might be right. Through his binoculars and camera lens, Jefferies snoops, and he even uses his attractive girlfriend, Lisa (Kelly) to investigate the man's apartment. In addition to the feature film, the package includes a great set of extras. Commentary and Hitchcock interviews share space with featurettes on the film and the director's techniques. Teaming with "Rear Window," new versions of further Hitchcock films -- "Psycho" (1960) and "Vertigo" (1958) -- also make their way into stores. "Psycho" and "Vertigo" feature extended sets of extras that should be considered a treasure chest of goodies for Hitchcock fans. Unrated; 2008. Our Take: 4 Stars.
scriptgirl
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Monsters and Critics
One of Hitchcock's more impenetrable films and not originally well-received in 1958, 'Vertigo' was definitely ahead of it's time with it’s dense layering that offers more rewards on repeat viewings and this new 'Universal Legacy Series' release is the perfect way to reap those rewards.
Less accessible in one viewing than most of Hitchcock's other works and a sometimes meandering pace has led to a spotty reputation amongst casual film fans but it's also grown in esteem for film buffs since it's release. It is now considered one of Hitchcock's most accomplished films with a tour de force performance from James Stewart and some amazing technical values.
Widely accepted to be Hitchcock's most personal pic with a sense of anguish and obsession that permeated through the film that may or may not have resulted from the tragic retirement of Hitchcock's muse Grace Kelly who left their professional relationship and the industry altogether for the love and wealth of Prince Rainier of Monaco, Hitchcock didn't waste any time exacting a sort of indirect revenge on blondes in this and subsequent films. Janet Leigh's fate in Psycho anyone?
Unlike Grace Kelly and Janet Leigh in their Hitchcock offerings, however, blonde Kim Novak makes little impression here with James Stewart shouldering all of the heavy lifting.
One of the bravest performances of a film icon at the time, watching Stewart proceed from guilt to madness to love to obsession to regret is one of the films many treats.
Stewart plays John Ferguson, known to his friends as Scottie, and the opening scenes detail his extreme case of acrophobia aka vertigo due to the death of a fellow police officer. So shaken by the death, he retires and wiles about his time with gal pal Midge (Barbara Bel Geddes) who harbors a crush but Scottie remains willfully ignorant of this.
His life takes a sudden change for the bizarre when he gets a call from an old college buddy Gavin Elster (Tom Helmore) who has made a mint in the shipping business but is worried about his wife Madeleine (Kim Novak).
Gavin believes there’s supernatural foul play at work and that his wife has been possessed by an ancestor who committed suicide and that Madeleine might be destined to repeat the death.
Gavin wants Scottie to follow her and keep her out of harms way and of course that plan doesn't go quite as planned. Similar to classic film noir 'Out of the Past', the hired falls in love with who he needs to be keeping tabs on and Scottie's relationship with Madeleine forms the backbone of the story as both try to excise some demons all the while embracing the tangible passion between the two.
Making great use of San Francisco locations, this pic is one of Hitchcock's best-looking films with sharp, vibrant colors just popping off the screen. This new digitally remastered anamorphic picture is a wonder.
Other technical achievements is the outstanding Saul Bass credits sequence and the now iconic psychedelic dream sequence from John Farren that really takes the audience for a ride.
I quite often hear from films fans that they watched 'Vertigo' as they were going through the popular list of Hitchcock films like 'Rear Window', 'Psycho' and 'The Birds' and were underwhelmed with it at the time as it's cinematic experiences aren't quite as viscerally interesting as the others.
Most of those other films also have great subtext but work on a more accessible level as well that 'Vertigo' that doesn't really try for. It defies conventions and therefore become a bit more work for the viewer but going in with the right frame of mind will find a film that might be one of Hitchcock's best.
Like the other recent Hitchcock Universal Legacy Series releases, this is the third DVD release for the film after the popular '01 Collector's Edition release and then later in 2005 as part of the Masterpiece Collection.
I own the non-anamorphic '01 disc and can speak on those comparisons. This new transfer is a beauty and is well worth the double dip alone for owners of that '01 disc. As I talked about above, 'Vertigo' is one of Hitchcock's most visually interesting films and his great San Francisco locations just bleed color and vibrancy.
We get an English Dolby Digital 5.1 track and the original mono track as 2.0. The 5.1 track was appropriate to the age and tone of the film with nice subtle effects but nothing to distractingly pounding.
The two-disc Legacy Series release carries over all of the '01 extras which includes a feature commentary from producer Hebert Coleman, and restoration team Robert A. Harris and James C. Katz and 'Obsessed with Vertigo: New Life for Hitchcock's Masterpiece', a half-hour doc along with production notes and trailers.
