A 1940 portrait by the great Clarence Sinclair Bull. Never have a man’s socks looked better than Cary’s do here.
“But the true beau is a beau-ideal, an abstraction substantialized only by the scissors, a concentrated essence of frivolity, infinitely sensitive to his own indulgence, chill as the poles to the indulgences of others; prodigal to his own appetites, never suffering a shilling to escape for the behoof of others; magnanimously mean, ridiculously wise, and contemptibly clever.”
—Blackwood’s Edinburgh Magazine, 1844.
Superficiality gets a bad rap. After all, what does that much-maligned word denote, in its essence? It means an emphasis on the surface, on that which is readily apparent. Now, I will never condone an obsession with exterior beauty that dismisses any interior value; however, I cannot help but detect something heroic about the desire to project a surface of agonizing perfection. Appearance-consciousness rises to the level of greatness—and dare I say art?—when it demands extreme discipline and taste on the part the person who takes up the heavy burden of being an exalted human spectacle.
I am referring to that hallowed creature, the dandy. And if we want to enjoy Beau Brummel as anything other than a quaintly moving romance based on Clyde Fitch’s 1890 play, we need to introduce ourselves to this most charming phenomenon.
The dandy as a cultural and literary concept resists a simple definition. It depends on whom you’re talking to, but I like Nigel Rodgers’s recent definition of “the perennial dandy principles: independence, elegance, courtesy, wit.” On a more philosophical level, the love of my life Charles Baudelaire likened the dandy to the Stoic of antiquity because the dandy wears a mask of whimsy and nonchalance even when in the throes of pain or misfortune or when sullied by the teeming mediocrity of the commercial world around him. His beauty is not vulgar because it cannot be bought merely with money (although it helps, all dandies agree); that beauty reflects his originality, his ability to style and reimagine himself.
And no man incarnated the ideals of dandyism more famously than Beau Brummel, the subject of today’s offering, a 1924 silent period drama based on his spectacular life. (N.B. I am spelling the character’s name Brummel because that’s how it’s written on the titles. However, the favored spelling, according to the junta at dandyism.net. is with two L’s.)
Beau Brummel follows the trajectory of a rise and fall. As a young officer, Brummel falls in love with Lady Margery, an heiress betrothed to an aristocrat and fails to rescue her from the clutches of her family.
Deciding to climb the social ladder, Brummel ingratiates himself with the Prince of Wales by getting him out of an amorous jam. Through his careful cultivation of mannerisms and trends and his blistering wit, “Beau” sets himself up as the reigning king bee of the upper crust—but earns as many enemies as friends. Eventually, Beau grows too big for his breeches and winds up banished by the Prince to some frigid outpost in Calais, northern France, where he dies in utter penury.
Harry Beaumont, best known for another film about style and appearances, Our Dancing Daughters, directed this poignant tale with panache and an acute eye for stunning compositions and haunting details. In depicting the rise and fall of a fashion arbiter, Beaumont uses mirrors as a motif to explore the character’s self-consciousness. The first shot we see of Brummel is a shot of him between intertitles, reflected in an oval mirror. In that classical round frame, he resembles the immaculate, still images on 18th century cameos. This is the image—but the real man is onscreen, too, although you notice him as an afterthought. We understand that appearance means everything to Brummel. Paradoxically, the most profound desires of his soul express themselves in his drive to be flamboyantly attractive and debonair.
Once Brummel has fallen from grace, the mirror, once his friend, becomes his enemy. Barrymore brought me to tears in one scene where the ravaged, wasted Brummel tries to look at his face then turns away, pushing at the glass with his fingers, streaking it in dismay.
However, I hope that our director, the talented Mr. Beaumont, won’t roll over in his grave if I observe Beau Brummel wears the unmistakable charm and savoir faire of John Barrymore front and center—like a gracefully tied cravat—and deserves most of the credit for this film’s emotional impact. A rake, a genius, a matinee idol, and as self-destructive a man that ever existed, Barrymore incarnated the sardonic wisdom and reckless hedonism at the core of dandyism.
Our star is also responsible for perhaps this film’s most significant contribution to posterity: Mary Astor’s breakout role.
