#dickie greenleaf icons

[editfandom]

Dickie Greenleaf - RIPLEY, S01E03

[denimbex1986]

'Almost 35 years ago, production designer David Gropman worked on a Merchant Ivory World War II-era drama called “Mr. & Mrs. Bridge,” in which the opening sequence was in black and white. He still remembers watching dailies to that sequence and hearing director James Ivory exclaim, “What have I been waiting for all these years? It works so much better in black and white!”

“He was right,” Gropman said, laughing. “And I have longed to do a black-and-white film since then.” He finally got his wish with “Ripley,” Steven Zaillian’s Netflix limited series based on the Patricia Highsmith novel “The Talented Mr. Ripley” — although Gropman estimates that the eight-episode, seven-hour series was really “about five films” in scale and complexity.

The action begins in New York in the early 1960s and then moves to Italy’s Amalfi Coast, where a petty criminal named Tom Ripley (Andrew Scott) has been tasked with persuading rich would-be artist Dickie Greenleaf (Johnny Flynn) to return home, though Tom really just wants to share in Dickie’s lifestyle. From there, it moves among lush Italian seaside towns, lavish hotels in Rome, Palermo and Venice and other outposts of magnificence, all shot in luxuriant monochrome by cinematographer Robert Elswit.

“I’ve always been taken with how powerful images are in black and white, how everything else is erased except for the subject matter,” Gropman said. “I’ve spent most of my career trying to erase the design in my work. For years and years, that meant being very careful with color — not necessarily monochrome, but really tightly controlled palettes. So the natural evolution was to do a black-and-white film.”

He and Zaillian began by trading black-and-white photographs so that the film’s visual language could be established before location scouting began. Gropman said finding a New York City street that could pass for 1960 was particularly difficult. “I had recently done a film in New York called ‘The Humans,’” he said. “It took place in one stage, basically, with a little bit of contemporary New York, Lower East Side. But going back to scout for ‘Ripley’ not even a year later, and trying to find period New York felt almost impossible, really.”

Once he found a street that would work for New York, he and Zaillian went to Italy to find locations that suited the idle rich who Ripley so desperately wanted to join. The Amalfi coast town of Atrani – augmented by Dickie’s house, which was actually filmed on Capri – had the right look and the right amount of stone stairs for Tom to climb as he tries to ascend to Dickie’s level. “The steps are so spectacular there,” Gropman said. “MC Escher spent time there and did any number of drawings and woodcuts of stairs, so it was perfect.”

But “Ripley” features many more steps than just the ones in Atrani. One entire episode takes place largely in a Rome apartment building where Ripley is living and where he has to dispose of a body by dragging it down several flights of stairs because an old, creaky elevator isn’t working.

“The Rome apartment was quite key,” Gropman said. “Not only did we need a great flight of stairs, we needed a period cage elevator. And finding that combination was very, very difficult. Many of these old apartments are converted palazzi, but of course, anything actually from the 16th, 17th, 18th centuries did not have elevators. So we had to find a palazzo that had an addition with that wonderful flight of stairs and cage elevator.”

Many of the interiors, including all of Tom’s apartment, were constructed on Stage 5 at Rome’s Cinecittà Studios, known as “The Fellini stage” because it was where the Italian icon made many of his films. “Everything from the hallway to the fantastic bathroom and his room looking out on the street was built at Cinecittà,” he said. “We had two stages that sat back to back with a green screen right down the center separating them.”

Train stations and ferry docks were another challenge, with CGI to get the correct period look. “The ferry docks were not real ferry docs, the train stations were not train stations,” he said. “So that relied a lot of CGI set extensions.”

Everything was built in color, including reproductions of Caravaggio and Picasso paintings. And while certain colors have long been thought to not work well when shot in black and white, Gropman said he ignored the conventional wisdom.

“There were rules in the time of black-and-white filmmaking for how to use green or orange to get more contrast or more of a gray tone,” he said. “I guess I should have paid attention to those, but I didn’t because we’re in a digital world and I could manipulate it and push it to give it the look we hoped to attain. I didn’t pay attention to any of those rules, but I think we did OK.”

And because of the level of detail in Zaillian’s work, Gropman said he never felt in over his head despite the scale of the project. “As I was doing the breakdown, of course I was a little bit overwhelmed,” he said. “In the old days, I might’ve had a panic attack. But there wasn’t a single set or a single moment in the scripts that I didn’t want to do. It was all joy.”'