Some great new stuff includes a feature commentary from director William Friedkin which basically acts as a film fan talking about a favorite movie. It has a little too much saying-what’s-happening-on-screen redundancy but proves a nice listen anyway.
'Vertigo Archives' is an gallery of storyboards, drawings and photos and 'The Foreign Censorship Ending' is a funny look at what Hitchcock had to add to international prints.
On disc two, we get the huge 'Partners in Crime: Hitchcock's Collaborators', an hour-long doc broken up into four sections that includes clips, footage and interviews from a variety of historical and contemp film professionals. Saul Bass, Bernard Hermann, Alma Reville, Scorsese, Guillermo Del Toro, John Carpenter amongst others all pop up and wax on the film and the famous director.
A fifteen-minute 'Hitchcock/Truffaut Interview Exceprts' is presented here which has Hitchcock being interviewed by Truffaut about 'Vertigo'. And finally is an episode of 'Alfred Hitchcock Presents', 'The Case of Mr. Pelham' that appropriately covers some of the same themes as 'Vertigo'.
Like the other Legacy Series Releases from Universal, the studio pulls out all the stops to show some reverence and appreciation for one of the studio's most beloved classics.
An extremely well-made pic in which your appreciation for it will grow on multiple viewings, this release is an easy recommend for fans and definitely worth the double-dip for owners of the old '01 release.
One of Hitchcock's more impenetrable films and not originally well-received in 1958, 'Vertigo' was definitely ahead of it's time with it’s dense layering that offers more rewards on repeat viewings and this new 'Universal Legacy Series' release is the perfect way to reap those rewards.
Less accessible in one viewing than most of Hitchcock's other works and a sometimes meandering pace has led to a spotty reputation amongst casual film fans but it's also grown in esteem for film buffs since it's release. It is now considered one of Hitchcock's most accomplished films with a tour de force performance from James Stewart and some amazing technical values.
Widely accepted to be Hitchcock's most personal pic with a sense of anguish and obsession that permeated through the film that may or may not have resulted from the tragic retirement of Hitchcock's muse Grace Kelly who left their professional relationship and the industry altogether for the love and wealth of Prince Rainier of Monaco, Hitchcock didn't waste any time exacting a sort of indirect revenge on blondes in this and subsequent films. Janet Leigh's fate in Psycho anyone?
Unlike Grace Kelly and Janet Leigh in their Hitchcock offerings, however, blonde Kim Novak makes little impression here with James Stewart shouldering all of the heavy lifting.
One of the bravest performances of a film icon at the time, watching Stewart proceed from guilt to madness to love to obsession to regret is one of the films many treats.
Stewart plays John Ferguson, known to his friends as Scottie, and the opening scenes detail his extreme case of acrophobia aka vertigo due to the death of a fellow police officer. So shaken by the death, he retires and wiles about his time with gal pal Midge (Barbara Bel Geddes) who harbors a crush but Scottie remains willfully ignorant of this.
His life takes a sudden change for the bizarre when he gets a call from an old college buddy Gavin Elster (Tom Helmore) who has made a mint in the shipping business but is worried about his wife Madeleine (Kim Novak).
Gavin believes there’s supernatural foul play at work and that his wife has been possessed by an ancestor who committed suicide and that Madeleine might be destined to repeat the death.
Gavin wants Scottie to follow her and keep her out of harms way and of course that plan doesn't go quite as planned. Similar to classic film noir 'Out of the Past', the hired falls in love with who he needs to be keeping tabs on and Scottie's relationship with Madeleine forms the backbone of the story as both try to excise some demons all the while embracing the tangible passion between the two.
Making great use of San Francisco locations, this pic is one of Hitchcock's best-looking films with sharp, vibrant colors just popping off the screen. This new digitally remastered anamorphic picture is a wonder.
Other technical achievements is the outstanding Saul Bass credits sequence and the now iconic psychedelic dream sequence from John Farren that really takes the audience for a ride.
I quite often hear from films fans that they watched 'Vertigo' as they were going through the popular list of Hitchcock films like 'Rear Window', 'Psycho' and 'The Birds' and were underwhelmed with it at the time as it's cinematic experiences aren't quite as viscerally interesting as the others.
Most of those other films also have great subtext but work on a more accessible level as well that 'Vertigo' that doesn't really try for. It defies conventions and therefore become a bit more work for the viewer but going in with the right frame of mind will find a film that might be one of Hitchcock's best.
Like the other recent Hitchcock Universal Legacy Series releases, this is the third DVD release for the film after the popular '01 Collector's Edition release and then later in 2005 as part of the Masterpiece Collection.
