There Will Be Blog

thoughts on cinema, music and all things lovely

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Chain of Influence from Alexa Chung's IT: Heathers and Beetlejuice

Alexa Chung used to be a British TV host, model, and the IT girl of the 2010s. Ballet flats, hot pants, cashmere cardigans, and statement sunglasses made her a modern fashion icon. During a time when skinny jeans, neon accessories, and flower crowns were a thing, the IT girl stood out with ahead-of-her-time style choices. She definitely was one of the first well-known women that I sourced my creative inspiration from.

"IT"

In 2013, Alexa released her debut book IT, featuring her drawings, style influences from film and music and witty advice. This pastel pink, 'cultural reset' of a book, catered to young, aspiring "It" girls and wannabe Vogue Editors. Despite receiving critiques akin to a "wasted opportunity", IT marked the sweet beginning of character development for my 13-year-old self. The book led me on a transformative journey, unveiling my taste in music, film, and fashion - a chain of influence, if you will.

HEATHERS (1988)

One of the films that started my endless love for cinema and marked the chain of influence, was Heathers (1988) - directed by Michael Lehmann and written by Daniel Waters. A satirical and macabre cult classic about a high school, where obnoxious jocks rule and the mean girls are all called Heather - until Veronica (Winona Ryder) and her mysterious boyfriend (Christian Slater) plot to exterminate every bully. Pair a cinematic legend (our girl Wino) with a sexy hunk that is Christian Slater, and you have yourself an 80s classic. Watching this film when you’re 14 years old, in your secret world (my room) on a mini laptop was a transformative experience. In a sense that, in that moment, I fully understood the magic that cinema held, and all I knew was that I wanted more. My eyes could not get enough of the cinematography, the costumes and the beautiful young actors - all while the haunting Syd Straw’s voice sang Que Sera, Sera (strongly advisable to put this song on while reading this post). 

The film itself tells a classic tale of relational agression between high school girls. In the words of Lyn Mikel Brown, or her book of the same name - Girlfighting (2003), the author argues that for quite some time, soap-operas, films, and reality TV had only focused on women who are in competition with one another. Heathers falls right into that category. Its main focus is Veronica Sawyer (Winona Ryder) - one of the Heathers clique, who finally gets tired of being an accomplice to other school kids’ misery. She has this line in the film: “I don’t really like my friends. It is like they are people I work with and our job is being popular”. It is the moment where Veronica foreshadows her involvement in the downfall of her mean friends. The irony of the twist is as absurd as it gets - a kind-hearted girl hates to see mean girls bullying everyone, so she turns to murder to end the meanness altogether.

COSTUMES

Iconic, voluminous hair, fitted checkered jackets with shoulder pads, midi grandma skirts, coloured stockings and none other, than bitchy attitudes! Every shot of Heathers is filled with endless outfit inspiration, curated by Rudy Dillon. Oh, how fun would it have been to dress like that in high school. I love how this kind of fashion evokes a nostalgic longing for a time before I was even born. From then on out, you could not catch me leaving a vintage clothing store without an 80's padded jacket.

Guessing who I went as for Halloween in 2014 would be easy. I put my grey skirt on, borrowed my grandpa’s ashy blue t-shirt, covered my face in fake blood and bought a paper cigar from Tiger. It was magical. I walked around saying “What’s your damage, Heather?” - sadly, no one understood the reference back then and I ended up really scaring my mum. I might have been better at Maths, had I not been rewatching Heathers every other evening. However, no regrets. 2 + 2 is still 4, forever till the end of time. 

Beetlejuice (1988)

IT's chain of influence continued naturally when I decided to explore Winona’s earlier work. The first one that came to mind was Winona’s breakthrough film 'Beetlejuice' (1988), crafted by the extravagant auteur Tim Burton, who is renowned for the gothic and fantastical settings in his work. The contrast-heavy cinematography in Burton’s mise-en-scène is highly influenced by German Expressionism, an art movement that emerged in Germany in the early 20th century. The most predominant aspects of this movement include distorted sets, angular or weirdly-shaped architecture, and a dark, frightening atmosphere.