Astor—a woman who never gave herself enough credit for her depth and strength—initially attracted attention from Hollywoodland by winning a beauty contest. Superficiality, at least, brought her to the screen and to all of us. Her possessive parents, so cruel and pushy that they might have easily fit into the ruthlessly upwardly-mobile world of Beau Brummel, recognized her beauty as their cash cow. Mary played several minor parts until John Barrymore asked for her as his leading lady in Beau Brummel.
And that’s when life and art started to intertwine to the point that it would be hard to say which was imitating which. In her autobiography, My Story, Astor recalled her screen test for the role of Lady Margery and her first meeting with the Great Profile:
“We were both in costume of sorts, just enough to indicate the period, and as we were standing in for lighting my awe for this great man made me confused and awkward. Mr. Barrymore broke through my shyness by talking about everything under the sun but the picture; he made me laugh about something, and he gradually and skillfully made me feel that I was his contemporary as an actor and as a person. He told me he had seen a picture of me in a magazine while he was on a train coming out from New York, and the caption had appealed to him: ‘On the brink of womanhood.’ I told him I was seventeen, and he said, just a little sadly, ‘It seems so long ago that I was seventeen. I’m forty now.’
“ ‘That’s not so old,’ I said, and we were great friends.
“I know that on that afternoon we fell in love, and I am sure he was even more startled than I.”
Barrymore gave Mary her first acting lessons and unlocked a new realm of ideas and intellect to this affection-starved girl. During some of these lessons, there was no studying, however. These forbidden trysts between the ingénue and the mentor over twice her age echo the roles that they poetically brought to life onscreen. Astor remembered,
“In the filming of the many romantic, delicate love scenes of Beau Brummel we could stand in each other’s arms, Jack in his romantic red and blue hussar uniform and white wig, I in the beautiful Empire style dresses, while the camera and lights were being set. We whispered softly, or just stood there, quietly loving the closeness; and no one was the wiser. Between scenes, Jack had the prop man place two camp chairs together just off the set, and we sat side by side.”
And so, finally, after much perambulation around the film’s contexts, I arrive at Beau Brummel itself. Unlike me, this movie wastes no time; we don’t see the romance between Beau (or George) and Lady Margery blossom—we see it cut off in medias res.
Dressed in a bridal gown, Margery meets her beloved George, a dashing soldier, in the garden to say goodbye. She’s about to depart for a life bound to another man in a marriage of convenience. Watching Barrymore’s duly celebrated face going nose-to-nose with Mary Astor’s equally photogenic profile presents a sight so stunning and precise it borders on graphic design! I felt like I was looking at one of those dual-profile-chalice illusion sketches.
Their dazzling united loveliness might sound like a superficial thing to remark on—but, again, it’s an instance where superficiality weds something more spiritual. The surreal perfection of these two people leads us to wordlessly understand that they are meant to be together. Our eyes know it and our eyes speak directly to our hearts.
Beau Brummel is one of those rare films that captures the spark of an off-screen love affair. You can read it in Astor’s overly wide eyes and in the tender care with which Barrymore’s hands never seem to stop moving, but always seem to nervously long to caress a different part of this splendid creature.
Unfortunately, Lady Margery’s nasty, social-climbing mother (not so different from Astor’s real-life maternal unit) bursts in. This harpy forces the girl to choose between her duty and the man she loves—really, no choice, because she can’t exactly run away with an enlisted man. George leaves her in despair, vows to climb the social ladder with his charm and wit. He takes his miniature portrait of her and writes on the back, “This beautiful creature is dead.” We know that he will meet her again.
Mary Astor, even in her teenage years, possessed a striking aura of grief and maturity. For instance, after Beau leaves for France, she clings to the door he just exited through, almost squashed against it like a broken butterfly. Seen from behind and in a long shot, she communicates a universe of pain merely by wiggling her arms despondently.
Except for when she was playing comedy (and even then), Astor interacted with the world as one who has been hurt by it. And with her pale complexion and those perpetual dark circles that even panstick makeup couldn’t conceal, she never looked like she got quite enough sleep. That is a strong part of her allure. You wonder what she was doing all night.
Both her fragility and her fortitude shine through her portrayal of Lady Margery. Although the script gives her little more to do than watch and react, her soulful eyes, so dark that the appearance of the whites is startling, convey a sense of heartbreaking loss. As she turns her eyes to signify the screen direction of her departing lover, we feel her happiness slip away.