I own the non-anamorphic '01 disc and can speak on those comparisons. This new transfer is a beauty and is well worth the double dip alone for owners of that '01 disc. As I talked about above, 'Vertigo' is one of Hitchcock's most visually interesting films and his great San Francisco locations just bleed color and vibrancy.
We get an English Dolby Digital 5.1 track and the original mono track as 2.0. The 5.1 track was appropriate to the age and tone of the film with nice subtle effects but nothing to distractingly pounding.
The two-disc Legacy Series release carries over all of the '01 extras which includes a feature commentary from producer Hebert Coleman, and restoration team Robert A. Harris and James C. Katz and 'Obsessed with Vertigo: New Life for Hitchcock's Masterpiece', a half-hour doc along with production notes and trailers.
Some great new stuff includes a feature commentary from director William Friedkin which basically acts as a film fan talking about a favorite movie. It has a little too much saying-what’s-happening-on-screen redundancy but proves a nice listen anyway.
'Vertigo Archives' is an gallery of storyboards, drawings and photos and 'The Foreign Censorship Ending' is a funny look at what Hitchcock had to add to international prints.
On disc two, we get the huge 'Partners in Crime: Hitchcock's Collaborators', an hour-long doc broken up into four sections that includes clips, footage and interviews from a variety of historical and contemp film professionals. Saul Bass, Bernard Hermann, Alma Reville, Scorsese, Guillermo Del Toro, John Carpenter amongst others all pop up and wax on the film and the famous director.
A fifteen-minute 'Hitchcock/Truffaut Interview Exceprts' is presented here which has Hitchcock being interviewed by Truffaut about 'Vertigo'. And finally is an episode of 'Alfred Hitchcock Presents', 'The Case of Mr. Pelham' that appropriately covers some of the same themes as 'Vertigo'.
Like the other Legacy Series Releases from Universal, the studio pulls out all the stops to show some reverence and appreciation for one of the studio's most beloved classics.
An extremely well-made pic in which your appreciation for it will grow on multiple viewings, this release is an easy recommend for fans and definitely worth the double-dip for owners of the old '01 release.
scriptgirl
Active Member
- Joined
- May 1, 2006
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- 12,232
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- 5
The Fashion Insider
Paris </B>, France</B> </B>– It is on this rare bright and sunny autumn morning in Paris where Chanel began its assault on fashion week. With a house packed to full capacity at the Grand Palais, Chanel sent forth lively dresses, tailleurs in pink & white, black & white, and grey & white. Among the superb dresses for daywear, gowns and cocktail dresses, we find other beautiful, softer looks with long billowing sleeves worn with slimming pants, skirts cat-suit like jumpers.
Though the accessories are rare in this new collection, Lagerfeld is launching a new trend with is two toned hosiery. From the waist down, the black hosiery is heavy and then becomes much lighter three inches below the knees. The hair - pushed backwards, held back with a thin hair band, cut not too short and curled from the ears down to the middle of the neck - is the very image of the classic Grace Kelly coif. It is a perfect look for this extravagant ly wealthy collection.
What can one say about Chanel that has not already been said? Perfection is timeless and always receives its just rewards. When ask by Fashion Insider TV in a post show interview about the financial crisis affecting the world and its impact on the luxury goods sector, Karl Lagerfeld responded in honest simplicity, “This is Chanel. I have an unlimited budget for my collections!”
Paris </B>, France</B> </B>– It is on this rare bright and sunny autumn morning in Paris where Chanel began its assault on fashion week. With a house packed to full capacity at the Grand Palais, Chanel sent forth lively dresses, tailleurs in pink & white, black & white, and grey & white. Among the superb dresses for daywear, gowns and cocktail dresses, we find other beautiful, softer looks with long billowing sleeves worn with slimming pants, skirts cat-suit like jumpers.
Though the accessories are rare in this new collection, Lagerfeld is launching a new trend with is two toned hosiery. From the waist down, the black hosiery is heavy and then becomes much lighter three inches below the knees. The hair - pushed backwards, held back with a thin hair band, cut not too short and curled from the ears down to the middle of the neck - is the very image of the classic Grace Kelly coif. It is a perfect look for this extravagant ly wealthy collection.
What can one say about Chanel that has not already been said? Perfection is timeless and always receives its just rewards. When ask by Fashion Insider TV in a post show interview about the financial crisis affecting the world and its impact on the luxury goods sector, Karl Lagerfeld responded in honest simplicity, “This is Chanel. I have an unlimited budget for my collections!”
scriptgirl
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New Straits
Most leading accessory brands such as Anya Hindmarch and Tod’s are inspired by the timeless and natural flavours of brown for their autumn collection. CHEONG PHIN writes.