[qnewsau]

'Ripley' trailer shows Andrew Scott in his latest queer role

New Post has been published on https://qnews.com.au/ripley-trailer-shows-andrew-scott-in-his-latest-queer-role/

'Ripley' trailer shows Andrew Scott in his latest queer role

After his beautiful performance in All of Us Strangers, Andrew Scott is playing another iconic queer character.

The official trailer for Netflix’s new series Ripley, starring Scott, has just been released, and we’re already obsessed.

Ripley was first introduced in the 1955 novel The Talented Mr. Ripley.

The Talented Mr Ripley was written by by lesbian author Patricia Highsmith. Highsmith also wrote The Price Of Salt, which the film Carol is based on.

According to the synopsis: “Tom Ripley is a grifter scraping by in early ’60s New York.

“He’s hired by a wealthy industrialist to travel to Italy to try to convince the man’s dilettante son, Dickie Greenleaf (Johnny Flynn), to return home. Accepting the job is Tom’s first step into a complex life of deceit, fraud, and murder.”

Will Andrew Scott’s Mr Ripley be queer?

Filmed in black and white, the trailer shows Ripley traversing the beachside villas and cathedrals of Italy, with flashes of violence and shadowy dealings cropping up alongside the lush scenery. “You’re a very hard man to find,” another character notes in the trailer. “No address, phone, office.”

While the 1999 film starring Matt Damon and Jude Law was queer-coded, it is hoped that Scott’s iteration will fully embrace the queer undertones of Patricia Highsmith’s work.

Ripley premieres on Netflix on April 4.

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

[denimbex1986]

"Yes it was. He's sort of an iconic sort of literary character, you know, Tom Ripley - he's enduring; there have been lots of different iterations of him - you know the guy. And so he sort of fascinates audiences I think because he's so mysterious but he's sort of - I don't know, he's just - he's, he's enduring, you know, and yeah, it was, it was - it was pretty physical and it required a lot of stamina but it was, it's an extraordinary opportunity for, for any actor so I was thrilled that they, they asked me."

"Yeah well he's a very, very solitary figure you know and luckily I had Dakota and Johnny Flynn who plays Dickie Green - Greenleaf, you know around, so, you know, when I needed friends, but he's a very, very sort of solitary character so yeah, to have that, that guy's energy in your head for, for a year - it's a lot..."

"Yeah, why - what are you saying? No, no, no, yeah; there is, it's - that's what it is; it's not something that I've done very much before but there's a particular episode in which it's just all action and yeah, I really - I endured it and I enjoyed it."

[burningvelvet]

bitches be like “this film radiates comfort” and then this is the film

[im-goin-mad]

y'all know this tiktok trend of "what sexless film would've been improve by a sex scene" and just full honesty the talented mr ripley yeah dickie and tom

[speakspeak]

Timeless Cool: Jude Law in The Talented Mr. Ripley.

[carmelagramblr-blogsstuff]

10 Psychological Thriller Movies on Netflix That Will Keep You Spellbound

We all love a little surprise. A little twist in a pattern or an unanticipated turn in the way things often happen. It fills us to the brim with an intense thrill that is definitely worth living for.

The more unexpected the surprise, the greater the thrill.

All that sums up the artistry of thriller movies in a nutshell – to expect the unexpected. Now stuff that nutshell with a psychological narrative and you have yourself a riveting and unsettling genre that will have you questioning life itself for days that follow. Yes, Psychological Thrillers.

It’s movie night and you’re kind of lost looking for a movie worth your while. You can push those romantic, comedy and action movies to the side for now. A little further. That’s enough. Enough space for you to have your mind blown and taken away by these spellbinding psychological thriller movies on Netflix.

So prepare yourself to realize how unprepared you were while watching these captivating psychological thriller movies on Netflix that will leave you no head space to have any expectations.

Self Quarantine may kind of sound like ‘Binge Watch Movies All Day’ for our biggest movie fans. Here’s my Ultimate List of Movies/Tv Shows To Watch Online.

Here are my collection of 10 Psychological Thriller Movies on Netflix That Will Keep You Spellbound:

1. The Captive (2014)

https://youtu.be/5z3_vcRbi7k

In the few minutes it took Matthew Lane to buy a pie at a roadside shop in snow-capped Niagara Falls, Ontario, his nine-year-old daughter, Cassandra, vanished into thin air. With young Cass abducted by a meticulous sexual predator, Matthew and his wife, Tina, see their marriage quickly deteriorate; however–eight long years later–unexpectedly solid evidence that a now-teenage Cassandra is alive in captivity shed some light on this puzzling case. Will Matthew and Tina ever see Cassandra again?

