#anthea sylbert

[cressida-jayoungr]

One Dress a Day Challenge

October: Black Redux

Chinatown / Faye Dunaway as Evelyn Mulwray

This is quite an attractive dress, but between the dim lighting and the fact that Evelyn is mostly in close-up shots in the scenes where it appears, we only really get a glimpse of it onscreen. Luckily, it has been auctioned, so we have some very good display photos. Here's the description from the auction site: "Black silk jersey day dress, fitted bodice, short sleeves, panels with hand fagoting; ankle-length skirt ornamented with self covered buttons; self covered belt with black and grey enameled buckle."

Evelyn wears the dress with a pearl necklace, a pair of gold bracelets, and a watch. I've included a close-up of the belt buckle. You can also see how the white trim is attached with a spiraling stitch in gold.

[vampirecorleone]

"Rock him." | "You're trying to get me to be his mother." | Aren't you his mother?" Mia Farrow as Rosemary Woodhouse in Rosemary's Baby (1968) Costume Design by Anthea Sylbert

[k00320395]

15/11/2024 - Project Research

Today I decided to go to the library and check out some books on fashion and costume design, as this is where my project is leaning towards. I am very interested in the many designs that can come from different fashion designers and how they vary so much in style.

I checked out the book; "Hollywood Sketchbook - A century of costume illustration" by Deborah Nadoolman Landis. This book focuses on outfits designed for and worn by Hollywood stars. Here are a few of the designs that I really liked.

This is Anthea Sylbert's design from 1937 for Pauline Annon. I love the simplicity of the design, yet it's still strikingly beautiful. It's also modest, and the use of all black creates this drama, as it's such a contrast to the bright red flowers.

These sketches are extremely dramatic, and equally as beautiful.

The light, flowing ruffles create such a beautiful texture in the first drawing. It is the costume design, by Travis Banton, for Ginger Rogers as 'Dolly Payne Madison' in the movie, Magnificent Doll.

The second is chic and elegant, with such a striking colour of bright red, and the sweeping sheer red train with sparkly fur red trim. This was designed by Donfeld for Bette Davis 1964 for the movie Dead Ringer.

The last outfit is more of a theatre outfit, made to grab the attention of the viewer, it was worn by Marlene Dietrich as Helen Faraday in the Paramount film Blonde Venus, 1932.

[byneddiedingo]

Jack Nicholson and Faye Dunaway in Chinatown (Roman Polanski, 1974)

Cast: Jack Nicholson, Faye Dunaway, John Huston, Perry Lopez, John Hillerman, Darrell Zwerling, Diane Ladd, Roy Jenson, Roman Polanski, Richard Bakalyan, Joe Mantell. Screenplay: Robert Towne. Cinematography: John A. Alonzo. Production design: Richard Sylbert. Film editing: Sam O'Steen. Music: Jerry Goldsmith.

Where there's money, there's murder, and where the sun shines brightest, the shadows are darkest. That's why film noir was invented in Hollywood, and why California's greatest contribution to American literature may have been the pulp fiction of James M. Cain and the detective novels of Dashiell Hammett, Raymond Chandler, and Ross Macdonald. Chinatown, which draws on that tradition, has a kind of valedictory quality about it, harking back to the 1930s roots of noir, although the genre's heyday was the postwar 1940s and paranoia-filled early 1950s. (Curtis Hanson would exploit that latter era in his 1997 film L.A. Confidential.) But it's also very much a film of the 1970s, which is to say that 42 years have passed and Chinatown is showing its age. The revelation that Katherine (Belinda Palmer) is both the daughter and the sister to Evelyn Mulwray (Faye Dunaway) no longer has the power to shock that it once did, incestuous rape having become a standard trope of even TV drama. Nor does the "dark" ending, which director Roman Polanski insisted on, despite screenwriter Robert Towne's preference for a more conventionally hopeful resolution, seem so revolutionary anymore. It remains a great film, however, thanks to those quintessential '70s stars, Dunaway and Jack Nicholson, in career-defining performances, the superb villainy of John Huston's Noah Cross, and Roman Polanski's deft handling of Towne's intricate screenplay, carefully keeping the film limited to the point of view of Nicholson's Jake Gittes. Production designer Richard Sylbert and costume designer Anthea Sylbert (Richard's sister-in-law), aided by cinematographer John A. Alonzo, are responsible for the stylish evocation of 1930s Los Angeles. The atmospheric score is by Jerry Goldsmith.

[alainmarche]

R.I.P. 😥

[docrotten]

ROSEMARY’S BABY (1968) – Episode 150 – Decades Of Horror: The Classic Era

“It was kind of fun in a necrophile sort of way.” Yikes! There’s so much to unpack in that statement. Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they gather around the black cradle under the inverted cross to witness Rosemary’s Baby (1968).

Decades of Horror: The Classic Era Episode 150 – Rosemary’s Baby (1968)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

A young couple trying for a baby moves into an aging, ornate apartment building on Central Park West, where they find themselves surrounded by peculiar neighbors.

