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normasshearer

Veronica Lake as Joyce Harwood in THE BLUE DAHLIA (1946) dir. George Marshall

angry-yara

Birthday girl: Veronica Lake

astra-lun

Ukrainian Sailor Moon

voguefashion

“Pink is the new black” - Diana Vreeland

Thomas Gainsborough, Mary, Countess Howe, c. 1764.

Marilyn Monroe wearing a pink satin strapless gown with an oversized bow attached at back, designed by William Travilla for the "Diamonds Are a Girl's Best friend" number from Gentlemen Prefer Blondes (1953).

Vogue Paris, December 1964.

Jackie Kennedy wearing a Pink Chanel suit on the day of her husbands assassination in Dallas, Texas on November 22, 1963.

Margot Robbie on the set of Barbie.

Shirley MacLaine in a gown by Edith Head for What a Way to Go! (1964).

Brigitte Bardot wearing the famous pink and white gingham dress with a Peter Pan collar made of English lace, specially designed for her by Jacques Esterel on her wedding day to Jacques Charrier on June 18th 1959.

Reese Witherspoon wearing the pink leather 'driving suit' in Legally Blonde (2001), designed by Sophie de Rakoff.

Barbara Cartland the "Queen of Romance" fiction was often dressed in a pink chiffon gown.

"A brave new pink that accepts the challenge of the blazing summer sun." Elizabeth Arden "Arden Pink" advertisement in American Vogue, April 15, 1959.

Princess Diana wearing a pink sweater and pink and white gingham pants at her home at Highgrove, Gloucestershire, 1986.

Model Suzy Parker in the "Think Pink!" number from Funny Face (1957), costume designed by Edith Head.

Valentino Garavani Tan-Go Platform Pump in Patent Leather 155mm in Rose Violet.

Molly Ringwald wearing the 'prom dress' designed by Marilyn Vance in Pretty in Pink (1986).

hotvintagepoll

dual propaganda: Dolores del Río and Marlene Dietrich being pals (who are gals) masterpost:

here they are attending a bride and groom themed party together

"Mister and Missus" Masquerade: After eleven years of wedded life, the Basil Rathbones think it's high time to burn a little incense on the altars of the marriage gods - which accounts for this exquisite bride and groom shindig. Marlene Dietrich, left, plays the groom to Dolores del Río's exotic Spanish bride. (of course they had to work "exotic" in there :/)

"Dolores del Río was the most beautiful woman who ever set foot in Hollywood" -Marlene Dietrich

"Ah, this is the real beauty. We blondes have to work at it." -Marlene Dietrich about Dolores

M + D serving cunt at an exhibition of Frida Kahlo's work

+ bonus Dolores with her friends Frida and Diego

sundaynightfilms

We Won't Grow Old Together, 1972

filmetto

Milk and villains:

Let the Right One In (2008) No Country for Old Men (2007) Get Out (2017) Inglourious Basterds (2009) A Clockwork Orange (1971) Succession (S2E3)

junkfoodcinemas

Dracula (1931) dir. Tod Browning Drácula (1931) dir. George Melford Renfield (2023) dir. Chris McKay

365filmsbyauroranocte

-La Pietà di San Pietro (Michelangelo, 1497-1499) -My Own Private Idaho (Gus Van Sant, 1991)

yiliy

"Natalie Portman had numerous costume changes in Revenge of the Sith, but she loves what they called the deep blue 'end dress,' which she wore in her coffin in the funeral scene.

'I think Trisha [Biggar] wanted an ocean sense. Someone said to me it was very ‘Ophelia.’ With the flowers and the hair, it does look like I’m drowning'."

a 2005 article by Patt Diroll about the Star Wars prequels' costume exhibition at the fashion institute of Design and Merchandising museum in Los Angeles for the release of the book Dressing a Galaxy: The Costumes of Star Wars.

brown-eyes-blue

charnel-grounds

The Beach Girls and the Monster (1965)

citizenscreen

Rudy Vallee for Johnston’s Chocolates, February 14, 1931

loneberry

Poor Things, directed by Yorgos Lanthimos

“You’re whores!” “We’re our own means of production,” the sex workers reply while on the way to the socialist meeting. * Somewhere between Tim Burton and Viennese Actionism, Poor Things follows the misadventures of Bella Baxter, the most lovable freak Hollywood has ever known. A steampunk nymphomaniac, an experiment gone awry, a feral woman who cannot be owned—she is hungry for the world. With the brain of a child in the body of a young woman, her physical movements are jagged and undisciplined, her motor skills underdeveloped. She can out-fuck any rake, drive him mad with her odd brand of feminine libertinage, and live spontaneously, wholly free of shame. The film is gory, tender, hilarious, anarchic, grotesque, and visually delicious (see it in theaters if you can).

I’ve seen most of Yorgos Lanthimos’s films and think this one might be my favorite. Poor Things has the hallmarks of a Lanthimos film: obsession with the contingency of human socialization and bourgeois morality, curiosity about human sexuality, the erotics of power, cruelty and familial abuse, etc—they are themes that play out in a context that is patently absurd and darkly comic. Yet even as the scenarios Lanthimos imagines strain credulity, they are somehow revealing in the way they indirectly raise questions about the human species: How much of who we are can be boiled down to social convention? What’s so great about hetero monogamy? What would become of a person raised in peculiar circumstances? What would someone do if the superego of polite society were removed? Would we fuck all day, gormandize on Portuguese pastries, give our money to the poor, and weep at the sound of mandolins? Would we shun the boring and the refined, become sex workers as an experiment in living, read philosophy, and make colloquy with cynics? Never didactic, always playful, Lanthimos probes it all.

Bella reminded me of a more life-affirming version my ex-girlfriend (a noise musician who committed suicide by jumping off a bridge into a river)—how intoxicating it is to be around people who flagrantly disregard social convention, who are untamed and wild even in their bodily movements. Who doesn’t want to feel unrestrained?

(Read my other Letterboxd film reviews here.)