2. Would You Rather (2012)

https://youtu.be/it5XICr93wU

A young woman, desperate to help her sickly brother, accepts a dinner invitation to what seems to be easy money. As soon as she arrives to dinner, she realizes that playing the “game” is deadly for its losers. She and several others spend the night being terrorized in a game of would you rather.

3. Chloe (2009)

https://youtu.be/yXaj_O_U0LA

Catherine and David, she a doctor, he a professor, are at first glance the perfect couple. Happily married with a talented teenage son, they appear to have the perfect life. But when David misses a flight and his surprise birthday party, Catherine’s long simmering suspicions rise to the surface. Suspecting infidelity, she decides to hire an escort to seduce her husband and test his loyalty. Catherine finds herself ‘directing’ Chloe’s encounters with David, and Chloe’s end of the bargain is to report back, the descriptions becoming increasingly graphic as the meetings multiply.

4. Birdbox (2018)

https://youtu.be/o2AsIXSh2xo

Amid a nightmarish new reality where an unseen malevolent force purges the global population, the single mother, Malorie, and her two children, embark on a life-threatening quest to find the last protected haven on Earth. However, in this dangerous quest, one’s eyesight is the real enemy–and as the defenceless blindfolded protector summons up the courage to follow a faint shred of hope hidden deep in a refuge down the river–darkness may be the only thing that can save them. Now, the rules of survival have changed. Will Malorie and her kids live to see another day?

5. The Invitation (2015)

https://youtu.be/0-mp77SZ_0M

Will and Eden were once a loving couple. After a tragedy took their son, Eden disappeared. Two years later, out of the blue, she returns with a new husband… and as a different person, eerily changed and eager to reunite with her ex and those she left behind. Over the course of a dinner party in the house that was once his, the haunted Will is gripped by mounting evidence that Eden and her new friends have a mysterious and terrifying agenda. But can we trust Will’s hold on reality? Or will he be the unwitting catalyst of the doom he senses?

6. Before I Wake (2016) 

https://youtu.be/_TFc9pprTLE

A young couple that recently lost a child adopt a new one. At first, everything seems fine. But soon, his dreams start manifesting into reality as he sleeps. First his dreams are a beautiful thing, but soon, the beauty starts contorting into a darker, more deadly threat that could affect the couple greatly, and possibly get them killed, if they don’t act fast.

7. Everybody Knows (2019) 

https://youtu.be/L68mUxKuAnA

Laura, a Spanish woman living in Buenos Aires, returns to her hometown outside Madrid with her two children to attend her sister’s wedding. However, the trip is upset by unexpected events that bring secrets into the open. 

8. Fractured (2019) 

https://youtu.be/S8obCz5NSog

Driving cross-country, Ray and his wife and daughter stop at a highway rest area where his daughter falls and breaks her arm. After a frantic rush to the hospital and a clash with the check-in nurse, Ray is finally able to get her to a doctor. While the wife and daughter go downstairs for an MRI, Ray, exhausted, passes out in a chair in the lobby. Upon waking up, they have no record or knowledge of Ray’s family ever being checked in. 

9. A Most Violent Year (2014) 

https://youtu.be/o87gG7ZlEAg

A crime drama set in New York City during the winter of 1981, statistically one of the most violent years in the city’s history, and centered on the lives of an immigrant and his family trying to expand their business and capitalize on opportunities as the rampant violence, decay, and corruption of the day drag them in and threaten to destroy all they have built. 

10. The Talented Mr.Ripley (1999) 

https://youtu.be/h4e-Si4oGEw

The 1950s. Manhattan lavatory attendant, Tom Ripley, borrows a Princeton jacket to play piano at a garden party. When the wealthy father of a recent Princeton grad chats Tom up, Tom pretends to know the son and is soon offered $1,000 to go to Italy to convince Dickie Greenleaf to return home. In Italy, Tom attaches himself to Dickie and to Marge, Dickie’s cultured fiancée, pretending to love jazz and harboring homoerotic hopes as he soaks in luxury. Besides lying, Tom’s talents include impressions and forgery, so when the handsome and confident Dickie tires of Tom, dismissing him as a bore, Tom goes to extreme lengths to make Greenleaf’s privileges his own. 

From the iconic film like The Talented Mr. Ripley, a suspenseful flick like The Invitation with its sinister plot, or a harrowing horror like Bird Box, these psychological thrillers are bound to keep you on the edge of your seat, unsettled and intrigued to know what happens next.