The scenes between her and Brummel stand out as the best of the film. Now, that’s not to say that Barrymore doesn’t beguile us pretty much constantly. Whether he’s flirting with another man, treating the Prince of Wales like an inferior acquaintance, or coyly nodding at his jealous fellow officers, he swaggers exquisitely. However, when he encounters the love of his life, then and only then do we perceive the man worthy of all that external beauty.
When Lady Margery visits him in Calais, her youth still shines while Beau, ground down by poverty, has aged horribly. He’s crouched by the fire, gnawing on a piece of bread when she comes in. As she stands in the doorway, the awkward stillness of the shot-reverse-shot exchanges tear at our heartstrings. Finally, she enters, informs him that her husband is dead, and, in an unusual inversion of the movie proposal scene, asks him to marry her. Do I smell a happy ending after all?
As Beau tells her, “I am grown old, and changed, and tired of life.” After she departs, he starts to sob by the door, biting on his own hand to keep her from hearing and coming back to his aid.
Call it vanity, call it stupidity, but he loves her so much that he couldn’t live with the thought of giving her a second-rate version of himself. Thus we witness the pride and integrity that sustains dandyism. We also observe a very genuine facet of Barrymore’s love for his teenage costar.
As Astor noted, “I know Jack loved me. I know it as surely as I know the fact of my own existence. Fifteen years afterwards he was talking to me about it, telling me how surprised he had been to find himself beginning to love me that first day on the Beau Brummel set. Even then, fifteen years later, he didn’t dismiss it lightly. ‘It s a good thing I wasn’t free to marry,” he said then. ‘And it’s a good thing I couldn’t get you away from your family. I would have married you, and you would have had a miserable life.’”
If that Calais scene doesn’t wet your cheeks, wait until the denoument, which finds Beau in a debtor’s hospital as a decrepit, crazy old man. His former servant visits him with the news that Margery is dying.
This news penetrates Beau’s senility and he begins to relive his best days with her. Cut to Margery in her bed. She breathes her last… and her splendid spirit rises from the bed. Her double-exposure soul descends into Beau’s squalid room just as he expires. And he too emerges from his mortal coil as the idealized officer he once was.
Why is it that our celluloid souls are supposed to look like ourselves—but in the prime of life, at our youthful pinnacle? Are we being superficial? Or perhaps we associate that beauty with hope and with the time in our existence when we still aspired to something. It probably goes back to the Middle Ages, when funerary statues were made to resemble the departed individual at the age of 33, since that was considered the “perfect age,” the age at which Christ had died. So, once again, we see that it’s not so easy to separate the superficial from the spiritual, the corporal from the ethereal.
As the ghostly Lady Margery and Beau embrace, the shimmering schmaltziness of this telepathic love-beyond-life scenario actually works and triggers a surge of weepy fulfillment. The visual pleasure of gazing at such picturesque people, combined with the verisimilitude of the actors’ star-crossed love affair, succeeds at provoking a catharsis. After all, cinema is sort of a dandy; like Brummel, this art of surfaces runs surprisingly deep. It can see the veracity and purity of a love that no one else could perceive. And preserve that love for almost 90 years.
This Sunday, May 5, I will have the honor of hosting Movie Talk on Sunday for the second time! In case you’ve never heard of #MTOS, it’s an engaging Twitter discussion for all cinephiles that happens once a week.
People from around the world turn out, so the mix of viewpoints promises a variety of insights and lots of fun. (It was so much fun last time I hosted that I ended up in Twitter jail! Attica! Attica!) I hope that you, dear reader, will join in and add your responses to the conversation.
I chose film costumes as my topic, because, let’s face it, they’re fun to talk about! And, unlike many elements of cinematic language, clothes are something we all know something about, don’t we? We wear our identity in our clothes, our daily version of costumes. We’re also in the habit of decoding other people’s clothing to figure out who they are. (Unless you live naked on a private island, in which case, that too is a distinct fashion statement.)