  Director: Roman Polanski

Writer: Ira Levin (from the novel by); Roman Polanski (written for the screen)

Producer: William Castle

Music by: Krzysztof Komeda (as Christopher Komeda)

Director of Photography: William A. Fraker (as William Fraker)

Film Editing by: Sam O’Steen, Bob Wyman

Production Design by: Richard Sylbert

Art Direction by: Joel Schiller

Set Decoration by: George R. Nelson

Costume Design by: Anthea Sylbert

Selected Cast:

Mia Farrow as Rosemary Woodhouse

John Cassavetes as Guy Woodhouse

Ruth Gordon as Minnie Castevet

Sidney Blackmer as Steven Marcato / Roman Castevet

Maurice Evans as Hutch

Ralph Bellamy as Dr. Abraham Sapirstein

Angela Dorian as Terry Gionoffrio

Patsy Kelly as Laura-Louise McBirney

Elisha Cook Jr. as Mr. Nicklas

Emmaline Henry as Elise Dunstan

Charles Grodin as Dr. Hill

Hanna Landy as Grace Cardiff

Philip Leeds as Dr. Shand

D’Urville Martin as Diego

Hope Summers as Mrs. Gilmore

Marianne Gordon as Rosemary’s girlfriend

Wendy Wagner as Rosemary’s girlfriend

Tony Curtis as Donald Baumgart (uncredited)

William Castle as man outside phone booth

Decades of Horror The Classic Era reaches its epic milestone of 150 episodes with a review of Rosemary’s Baby (1968). Join the Grue-Crew as they examine this iconic genre entry that lands near the top of many best-horror-films-of-all-time lists and countdowns. Will the film hold up today? Jeff, Chad, Daphne, and guest-host Doc Rotten will share their thoughts on that and much more, including controversies in making the film and those that have transpired since. The crew spends two hours exploring the cast, the locations and era, the production, the subtext, and the influences – and so much more. Truly, epic! Enjoy!

At the time of this writing, Rosemary’s Baby is available for streaming from subscription services Amazon Prime, Paramount+, MGM+, and fuboTV as well as from a variety of PPV options. The film is also available as Blu-ray formatted physical media from Paramount Pictures Home Entertainment and the Criterion Collection.

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Jeff, is The White Reindeer (1952, Valkoinen peura), a Finnish vampire movie (or is it a Finnish witch movie?) with frequent appearances by a white reindeer. You won’t want to miss this one! 

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[sesiondemadrugada]

Chinatown (Roman Polanski, 1974).

[film-classics]

Mia Farrow in Rosemary’s Baby (1968)

[costumefilms]

Shampoo (1975) - Julie Christie as Jackie wearing a black sequined evening dress with long sleeves, high collar and plunging open back.

The costumes were designed by Anthea Sylbert.

[imjustheretoseetheprivateblogs]

My Ideal Cast and Crew for a Nero Wolfe Movie made in the 90′s

Director: Sidney Lumet

Composer: Quincy Jones

Cinematographer: Stephen H. Burum

Screenplay Writer: David Mamet

Costume Designer: Anthea Sylbert

Production Designer: Tony Walton

George Clooney as Archie Goodwin

Robbie Coltrane as Nero Wolfe

Bonus: Modern Day Version

[cressida-jayoungr]

One Dress a Week Challenge

May: Gold & Silver

King Kong (1976) / Jessica Lange as "Dwan" (Ann Darrow?)

Although this film was given a contemporaneous 1970s setting, the dress Dwan/Ann wears for the climactic performance where she ends up getting carried off to the top of a tall building (the World Trade Center, in this version) has a definite nod to the styles of the 1933 original film. It's backless, with a geometric, sort of Art Deco-style belt. The display mannequin shows wrist cuffs that match the belt as well, but in the actual film she just wears a diamond bracelet.

When she first arrives, Dwan/Ann briefly wears a filmy cape over the dress, but it is quickly removed. Later, while hanging out in a deserted bar after escaping from Kong for the first time, she randomly tries on a fur coat over it too.

I had never seen this movie before discovering the dress. The giant ape effects are occasionally stiff, but overall, they're really not bad for the era! The gowns were done by Anthea Sylbert, who also costumed Chinatown.

[thisobscuredesireforbeauty]

Faye Dunaway in: Chinatown (Dir. Roman Polanski, 1974). Costume by Anthea Sylbert.

[womeninmovieswearinghats]

Doris Roberts and Jess Osuna in A New Leaf (1971)

Direction: Elaine May

Costumes: Anthea Sylbert

[dozydawn]

vintage bridal fashion: 1972

this veil trim!

royal wedding: birgitte van deurs in norman hartnell. white swiss organdie with floral embossing.

maria del carmen martinez-bordiu y franco in balenciaga, 1972.

charlotte rampling. the butterfly choker (also in the dress print)

carol kane in wedding in white (1972) designed by patti unger.

ana belén in morbo (1972) designed by josé maría tresserra.

cybill shepherd in the heartbreak kid (1972) designed by anthea sylbert.

talia shire in in the godfather (1972) designed by anna hill johnstone.

simonetta stepanelli in the godfather (1972) designed by anna hill johnstone.

jill ireland in the valachi papers (1972) designed by ann roth.

