I Could Go On Singing

Classic films, art, and old Hollywood are my life. Judy Garland, Barbra Streisand, Elizabeth Taylor, Marilyn Monroe, Reba McEntire, Gene Kelly, Katharine Hepburn, Vivien Leigh, Lucille Ball, and Bette Davis are all people who you will see frequently on this blog. Send me a message, I'd love to hear from you!

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Costume series ◆ Gone with the Wind

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Adele performs at Etihad Stadium on March 18, 2017 in Melbourne, Australia.

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❝Behaving like a princess is work. It’s not just about looking beautiful or wearing a crown. It’s more about how you are inside.❞ – Julie Andrews

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Concept art for Mary Poppins

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Sepia moments, The Wizard of Oz (1939)

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Audrey Hepburn by Richard Avedon, 1959

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[the-lanai]

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Julie Andrews does her final curtain bows at play Victor Victoria in which she starred … Christopher Plummer surprised her at the end of her performance and joined the cast in singing her favorite song Edelweiss

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Belle + Beast → requested by delirious-thoughts-n-gems

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"All at once everything looks different, now that I see you."

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Lucille Ball- c.1943 (x)

photographer Walter Sanders

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In film, when a character’s face or body is obscured by something - be it a prop or part of a set or costume - it often serves as an immediate, obvious physical allusion to their particular constraints. In Lady Tremaine’s case, she is confined by several things; her grief for her first husband, her ever-decreasing societal standing, her apparent emotional detachment from those surrounding her. These are all examined through various visual metaphors - the veil separates her from her second husband, just as he makes a reference to Cinderella’s mother, and the bars enforce a sense of finality regarding her relationship with Cinderella (effectively, in these last frames, she has been trapped by her own cruelty). The shadow is the most complex; initially, it creates an ominous sense of anonymity, but more than that, it highlights - literally - Lady Tremaine’s affiliation with light and dark and thus with good and evil.

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