Too often overlooked in film analyses, costumes shape our perceptions of characters and their relationships. As in the case of the infamous “shopping montage” cliché, whole scenes may revolve around costumes. Iconic articles of clothing help us recognize genres: can you imagine classic film noir without the trenchcoat and the Fedora? Or a Western without jeans and the cowboy hat? Whether we’re aware of it or not, costume colors, textures, sometimes even the sounds they make also enrich the aesthetics of any given movie and deserve greater scrutiny.
So, to slip into something more comfortable, here are the questions:
1. To get started, which film costume impressed you and stayed with you most vividly?
2. Costumes can be used to transform a character or signify how they’ve changed. Which film has done this well?
3. Which director, in your opinion, has made the best use of costumes to enhance the look and style of his/her films?
4. Costumes sometimes serve to contrast characters through their different clothing styles. What’s a movie that has done this well?
5. The power of costuming can work for comic effect. What’s a movie outfit that added to the humor of a scene or made you laugh?
6. What’s a good example of a costume (or accessory) that serves as a key plot point in a film?
7a. Which male movie character has the best/coolest wardrobe?
7b. Which female character?
8. Which movie star’s image is most associated with their costumes they wear (or wore)?
9. Has a film’s costuming ever really disappointed you? Which movie and why?
10. Have you ever copied a movie character’s style? How did that work out for you?
Put on your Sunday best and join the costume ball on May 5!
If I were to say “femme fatale” to you, what would you picture? Chances are, she’d be wearing something form-fitting and satiny—probably black—and most likely holding a gun or a cigarette. Or both. Veils or furs or tiny fascinator hats might play in there somewhere, if you want to get fancy. But that’s the archetype.
You probably wouldn’t imagine a scrawny blonde with a pixie cut in a bathrobe. Or a grimy drifter chick in a crocheted sweater. Or a fifty-year-old woman in a sunhat and a leopard print lounge ensemble. And yet, the bad girls of classic noir encompass all these shades of boyishness, grittiness, and full-on glamour. The one thing they all have in common, however, is that they use their clothes for a definite purpose, be it a stealth attack or a full-on assault.
In one of cinema’s greatest wardrobe scenes, from the noirish Leave Her to Heaven, Ellen, a psychopathically jealous wife, silently browses her closet, looking for the right dressing gown—that she’ll wear when throwing herself down a flight of stairs to kill her unborn child! It’s an extreme example, but clothing, for a femme fatale, offers an outlet for her to direct her own life, to orchestrate the world around her and control the reactions of others. She harnesses the power of her clothes perhaps to win sympathy or to generate attraction, but always to attain her goal.
A lot of characters in movies wear the sort of clothes that an audience expects them to wear. This is a huge generalization, but the costumes of classic Hollywood tend to announce the identity of the wearer, “This is who I am. You know what to expect from me.” The style of a character helps us read her; it introduces us to that person through a kind of sartorial shorthand. Most of the time, those costumes don’t try to draw attention to the fact that they were carefully constructed and selected—except insofar as they are beautiful and worthy of our admiration.
The significance of clothing becomes much more complex when we’re dealing with the deceptive dames of noir. With the truly well-defined femme fatale characters, we the viewers feel that these tough broads actually chose their outfits. We discern an added layer of calculation, of connivance in their clothing choices. The fashions of the femme fatale dare us to decode them, to try to understand why they’re wearing that. What are they after? What are they trying to get by looking that way? Men might explain their strategies in film noir. The women wear theirs.
You are dangerous…
For instance, let’s take one of noir’s best liars—Brigid O’Shaunessy from The Maltese Falcon (costumes by Orry-Kelly). If she has a gift for belying her true nature as a greedy, cold-blooded killer, her clothes are her best accomplices. She fearfully tiptoes into Sam’s office wearing a mountain of fur, thick, bumpy, grandmotherly fox. Her suit doesn’t scream sexy either. On the contrary, it’s rather baggy. And that hat. Has she been shopping Ninotchka’s closet?
Okay, so I’m being catty, but Brigid’s beauty is certainly subdued by the rather matronly clothes she wears. She’s a natural “knockout” because of her porcelain features, but Mary Astor gives us a much more simmering femme fatale in place of the sizzler that Hammett wrote. And it’s utterly perfect.
I mean, evil women don’t wear big waxy gardenias on their floppy, blouson crepe dresses, do they?