The film tells the story of a recently deceased couple (Geena Davis and Alec Baldwin), who start haunting their own home after a new family moves in. In an attempt to scare away the living occupants, the couple summons a mischievous spirit named Betelgeuse (Michael Keaton) by saying his name three times. The narrative takes an intriguing turn with the introduction of Winona Ryder's character, Lydia, who, along with her parents (Catherine O’Hara and Jeffrey Jones), becomes entangled with the supernatural world. Winona Ryder delivers a captivating performance as Lydia, portraying a goth teenage girl with the ability to see the dead.

CINEMATOGRAPHY

Cinematographer Thomas E. Ackerman fully realised Burton’s ominous vision for the film. Every single shot is like a surrealist painting - a true feast for the eyes. Even if one does not find the film’s plot appealing, the visual aesthetic will still definitely satisfy one’s artistic hunger. Ackerman's attention to detail and use of lighting contribute to the film's haunting atmosphere, making it a visual masterpiece.

Beetlejuice vs. The Cabinet of Dr. Caligari

As mentioned previously, the influence of German Expressionism is evident in Burton’s work, and in my opinion, especially in Beetlejuice. The film has striking visual similarities to, arguably, one of the first horror films, The Cabinet of Dr. Caligari (1920), directed by Robert Wiene. The film follows a somnambulist who makes horrifying predictions of future events. I watched it during my first year of film studies, and I have to say, I was utterly spellbound. The fact that a film without any sound can be that spine-chilling, still blows my mind.

The distorted corridor in Beetlejuice mirrors the endless, distorted corridor in The Cabinet of Dr. Caligari. It evokes a sense of claustrophobia, almost like an optical illusion. The surrealist, angular structure of the Caligari corridor seamlessly fits into Beetlejuice, capturing the dreamlike, or rather nightmarish atmosphere.

In the following comparison shots, we can even identify a door with a diagonal line in Burton’s still, and the exact same shaped detail (window/door) on the house in Wiene’s still. Furthermore, there is a black silhouette of a man in the background, seemingly holding a broom in Burton’s shot. Similarly, in Caligari’s shot, there is a man wearing black, holding what appears to be a cane.

The following two shots sparked an 'aha' moment for me. In one, the green light and the appearance of a dead bride with a tulle veil emerge from the darkness. In another, there is a muted green light covering the room, and a girl sleeps in a white nightgown, reminiscent of a wedding dress, on a bed adorned with tulle sheets.

THE DINNER

There's a campy (and even a bit meta) dinner scene in Beetlejuice, making it one of the most standout moments in cinema to date. It features Lydia, her parents, and their friends. In an attempt to scare them into leaving, the deceased couple (the Maitlands) and Betelgeuse possess the guests. One by one, they start moving involuntarily and start to sing Harry Belafonte’s 'Day-O (The Banana Boat Song),' in his distinctive voice. I truly love this artistic decision because it cleverly uses dark humour and absurdity to dilute the frightening topic of spirits and afterlife.

As I reflect on this chain of influence, I think of it as the epitome of 'one thing led to another.' I love that I could delve into Winona Ryder's creative universe and discover life-altering cinematic classics as a young girl. This, however, is just one of the many discoveries I made as a 13-year-old reading Alexa's book. More is yet to come...

Beetlejuice Beetlejuice Beetlejuice

[specialagentblogger]

The Icon Status of Jane Birkin

Best known for being the muse behind the renowned Hermès Birkin bag, Jane was and still is, one of the world's most famous icons. She made her way in the British cinema scene during the mid 60s and was a part of films like: The Knack... and How to Get It (1965) and Blow-Up(1966). The latter led her to a career-defining role in Slogan (1969), during the making of which Jane met her decade-long partner, the famous French singer/songwriter Serge Gainsbourg. The pair was best known for the French love song "Je T'aime... Moi Non Plus", recorded in 1967 with Brigitte Bardot. After he fell for Jane, Serge asked her to re-record the song. "Je T'aime... Moi Non Plus" was banned in several countries due to its overtly sexual content. Thus began a love story of the century. The couple's wild lifestyle inspired a freedom in an era when sexual expression was still taboo.

STYLE ICON

 Jane Birkin acquired her style icon status through her day-to-day outfits. Her relaxed British demeanor, clean statement pieces, and French elegance were a killer combination. Thus, Jane stood out amongst other iconic stars of the time - bombshell beauty symbols such as Brigitte Bardot, Catherine Deneuve, etc. Birkin's signature look was her long, usually messy, bedhead and fringe, flared blue jeans, simple white tees, and the capacious woven basket. However, it would be naive and unfair to say that Jane was an icon only because of her clothes. 

