Glamour: A History Review

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Glamour: A History ReviewI was fooled by the attractive cover of this book to believe that it would focus on glamour and its influential presence in society but instead its author details the fad of celebrity and self-promotion. Whereas the celebrity wishes to be observed, glamour is what causes us to observe -- a radically different thing.
Strongly rooted in a British perspective, Grundle touches on personalities in his book such as Napoleon, Hugh Hefner, Warhol, Versace, Joan Collins (yes!), and Lady Di, in a scampering manner that seems more eager to cover the eras involved than to offer any real insight. The book is filled with comments that range from the boringly obvious ("the display of fashion became a key element of many movies") to the questionable (that Joan Collins's character on "Dynasty" taught Lady Diana "how to be strong and radiant in the face of personal adversity"). The book also has statements that needed verifying: for example, the myth of John Gilbert's voice being the demise of his career (Grundle's compatriot Kevin Brownlow long ago disproved this "fact") or the statement that Carole Lombard had a "curvaceous figure" (she was well-know for being flat-chested). Minor irritants to be sure.
Glamour is less about the "who" of celebrity and more about the artistic creation of impact and its ensuing influence. It is much more the sparkle than the star. Grundle misses this fine yet definitive point, and as a result, his book spins in many directions, not knowing when to pause long enough to shed any insight nor on whom. A much more enlightening book on glamour that I wholeheartedly recommend is the book "The Power of Style" by Annette Tapert and Diana Edkins. In it, they detail how key glamorous women influenced fashion, film, and interior design in the last century.Glamour: A History OverviewHere is the first ever history of glamour, ranging from Paris in the tumultuous final decades of the eighteenth century through to Hollywood, New York, and Monte Carlo in the twentieth and twenty-first centuries, from the glamorous fictional characters of Walter Scott to iconic figures such as Marlene Dietrich and Marilyn Monroe to modern idols such as Paris Hilton. The book maps the origins of glamour and investigates the forms that it took in modern times, discussing the role of writers, journalists, artists, photographers, film-makers and fashion designers, occupations like the model and the air stewardess, cities and resorts such as Paris, New York, and Monte Carlo, and products including luxury cars and jets--all of which are bathed in the public mind with the magical aura of glamour. And he shows how glamour feeds on the middle class yearning for a thrilling and colorful life, a yearning reinforced by the cinema and the press, which serve as a stage for acting out scenes of a desirable life.

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Tony Duquette Review

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Tony Duquette ReviewMost frequently, references to and photographs of the work of Tony Duquette, the multi-talented artist, designer, and decorator who passed away in 1999, have appeared in books and articles focusing on fantasy and the baroque in the applied arts. In addition, because his work was overwhelmingly concentrated on the West Coast, many Americans curious about Duquette have found it difficult to access information regarding this legendary figure. Until now, that is, for authors Wendy Goodman and Hutton Wilkinson and publisher Abrams have just issued one of the most beautiful and engaging design books ever. This generously-sized book (364 pages in length) is full of spectacular photographs, reproduced documents, and personal remembrances that combine to inspire, fascinate, and invite the reader to return to both the text and visuals again and again.
"Tony Duquette" is organized into eight chapters. The first four flow chronologically, covering his childhood and youth; the early social and professional connections that paved the path to prominence; the role of the beautiful Elizabeth "Beegle" Duquette as wife, muse, and collaborator; and the year (1950-1951) that the couple spent in Paris. The second quartet of chapters focuses on Duquette's work. First comes a look at his contributions to film and the stage and then his interior designs for others. Chapter Seven, the most visually spectacular in the book and perhaps most recognizable, showcases the exotic living environments that Duquette created for himself and Elizabeth. These sites, three in southern California and one in San Francicso, showcase his signature love of a highly layered look that drew inspiration from foreign cultures and employed spectacular antiques and many faux finishes. Where the acreage was available, Duquette's residences also included multiple "dream houses" which most resemble a fantasist's interpretation of Balinese temples. Chapter Eight, titled "The Do-it-Yourself de Medici," looks at Duquette as artisan, working with both mundane and precious materials to create fabulous jewels, accessories, and pieces of furniture, among other things.
Quite possibly Duquette's love of the exotic, of over-the-top decorating, and of formal entertaining will appeal to just a fraction of design aficionados and seem irrelevant in a modern world that moves at a faster pace, has a more fluid social structure, and has abandoned many of the social niceties so important to Duquette. Still, I am betting that a sense of wonder and fantasy is hard-wired into most of us, as our enthusiastic reaction to fantastical Christmas window displays, theatrical sets, and movie special effects suggests. And if this is not enough to draw you to this beautiful book, then glimpses of the three main environments in which Duquette operated--old Hollywood, San Francisco, and a Paris just recovering from the ravages of World War II-- should alone justify picking it up. Do I have any reservations about "Tony Duquette"? Just one. The text whetted my taste for more details and insights, and I would have loved to have seen a historian join the authors' team to expand in particular the contextual descriptions of the mid-20th century social and artistic scene in both America and France.Tony Duquette OverviewAmerican artist and design legend Tony Duquette (1914–1999) was known for his over-the-top style in interiors, jewelry, costumes, and set design. His clients included Elizabeth Arden, the Duchess of Windsor, and Herb Albert. The multi-talented Duquette designed sets for MGM musicals with Arthur Freed and Vincente Minnelli, and designed Tony Award–winning costumes for the original Broadway production of "Camelot." Duquette was the first American to exhibit a one-man show at the Louvre in Paris. Tony Duquette is a lavishly illustrated book with many lost and never-before published photographs from the Duquette archives, including portraits and pictures taken by Man Ray, John Engstead, Fredrich Dapriche, Andre Ostier, George Platt Lynnes, as well as original sketches, designs, and texts by Duquette himself. With commentary, interviews, stories, and contributions from Liza Minnelli, Arlene Dahl, Steven Meisel, Bruce Weber, and others.