They don’t smother themselves in pleats and ruffles and tweed. I remember the first time I saw The Maltese Falcon as a young girl I could not bring myself to believe that Brigid killed Archer. And that she was “going over for it.” I gaped in astonishment. Her schoolgirl manner and her many, many pretenses—destroyed and then rebuilt—had me convinced.
And I would argue that her decidedly un-flashy, quiet, slightly old-fashioned wardrobe as much as promised me that, at heart, she was a good egg. But don’t judge a book by its cover. That feigned modesty was all part of an act. As Sam Spade tells her, “You’re good.” Only as good a liar as her costumes.
Here Kitty, Kitty…
At the other end of the in-your-face sexiness spectrum, we’ve got Kitty from The Killers (costumes by Vera West). The first time we meet the mysterious woman, after quite a bit of screen time spent in the process of “chercher la femme,” she’s hosting a posh soiree for her main squeeze’s business associates (in flashback). Wearing that black dress, with just a single diagonal strap keeping the bustier up, Kitty practically jumps off the screen. She’s a vision. In fact, we see her for the first time from behind, her alabaster shoulders glowing in the candlelight, starkly contrasting with the inky shade of the dress.
The visibility of her neck and shoulders also conflicts with the ridiculously covered-up outfit worn by Swede’s current girlfriend. Even the most monogamous man on the planet would be tempted.
The dress itself couldn’t be described as tacky. However, the amount of skin she coolly, comfortably displays suggests that this woman, no matter how refined she seems, probably did some gangland finagling to get to this point. The costume hints at the black diamond hardness that Kitty continues to exhibit throughout the film. If she’s partially at the mercy of the men who deign to look at her, well, she’s wise enough to work with their desire to get what she wants.
We first see Kitty as this perfect china doll, another exquisite possession of Jim Colfax and we recognize her as the inevitable lure of Swede’s destruction. The next time we encounter her, she’s even more posh and ladylike in an ornate hat and a square-neckline day gown.
But after that, the moll beneath the polish shows up. In several flashbacks, we witness Kitty hanging out with the Colfax gang as they plan the payroll heist. In those flashbacks, she wears a simple black skirt, unadorned pumps, and a mannish collared shirt with the sleeves cuffed up or a rustic knit sweater. Not just the glossy mob mistress, this dame likes to be there when things are really happening—and can rock a more casual ensemble.
Nevertheless, the rather unglamorous clothes she chose still showcase her voluptuous figure and enable her to stir up trouble between the Swede and Colfax as part of her own ‘divide and conquer’ mentality. She’s not one of the boys, but she dresses to demonstrate that, despite the daintiness of her face and body, her fierce determination cannot and should not be underestimated. The woman in these outfits can say, without the slightlest disbelief on the audience’s part, “Touch me and you won’t live ’til morning!”
A damsel in dis-dress
One of my absolute favorite things that noir dames do is to let themselves be caught, accidentally on purpose, in a state of undress or disarray. Make no mistake: I don’t believe that true deadly women like Phyllis Dietrichson ever let their guard down, even to sleep. Like sharks, they probably have to move constantly and scheme without cease, or they’d die.
Oh, my! You just happened to catch me in my vine-patterned, designer beach towel!
So, when a noir dame reveals a little more of herself than she seems to want to, you bet your life, she’s making an opening gambit. The apparent absence of fashion—just wrapping oneself up in a towel or robe—in fact betrays a conscious choice to say, “Look, I have nothing to hide.”
Most men have two weaknesses: (half-)naked ladies and ladies in trouble. The bad girls of noir innovated by combining the two.
Sunglasses on a femme fatale serve no normal purpose. Most of the time, they do not protect these dangerous ladies from the sun; they conceal what they’re really thinking. Often, noir sunglasses are worn indoors—most famously by Phyllis Dietrichson in the famous market scenes of Double Indemnity.
Those almost totally opaque cat eye glasses give her the eeriness of a Death’s Head combined with the suburban garishness of a bored housewife. One gets the feeling that she bought them—like that widow’s hat of hers—just for this occasion. They’re not sunglasses. They’re scheming glasses. Hm, wearing sunglasses to browse the local canned goods. That’s not suspicious, at all.