LA PISCINE (1969) - a short summary

This slow-burn erotic crime drama directed by Jaques Deray follows Romy Schneider and Alain Delon as Marianne and Jean-Paul - a couple vacationing in a luxurious villa in the French Riviera. La Piscine presents an atmosphere that feels exactly like a careless summer holiday. The sweetness of doing nothing, dinners outside, bottles of wine, dancing, sleeping, kissing, and none other than - swimming in the pool. That is until, Jean-Paul’s old friend and Marianne’s former lover Harry drops by, along with his teenage daughter Penelope (Jane Birkin).

Costume Design

The person behind the costume design of La Piscine was the French designer André Courrèges. The looks made for Jane, specifically, were very much close to her actual style. Minimalistic colour palettes, simple silhouettes, and, most importantly, comfort mixed with elegance. These choices make Penelope's teenage essence stand out amongst all the rest of the thirty-something characters. We see lots of short skirts, revealing dresses, and very little make-up on her. Penelope's first look in the film includes a classic white 3/4 sleeved shirt, tucked into a mini checkered skirt. The accessories perfectly elevate this simple look. A delicate black belt to enhance the waist, black ballet mini-heels (talk about comfortable elegance), massive round sunglasses with blue lenses, and, of course, the basket.

Poolside Crochet Dress

Another statement look for Jane was this gorgeous white crochet poolside dress. The '60s was the decade for crochet pieces, thus it was representative of the trends. An ideal piece to throw on after a swim (with great ventilation too). The dress has a densely crocheted top around the bust area and reveals more skin going down, with a rather loosely crocheted spider-web pattern. It perfectly encapsulates Penelope's character - as the dress blends sensuality with a bit of alluring elegance. Good luck to me, because I will be trying to crochet this.

SWIMMING SUITS When there's a swimming pool, there's always a swimming suit (well...). Because of the luxurious and colourful mise en scene in the film, the bathing suits worn by both Romy and Jane were either black or white shades. The pieces presented a distinct contrast between the greenery of the landscapes and the marine blue of the pool. This choice was the most immaculate way of capturing the effortless and elegant French way of dressing. As well as accentuating the dichotomy of both characters.

JANE B. FOR Agnès V.

In 1988, the French filmmaker Agnès Varda decided to create an experimental documentary about Jane. The idea came from their conversation on how Jane felt anxious about turning forty. Agnès thought that it was the perfect opportunity to make a beautiful portrait of the icon's life. The film features Jane acting in pretend movie scenes, posing in paintings by Goya and Titian, portraying Joan of Arc, visiting her childhood home, and reflecting on her life. Varda's vision of Jane brings a magnetic piece of work to life. It is one of my favorite things I've ever seen on screen.

"I’m Jane B. I was born British. My height now is 5 feet 7 inches. No distinguishing marks. No exceptional talents, but I’m here. You’re watching me as time passes.” It would seem that everyone but Jane herself thought highly of her. Not only did Agnès Varda admire her deeply, but her daughter, actress and director Charlotte Gainsbourg, also created an ode to her mother in 2021 titled Jane for Charlotte. Finally, in her forties, she fully embraced her lifelong insecurities—cutting her hair short, trading ballet shoes for old sneakers, and adopting oversized men’s suits. She lived the second half of her life in her truest form, right to the very end.

I started writing this a couple of days before Jane's death. I thought the timing was hauntingly coincidental. She has been a part of my life ever since I read about her for the first time in Alexa Chung's IT (2013). It was one of those moments, where you can just sense that a person is special and I was fully captivated. I started watching her interviews, pinning every possible photo of her on Pinterest, printing out photos of her to hang on my wall, listening to her music, and watching her films. I cut my fringe at fifteen because of her and started separating my bottom lashes with lumpy mascara. My mum even bought me a basket-like bag to carry with me. Jane Birkin was not only a style icon to me. Her humble confidence, magnetic presence, and grace were the qualities I admired the most about her. Now, that is true beauty.

Rest easy, dear Jane. Au revoir.