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«什么是你的电影(或流)的想法?|主要|家具:尤伯连纳»炸毁一座桥
星期三
Jul 08 2020

Hepburn, Givenchy and "Funny Face": A Match Made in Heaven

by克劳迪奥·阿尔维斯

Throughout the histories of cinema and fashion, there has seldom existed a more glorious collaboration than that of Audrey Hepburn and Hubert de Givenchy. The English actress and the French couturier first worked together in the 1954 movieSabrina,一个服装杰作,其标志性的时尚和争议计入此前已被写在电影体验亚博主页abstew。之后,他到比利·怀尔德的经典,纪梵希会去打扮和关闭屏幕多少次赫本,虽然他总能得到他后应得的信用uncredited贡献Sabrina乱哄哄。

That was wise of him since, in 1957, he received an Academy-Award nomination for what is one of Audrey Hepburn's most stylish screen adventures, the indelibleFunny Face

在前往探索时尚奇迹是的服饰Funny Face我们应该考虑赫本纪梵希合作的全部。尽管奥斯卡的认可,是要明白,纪梵希,主要是时装设计师,而不是一个负荷消费是很重要的。在他做的几部电影中,时装设计师会集中于少数展品,同时使其他船员应对不那么引人注目的衣服。正因为如此,有可能会有点不和谐,当我们看电影,其中纪梵希的工作,尤其是当他的设计被要求做更多的在钦佩被看得目瞪口呆。

1957年,纪梵希和赫本也做Love in the Afternoon, a Billy Wilder romantic comedy where the actress plays the willful daughter of a Parisian private investigator. Lost in romantic ideals, Hepburn's character surreptitiously weasels herself into one of her father's cases, pretending to be a worldly woman to save an American lothario. In the narrative, there's a necessary duality between the innocent girl and the seductress she pretends to be, but the costumes rarely reflect the narrative. Regardless of her character's behavior, Hepburn's style is a constant of effortless elegance and only her changing hairdo visualizes the dynamics of the script.

那种文本断开的可能当然是有用的。例如,晚期优雅的霍莉·戈莱特利1961年的蒂凡尼的早餐是矛盾的风暴。性格内向的赫本发现很难发挥奢侈冬青和女演员的银幕形象是在与她的性工作者角色的特殊性几率。服饰,而不是打了女演员的娴静存在或角色的salaciousness,只会增加冬青的诱人的神秘,使她看起来像的服装首饰和寻求关注的设计情有独钟的典范。是什么让性格让标志性的是她的身份在电影中如何滑感觉的一部分。Givenchy的服装是其中一个重要组成部分。

对于1963年的Charade, Givenchy's impeccable creations add to the humor of Stanley Donen's Hitchcockian comedy-cum-thriller. Due to a twist in the story, Hepburn's character is left stranded in Paris with only a suitcase full of holiday clothes. However, she has a wealthy panoply of different outfits, that in no way reflect the snowy escapades suggested by the picture's first scene. The costumes are as dazzling as they are nonsensical, but that adds to the fun of the farce. There's a similar absurdity in 1966'sHow to Steal a Million。在这里面,赫本的性格偷偷摸摸的尝试,而穿着奢华的蕾丝裙,在拥挤的餐厅配套面罩与一个所谓的艺术窃贼进行刑事会合。它兴高采烈地高飞。

即使当他们出现在电影小于很大,纪梵希对赫本的设计是美丽的分心。见1964年的Paris When it Sizzles, one of the actress' worst films and one where the open-backed dress and smart suit designed by the French couturier are more worthy of the audience's attention than the inanity spewing from the actors' mouths. Even the über-referential爱盗亦有道,从1987年未成年人的电视电影,具有赫本最后的主导作用,由Givenchy的创作提高。红色礼服的女星在MET的步骤画面的最后一个场景穿特别惊人的,在这么小的一部分,因为它呼应了最好的赫本纪梵希展示他们所有的类似的时刻,Funny Face

The reason I think Stanley Donen'sFunny Facerepresents the best of what Audrey Hepburn and Hubert de Givenchy could do together onscreen is that the nature of the film is ideal for the limitations of both artists. Speaking specifically about Givenchy, a movie about the world of fashion, magazine photoshoots, and Parisian splendor is perfect for showcasing his designs. This is the story of a mousy intellectual bookseller that is unwittingly selected to be the model for a Paris-set editorial by a leading American fashion publication. Being a Hepburn vehicle, the film ends with her finding love in the arms of a much older man and going through an amazing makeover.

随着剧情的结果,大部分的衣服穿奥黛丽是由复杂的叙事意义支配,因为它们被认为是选择了照片,而不是她的性格的内在生命的外化件。他们是为了体现时尚的神奇和它的奇观,两件事情Givenchy的设计做毫不费力的优雅。

他所有的乐团为影片都超越完美,但婚礼礼服结束拍摄图片序列是我个人最喜欢的。面纱的形状,轮廓的繁荣,无可挑剔的配合,在一个服装是简单,因为它被逮捕,赫本的时尚偶像的地位,她的芭蕾舞优雅一个综合化的所有聚结。我给了纪梵希(伊迪丝头)奥斯卡单独。

Funny Face可对亚马逊视频和冥王星电视码流。您也可以从亚马逊,谷歌Play和YouTube,苹果的iTunes和其他租来的。

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Reader Comments (2)

非常好谢谢。

2020年7月8日|Unregistered Commentermarkgordonuk

谈论比赛,取得了电影的天堂。

2020年7月8日|Unregistered CommenterMJ

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