Of course, Phyllis has a way with accessories: mourning veils and that “honey of an anklet,” that actually enables Walter to learn her first name. It’s the little intimate details that show that, underneath that garish Martha Washington wig and her often bulgy, padded ’40s style, she’s sexual dynamite.
When we first catch a glimpse of Norma Desmond in Sunset Boulevard, she’s wearing oddly large glasses that catch the glint of the sun. Those great, bulging round lenses endow her with the look of a fearful insect, a preying mantis in seclusion. She continues to wear them while watching Joe read her script. The glasses render her all the more inscrutable as a means, we understand, of concealing her vulnerability.
Like the many of the most ego-inflated people in the world, Norma quails and withers under the slightest criticism. Her sunglasses don’t keep out the sun; they protect her from the truth. I’d also note that the large, rounded shape of the glasses imbues her with a fusty, outdated air. The shape of her sunglasses wouldn’t have been particularly popular in 1950. But then again, neither were silent movies.
Although I have reservations about calling Leave Her to Heaven a film noir, it does feature one of the most relentless of femmes fatales that I’ve ever encountered and Martin Scorsese has called it a “film noir in color,” so I’m going to go with that. As an insanely jealous sociopath from a well-bred family, the stunningly beautiful Gene Tierney sets about removing any obstacle to the total possession of her husband. In the film’s most chilling scene, she lets her husband’s crippled kid brother drown while she sits calmly in a boat.
As she fails to move a muscle and watches the little boy flail and scream, the blank darkness of her preppy, otherwise innocuous sunglasses translate the emptiness of her own soul. She’s a void. No matter how pretty her face, behind those vivid eyes, you’d probably look into something as black and glassy as those sunshades.
In the dog-eat-dog world of noir, fashion isn’t just a means to an end. It’s an end in its own right. The hard-knocks dames who walk down those mean streets want it all; often born into poverty, noir femmes fatales crave security and luxury: life, liberty, and the pursuit of furs and bling. Margot Shelby of Decoy, played by the rosy but fearsome Jean Gillie, even expounds this philosophy to her boyfriend, who’s reluctant to aid and abet some illegal doings:
“Reality? What do you know about reality? You like the clothes I wear, don’t you? You like to smell the perfume I use. You like that, don’t you? That perfume costs seventy-five dollars a bottle! Seventy-five dollars! That’s as much as you earn in a week sopping up runny noses. A bottle of perfume—that’s our reality.”
Tricked out in lush furs, rich silks, Margot flaunts her swag with the brazenness of a woman born into filth and grime. She occasionally caressing her own jewels, lavishing the affection that she lacks for her fellow man on the cold glitter of those heavy diamond bracelets. Even her shoes sparkle with pave rhinestones and a heavy broach graces her funny cylindrical cap. She lights up the darkness like a firecracker with her over-the-top glamour, even in the most grim and dire of settings.
Live well and look great or die trying, that’s Margot’s mentality to the very end.
The fashions of noir are underwritten, usually, by crime. The desire for beauty and style propels the women of noir to navigate the underworld and find men whom they can manipulate into giving them the cutting-edge frocks they so crave. Security, money, fashion—they all go hand-in-hand. Take Vera, the psycho chick of Ulmer’s cheapie Detour. When we first see her, her clothes don’t exactly impress us. She sports a black skirt and heels scuffed up by her time spent hitchhiking. We never really learn where she wants to go or where she comes from.
However, her crocheted cardigan with great big, round buttons that once was white and looks like it was purchased at a department store by a girl who wanted nicer things, but couldn’t really afford them.
However, no sooner does Vera get her hooks into her fellow drifter and starts spending some of the money he took from a dead man than her true vanity reveals itself. She purchases a chic black gown with a padded peplum skirt and a sparkly brooch (designed by Mona Barry). “Don’t I rate a whistle?” She asks her companion. Clearly, she aspires a certain kind of upper-crust opulence, but can’t rid herself of her vulgar instinct. I mean really, who goes out wearing a torch singer gown in the daytime? Quelle horreur! Once again, the desire for fashionable duds, as well as other material comforts, spurs Vera on to more and more outrageous criminal schemes—and her own destruction. But hey, maybe it was all worth it for one shopping spree in Los Angeles.