AFTER a hearty meal, everyone surrenders to something sweet and chocolate truffles can hardly fail to please, even if you are a non-chocoholic. They are the perfect after-dinner indulgence and come in a wide variety of flavours that range from milk chocolate with hazelnut and caramel to mocha truffle dipped in dark chocolate and white chocolate rolled in toasted almonds.
This autumn, leading accessory brands are tapping into the colours of these sumptuous chocolatey flavours to serve up a collection of bags and shoes to tempt their customers into an irresistible indulgence after an overdose of brightly coloured accessories this past summer.
Brown is a natural yet rich colour of most leather that brings a distinct note of style and warmth into the duller palette of black and grey dressing that is dominating this autumn season. For example, try wearing a grey top and black skinny jeans with a soft brown leather shoulder bag to separate yourself from the severe looking, and much more predictable black-and-grey fashion crowd.
Pairing brown and black or grey is no longer a fashion faux pas and the combination works fashionably well with bags, accessories and shoes. Think Tod’s Duffle for men — the timeless black nylon version with brown leather handles and zippered pockets or their latest women’s bold ankle boot in dark chocolate and black platform for Autumn 2008.
A brown leather bag also has an added bonus of ageing more gracefully than its darker black cousin, and inherits a vintage look that is much sought after in fashion today. It’s a colour that tends to emphasise the texture of different leather and exotic skins like python and ostrich as well as the luxuriously unique alligator skin.
Leading the celebration of chocolatey cravings this season is award-winning British accessory designer Anya Hindmarch, the woman most famous for the iconic “I’m Not a Plastic Bag” canvas tote. For her Autumn/Winter 2008 collection, Hindmarch revisited her mother’s subliminal influences and updated the easy glamour of the ‘70s with a rich colour palette of that period such as caramel, dark chocolate, midnight blue, forest green and stone.
Apart from preserving the natural richness of brown in leather and suede, Hindmarch also dipped exotic python skin, shagreen and tactile fabrics of suede cord and patent in bitter chocolate to indulge her customers in making a strong statement in the new season.
Inspired by furniture design and modern architecture which lends a geometric and linear feel to her designs, Hindmarch’s main feature this season is the “Perry” day bag which combines patchwork colours of chocolate truffles like caramel and white chocolate with black pony skin for the ultimate in retro appeal. This sophisticated design has a roomy body, a short shoulder strap and is also available in solid caramel, chocolate or black where the understated gold hardware becomes outstanding.
Other irresistible chocolate patchwork designs include the Minnelli mini holdall and the Casati — a throw on shoulder bag in brown or black. The daytime clutch is a strong focus this season and the chic “Brady” is one luscious temptation in supple caramel brown leather featuring a dual option of hand carry or shoulder bag.
Italian luxury goods brand Tod’s is another leading accessory brand getting into a mood for chocolate truffle colour this season. Oscar winner Gwyneth Paltrow debuts as its new face for Autumn/Winter 2008. Gloriously shot by renowned fashion photographer Mario Testino, the ad campaign features Paltrow in a ‘50s-inspired look reminiscent of the elegant Grace Kelly, but the Hollywood actress holds her own with Tod’s new brown Dokt Bag that is bound to become a classic in time. Reinterpreting the all-time favourite doctor bag, this elegant design comes in delicious caramel brown silky calfskin or a luxurious dark chocolate alligator skin, authenticated with aged brass hardware.
A petite version is available in a stunning mix of calfskin and pony skin in mocha truffle and cappuccino tones. The iconic Pashmy, a contemporary design with functional elements that is already a favourite amongst celebrities, makes a triumphant return this season in chocolate brown nylon and various shapes and sizes.
Other chocolate delights in this collection include a beautifully crafted satchel with fringes in dark brown suede and a pair of “Beatles Boots” for men in exotic lizard skin dipped in bitter chocolate. The alligator skin remains a favourite for autumn and Tod’s gives it a shiny creamy chocolate coating on a classic tote bag that will age gracefully over time.
The Histoire Braided shoulder bag by Valentino has been spotted on celebrity after celebrity that include Jennifer Garner, Jessica Simpson and Angelina Jolie. The popular design that features braided leather trim, shiny buckles, two exterior flap pockets and adjustable braided shoulder straps returns this autumn in a brown patent leather version that resembles creamy chocolate fudge. Absolutely yummy and so are the rest of the chocolate delights from the leading accessory brands this season.