[claudia1829things]

“THE LAST TYCOON” (1976) Review

"THE LAST TYCOON" (1976) Review What is there to say about the 1976 movie, "THE LAST TYCOON"? Well . . . it was adapted from F. Scott Fitzgerald's last novel, which had remained at the time of his death in 1941. It proved to be the last movie directed by Elia Kazan. And it starred Robert De Niro.

Actually, there is more to say about "THE LAST TYCOON". It told the story of Monroe Stahr, Fitzgerald's literary version of the legendary Metro-Goldwyn-Mayer production chief, Irving Thalberg. Stahr served as production chief of a major Hollywood studio in the mid-1930s. The movie unfolds with Stahr juggling his time with emotional actors and directors, and several frustrated screenwriters. Stahr also deals with more pressing conflicts like the newly created Writers Guild of America, a union organizer from the East Coast and the growing resentment his boss and head of the studio, Pat Brady. During all this activity and growing turmoil, Stahr finds himself torn between two young women. One of those women is Brady's only child, a recent college graduate named Cecilia who is infatuated with Stahr. The other is an Irish beauty with a troubled past named Kathleen Moore, with whom Stahr falls in love and eventually obsessed. Unfortunately for Stahr, Kathleen is engaged to another man. The production values for "THE LAST TYCOON" struck me as first rate. Well . . . almost. I enjoyed Victor J. Kemper's sharp and colorful photography. I also enjoyed Jack T. Collis' art direction, which I thought effectively conveyed the locations of the Hollywood community during the 1930s. But I feel that Collis' art direction would not have been as effective without Gene Callahan's production designs. The Academy of Motion Picture Arts and Sciences must have also been impressed by both Collis and Callahan. The two men ended up receiving Oscar nominations for Best Art Direction-Set Decoration. On the other hand, I am not surprised that Anna Hill Johnstone and Anthea Sylbert's costume designs had failed to win any nominations. Do not get me wrong. They were not terrible. But . . . I did notice that like some of the hairstyles worn by the actresses in the film, the fashion styles of the 1970s tend to creep in. I certainly had no problems with the movie's performances. Well . . . with most of them. May I be frank? Robert De Niro seemed to be an embodiment of Monroe Stahr . . . or should I say Irving Thalberg? De Niro did an excellent job in conveying Stahr's obsessive nature - whether it was creating movies or falling in love with Kathleen Moore. A second standout performance came from Theresa Russell, who portrayed Cecilia Brady, the daughter of the studio chief. Russell did an excellent job in portraying both Cecilia's passion for Stahr and her no-nonsense intelligence. Robert Mitchum was superb as Pat Brady, the studio chief who took his daughter's intelligence for granted and who resented Stahr's genius as a movie producer. Both Tony Curtis and Jeanne Moreau gave excellent performances as Rodriguez and Didi, two Hollywood stars, whose egos and insecurities threaten a film they are currently shooting. Jack Nicholson provided a strong, yet quiet presence as an East Coast union official visiting Hollywood to organize the industry's employees. The movie also featured solid performances from Ray Milland, Dana Andrews, Donald Pleasance, Peter Strauss, Tige Andrews and Anjelica Huston. "THE LAST TYCOON" also featured Ingrid Boulting as Kathleen Moore, the woman who captured Monroe Stahr's heart. How did I feel about her? Hmmmm . . . she was not a terrible actress. But I was not particularly impressed by her performance. She seemed to spend most of the movie trying to iconic or remote . . . a 1970s version of Greta Garbo. And it did not work for me. For me, the real problem with "THE LAST TYCOON" was its narrative. Quite frankly, I thought it sucked. Mind you, I thought the film's explorations of life at movie studio in the 1930s seemed interesting. What made this work is that most of this exploration was told from Monroe Stahr's point-of-view. I cannot deny that the film's peek into the old Hollywood studio system was interesting. But instead of fashioning a narrative from this topic or at least from studio politics, screenwriter Harold Pinter had decided revolve the film's plot around the Monroe Stahr-Kathleen Moore love story. I can understand why he did this. F. Scott Fitzgerald did the same in the unfinished novel. The problem was that Stahr's romance with Kathleen bored the hell out of me. One, the entire romance almost seemed on-sided on Stahr's part. And two, both Robert De Niro and Ingrid Boulting lacked any chemistry whatsoever. Every time the pair shared the screen, I found myself struggling to stay awake. Perhaps Pinter could have done a better job in connecting the Stahr-Moore romance with studio politics . . . who knows? Unfortunately, I felt as if I was watching a movie with two different narratives that barely connected - and with the major (and boring) subplot overshadowing the minor one. Pity. Would I ever watch "THE LAST TYCOON" again? I honestly cannot answer that question. It is a beautiful looking film, thanks to men like Jack T. Collis and Gene Callahan. I also cannot deny the film's peek into the old Hollywood studio system and politics managed to somewhat fascinate me. Unfortunately, the movie was dominated by a dull love story that bored me senseless. So, would I ever watch this movie again? Right now, I would say no. I do not think so.