Glamour actually comes from an old word for “spell” or “magic.” And each of noir’s wicked sorceresses casts her own kind of spell when it comes to big league glamour.
Note: if you’re wearing sequins on your skin, your hair, AND your outfit, you had better be nuts, famous, and very, very rich.
Norma Desmond, decorated like a Christmas tree with excessive trinkets, brooches, rings, necklaces, and dress clips, exudes a sense of general decay. She tries too hard. She dazzles, yes, but too much. Just as she wears “a pound of make-up” to go visit the studio, she smothers herself in furs, wraps, and veils.
And yet, there’s something compelling in her decadence. For the costumes, Edith Head channeled am overripe glamour so archetypal, so Hollywood, so leopard-print-exaggerated, that one cannot help but admire the grotesque splendor of it all. Norma, the moth-eaten goddess, the Miss Havisham of Sunny Roseland, radiates the kind of blinding self-indulgence that made the “crazy Twenties” so much more cool and enigmatic than “all that New Hollywoood trash.”
When I last watched Out of the Past (costumes by Edward Stevenson), I couldn’t get over how much Kathie Moffat’s style changed over the course of the movie. First, she walks out of the sun in a feminine, square-necked white ensemble—so very put together and unruffled.
Next, she’s the free spirited beach girl in a peasant dress, her hair soaked by the rain. Maybe she’s not so bad after all? Wrong!
Once she returns to Whit, her silken dressing gowns, simple bias cut dresses, and fluffy mink wraps show that she’s equally comfortable as the gangland mistress.
Perhaps more than any other noir woman, Kathie strikes us as a chameleon. She shifts her shape until she finally transforms into the militaristic dame of the conclusion, her hair hidden by a nunnish traveling snood.
“I never told you I was anything but what I am,” she tells Jeff, but her clothes told us something else entirely.
Pure as the Driven Slush
White costumes make strikingly misleading choices for femmes fatales. In a recent issue of InStyle, Tom Ford cited the white ensemble worn by Lana Turner’s Cora at the beginning of The Postman Always Rings Twice as one of his favorite film costumes (designed by Irene at M-G-M). The duality of white as innocence and the disguise for guilt really comes across from that first long shot of the erotic woman standing there giggling to herself, then intently applying lipstick. Wordless and self-contained, she almost seems like an apparition, some exotic dream girl in a pin-up costume, a fantasy that materialized just for Frank.
Honestly, what woman lounges around the house in white bum-hugging shorts, a midriff-revealing top and a turban, for crying out loud? Throughout the film, white enhances her aura of youth, of childishness and yet also seems to be contradicted by her voluptuous figure. I wonder how many good-looking drifters she surprised with the same routine. This is one complicated dame.
If someone were to ask me which movie character’s wardrobe I would most want to own, I wouldn’t hesitate: Elsa Bannister’s costumes designed by Jean Louis for The Lady from Shanghai. This ethereal femme fatale embraces a varied, but coherent style—she reeks of class and aristocracy, on land, on sea, or in a funhouse. I’m particularly in love with how she pulls off a clingy black bathing suit with a military pea coat and a captain hat. Don’t try that at home!
But the defining outfit of her character, the one that cements our and Michael O’Hara’s deep and unreasonably stupid love for her is a feminine full-skirted white gown with a sheer collared capelet.
This dress, shimmering, sparkling in the moonlight, cloaks Rita Hayworth in a seductive modesty. The floaty white transparency of the capelet might make us think for a moment that she’s angel. Elsa Bannister represents the enduring attraction of evil that comes to us in the form of what we most want. As she explains, “One who follows one’s original nature keeps one’s original nature… in the end.” Her beauty and her wistful romantic costumes just encourage poor lost souls to follow.
Fashion as a force of nature: Elsa Bannister’s white dress. She floats down the hill to the strains of “Amado Mio,” a clever allusion to Gilda.
I have left out quite a few of my favorite femmes fatales—and written a lot and still not said as much as I had hoped. The next time you crack open your favorite noir, though, I dare you to ask… why did she chose to wear this? What’s her angle? To tantalize? To play a part? To boast about her status? To love? To kill? Or all of the above, perhaps.