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The Way Hollywood Tells It: Story and Style in Modern Movies Review

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The Way Hollywood Tells It: Story and Style in Modern Movies ReviewLike the author's other works, this is a highly meticulous and empirical study of the way contemporary Hollywood films function. Paying close attention to selected films by intensive frame analysis, Bordwell calls into question many contemporary "sibboleths" concerning the status of "post-Hollywood" which he reveals as having more connections with its classical counterpart than most critics believe. His attention to fine detail and references to "American Cinematographer" and screenwriting manuals reveal that he has really done his homework. He challenges his contemporaries to do likewise before they engage in problematic "post" judgements whether they be on the realm of postmodernism, post-colonialism, and post- anything which may become academic equivalents of those formerly fashionable platform shoes or flared trousers that often date episodes of the 1970s British cop series THE SWEENEY.
The references to contemporary Hong Kong cinema and analysis of films such as Johnny To's A HERO NEVER DIES are also valuable components of this book. Like DRAGNET's Sergeant Joe Friday, Bordwell insists that we supply facts based on viewing the evidence ourselves. We should not ignore important empirical aspects before we begin to make meanings that may eventually prove to be non-substantial. Those who choose to avoid the well-researched findings of this book should be issued with speeding tickets and forced to attend a scholarly version of "community service" or "boot camp" involving the detailed viewings of as many films as possible, reading interviews with film directors, and studying important journals such as AMERICAN CINEMATOGRAPHER. This is equally important for those newly converted "film experts" in English Departments of postmodernist persuasion who recently discover Laura Mulvey's 1975 essay on "Visual Pleasure and Narrative Cinema" and regard it as a "gospel" truth which remains unaltered today! These feelings are more akin to non-linguistic theological studies and not the highly textual, linguistic based explorations of biblical and near eastern studies that relay on studies in pre-semitic studies, Canaanite, Aramaic, and Arabic studies to reveal key empirical structures influencing "holy writ."
This is another indispensable work by an important scholar that every serious professor and student should learn from even if it only involves better interpretation and a more professional "making of meaning."
The Way Hollywood Tells It: Story and Style in Modern Movies OverviewHollywood moviemaking is one of the constants of American life, but how much has it changed since the glory days of the big studios? David Bordwell argues that the principles of visual storytelling created in the studio era are alive and well, even in today's bloated blockbusters. American filmmakers have created a durable tradition--one that we should not be ashamed to call artistic, and one that survives in both mainstream entertainment and niche-marketed indie cinema. Bordwell traces the continuity of this tradition in a wide array of films made since 1960, from romantic comedies like Jerry Maguire and Love Actually to more imposing efforts like A Beautiful Mind. He also draws upon testimony from writers, directors, and editors who are acutely conscious of employing proven principles of plot and visual style. Within the limits of the "classical" approach, innovation can flourish. Bordwell examines how imaginative filmmakers have pushed the premises of the system in films such as JFK, Memento, and Magnolia. He discusses generational, technological, and economic factors leading to stability and change in Hollywood cinema and includes close analyses of selected shots and sequences. As it ranges across four decades, examining classics like American Graffiti and The Godfather as well as recent success like The Lord of the Rings: The Two Towers, this book provides a vivid and engaging interpretation of how Hollywood moviemakers have created a vigorous, resourceful tradition of cinematic storytelling that continues to engage audiences around the world.

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