![]() ![]() ![]() It ain’t.Ĭrawford’s character is a complete bitch, a showbiz diva who fires a blind man and browbeats and insults everyone in (her) sight. “I’m going to give them the best that’s in me, no matter who, what or when tries to stop me.” That’s a tricky line to account for. Unless Crawford garbled it and they just left it in, whichever scribe was responsible must have known it was gibberish, but presumably they thought it was clever gibberish. Wylie, who seems more of a Pat Hobby type - except the I. ![]() He’s joined by Jan Lustig, who has distinguished credits too, and by I.A.R. ![]() Meanwhile - script is co-written by John Michael Hayes who wrote some of Hitchcock’s best, but had a regrettable tendency to archness. Of course, what the misbegotten venture is best remembered for is something else, but I’ll be more considerate than the movie and give you due notice that a truly alarming image is coming your way. A Horror Horn or something to let you know it’s coming. Still, the cardboard version is so startling it should have really come with a warning. Admittedly, we’ve already seen Crawford herself, who is scary-looking already at this pre-horror-movie point in her life, with what Fiona called “apricot hair” and pretty much an apricot face too. But this led to us running TORCH SONG, in search of some real Crawford kitsch, and my Christ it delivers. I should say that Fiona quite enjoys the show, and is reading Bette & Joan: The Divine Feud. I think, in a show about actresses battling industry ageism, keeping the actual ages of the participants clear is important, and shouldn’t be thrown into confusion for the sake of, basically, a mean joke.Īlso, it’s one of those shows that’s wall-to-wall exposition - writers of fact-based stuff today seem to struggle with delivering information convincingly. She’s been a fan of yours since she was a little girl.” Joan Crawford was in her mid-fifties. Edith created a ball gown with a huge skirt of gold mesh adorned with fabric birds and accessorized with a golden mask, and topped Grace’s head with a golden wig.Really not impressed with Feud, Ryan Murphy’s miniseries about the Bette and Joan conflict on and around WHATEVER HAPPENED TO BABY JANE? One expects the thing to be camp and trashy, and that’s fine, I guess, but does it have to be so tone-deaf, so inaccurate? It was inevitable it would seize on every rumoured ruction from the set of that film, but the weirdly OFF stuff just keeps striking me - the young actress who asks for an autograph from Joan (Jessica Lange) and then says, “It’s for my grandmother. Hitchcock instructed Edith to dress Grace as a ‘fairy princess’ for the ball. Edith was able to design gowns with simple lines that still gave Hitchcock the elegance he sought to show off the gems. The necklines had to allow a clear view of the jewelry, but if a dress was strapless and the camera shot too tight, the actress could appear as if she were wearing nothing at all. One of the biggest challenges for Edith was designing dresses for the extras that allowed for the cameramen to shoot close-ups of the glittering necklaces the actresses were wearing. “was the most expensive costume scene Edith had ever done. Let’s take a look at all the technicolor glory of the masquerade scenes, and admire Edith Head’s amazing designs!Īccording to Jay Jorgensen’s biography of Edith Head, the masquerade ball But near the end of the film, there’s an extended sequence set at a masquerade ball (during which the thief is expected to strike again), and suddenly we’re in crazy 1950s-does-18th-century land! And yes, it’s a contemporary movie, set in the period it was filmed. To Catch a Thief (1955) is a great movie for a lot of reasons - Alfred Hitchcock directs! Cary Grant and Grace Kelly star! Edith Head‘s costume designs! Gorgeous shots of the French Riviera! It’s a fun, entertaining movie about two Americans trying to catch a cat burglar in the south of France. ![]()
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