Most leading accessory brands such as Anya Hindmarch and Tod’s are inspired by the timeless and natural flavours of brown for their autumn collection. CHEONG PHIN writes.
AFTER a hearty meal, everyone surrenders to something sweet and chocolate truffles can hardly fail to please, even if you are a non-chocoholic. They are the perfect after-dinner indulgence and come in a wide variety of flavours that range from milk chocolate with hazelnut and caramel to mocha truffle dipped in dark chocolate and white chocolate rolled in toasted almonds.
This autumn, leading accessory brands are tapping into the colours of these sumptuous chocolatey flavours to serve up a collection of bags and shoes to tempt their customers into an irresistible indulgence after an overdose of brightly coloured accessories this past summer.
Brown is a natural yet rich colour of most leather that brings a distinct note of style and warmth into the duller palette of black and grey dressing that is dominating this autumn season. For example, try wearing a grey top and black skinny jeans with a soft brown leather shoulder bag to separate yourself from the severe looking, and much more predictable black-and-grey fashion crowd.
Pairing brown and black or grey is no longer a fashion faux pas and the combination works fashionably well with bags, accessories and shoes. Think Tod’s Duffle for men — the timeless black nylon version with brown leather handles and zippered pockets or their latest women’s bold ankle boot in dark chocolate and black platform for Autumn 2008.
A brown leather bag also has an added bonus of ageing more gracefully than its darker black cousin, and inherits a vintage look that is much sought after in fashion today. It’s a colour that tends to emphasise the texture of different leather and exotic skins like python and ostrich as well as the luxuriously unique alligator skin.
Leading the celebration of chocolatey cravings this season is award-winning British accessory designer Anya Hindmarch, the woman most famous for the iconic “I’m Not a Plastic Bag” canvas tote. For her Autumn/Winter 2008 collection, Hindmarch revisited her mother’s subliminal influences and updated the easy glamour of the ‘70s with a rich colour palette of that period such as caramel, dark chocolate, midnight blue, forest green and stone.
Apart from preserving the natural richness of brown in leather and suede, Hindmarch also dipped exotic python skin, shagreen and tactile fabrics of suede cord and patent in bitter chocolate to indulge her customers in making a strong statement in the new season.
Inspired by furniture design and modern architecture which lends a geometric and linear feel to her designs, Hindmarch’s main feature this season is the “Perry” day bag which combines patchwork colours of chocolate truffles like caramel and white chocolate with black pony skin for the ultimate in retro appeal. This sophisticated design has a roomy body, a short shoulder strap and is also available in solid caramel, chocolate or black where the understated gold hardware becomes outstanding.
Other irresistible chocolate patchwork designs include the Minnelli mini holdall and the Casati — a throw on shoulder bag in brown or black. The daytime clutch is a strong focus this season and the chic “Brady” is one luscious temptation in supple caramel brown leather featuring a dual option of hand carry or shoulder bag.
Italian luxury goods brand Tod’s is another leading accessory brand getting into a mood for chocolate truffle colour this season. Oscar winner Gwyneth Paltrow debuts as its new face for Autumn/Winter 2008. Gloriously shot by renowned fashion photographer Mario Testino, the ad campaign features Paltrow in a ‘50s-inspired look reminiscent of the elegant Grace Kelly, but the Hollywood actress holds her own with Tod’s new brown Dokt Bag that is bound to become a classic in time. Reinterpreting the all-time favourite doctor bag, this elegant design comes in delicious caramel brown silky calfskin or a luxurious dark chocolate alligator skin, authenticated with aged brass hardware.
A petite version is available in a stunning mix of calfskin and pony skin in mocha truffle and cappuccino tones. The iconic Pashmy, a contemporary design with functional elements that is already a favourite amongst celebrities, makes a triumphant return this season in chocolate brown nylon and various shapes and sizes.
Other chocolate delights in this collection include a beautifully crafted satchel with fringes in dark brown suede and a pair of “Beatles Boots” for men in exotic lizard skin dipped in bitter chocolate. The alligator skin remains a favourite for autumn and Tod’s gives it a shiny creamy chocolate coating on a classic tote bag that will age gracefully over time.
The Histoire Braided shoulder bag by Valentino has been spotted on celebrity after celebrity that include Jennifer Garner, Jessica Simpson and Angelina Jolie. The popular design that features braided leather trim, shiny buckles, two exterior flap pockets and adjustable braided shoulder straps returns this autumn in a brown patent leather version that resembles creamy chocolate fudge. Absolutely yummy and so are the rest of the chocolate delights from the leading accessory brands this season.
scriptgirl
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Hulton
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Starface
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Kind of hard to tell.
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