☯♱͓☪͓ᵃ͓ʳ͓ᵐ͓ᵉ͓ʟ͓ᴀ͓ʙ͓ʳ͓ᵉ͓U✍͓

[dailyexo]

[NEWS] EXO - 170728 Vogue magazine: “Is EXO the Most Stylish K-Pop Band of All Time?”

It is a 90-degree July day in Seoul, and the air is thick with unfallen rain. Still, the concrete steps leading up to the World Cup Stadium are swarming with boys and girls in black baseball jerseys armed with clear plastic ponchos and posters, paper boxes packed with sweet fried chicken and sour pickles. It is the sixth edition of SM Town Live, a summer concert series put on by SM Entertainment to showcase the company’s impressive roster of K-pop stars—icons such as BoA and Yunho of TVXQ, Girls’ Generation and Shinee. Yet the main event is without a doubt EXO, the reigning kings of K-pop, who are there to close one chapter of their career and kick off the next with a new album and look to match.

Calling them kings is controversial. It stirs up rival factions (the band’s new album is titled The War), and internationally, that designation is up for debate. But in Korea, the beating heart of K-pop fandom, the nine-member boy band remains at the top. Last year they won five daesangs (Korea’s biggest music award, roughly equivalent to album or artist of the year), one of which they had won for the fourth consecutive time. The band celebrated its five-year anniversary in April with a live video broadcast that drew 80,000 viewers in less than two minutes. The next month, they played two nights at Seoul’s Olympic Stadium; seating some 70,000, it is the country’s largest venue and only four K-pop groups, including EXO, have ever played there. Both shows sold out in under 30.

For years, their status has remained relatively unchallenged, but it is difficult for anyone at the top to stay there. EXO also struggles with the perception that they are too perfect, a manufactured pop act without much personality. Korean boy groups also have to deal with the country’s mandatory military enlistment policy, which effectively puts a two-year pause on their careers that is hard to bounce back from. It is one reason why this particular comeback is so crucial for EXO, and why they chose to dramatically change course. “Ko Ko Bop,” the lead single and sole video to be released from The War, is the aesthetic opposite of the band’s previous summer single, “Monster.” Musically, it combines EDM and reggae. It is a sun-soaked song with a distinct “tropical” vibe, and that sharp tonal shift is most clearly communicated through the clothes.

The starting point for the video’s style was The Talented Mr. Ripley, specifically the rich, disaffected Dickie Greenleaf, played by a young Jude Law, as he lazes about the Italian coast. “Ko Ko Bop” reimagines the eight singers (Lay, the group’s only remaining Chinese member, was unable to participate in this album due to his “schedule”) as younger, more fashion-forward versions of Dickie. Sehun wears a Saint Laurent Hawaiian shirt from Spring 2017, covered in retro pop surfboards and station wagons; his hair has been dyed and spiked to resemble a Bird of Paradise. Chanyeol has hair the color of tropical punch and has thrown a white Céline blouse with watercolor blooms over a Saint Laurent logo tee; Baekhyun appears in Valentino, a mustard ikat Etro blazer, and a red mullet. A matching pair of palm tree–dotted All Saints shirts make the rounds on almost all members, loosely swapped around to convey the shoot’s trippy, drug-fueled vacation vibe (a bit odd, considering Korea’s anti-drug culture). All said, it continues EXO’s tradition of slowly pushing the boundaries of K-pop men’s fashion.

The band began honing their singular take on style two years ago with the song, “Call Me Baby.” Before that, they were generally clothed in matching suits or tees plucked off the racks of Boon the Shop and other local boutiques, a one-size-fits-all solution that emphasized their uniformity. In 2015, however, they found a way to bring out each member’s personality by tailoring what they wore in each shoot. More importantly, they began to source designers that K-pop stars were not wearing at the time. Back then, when singers wore high-end fashion, they generally went with big name, easily shoppable brands��Saint Laurent, Louis Vuitton. EXO reached instead for labels fashion people love: Pieces by Raf Simons, Dries Van Noten, archival Helmut Lang. These were mixed with Korean designers, including custom suits from Heich Es Heich, and eventually, a few items from their personal collections—a surprising move. K-pop bands, EXO included, are known for casting off and slipping on new identities with each album. To let a bit of their personal taste shine through, no matter how small, felt like a change.

It is a sartorial mix that has influenced the rest of the industry and reflects the country’s growing emphasis on individual style, which took centerstage on their Exo’rdium world tour, where the above photos were shot. Below, they reflect on the band’s evolution and their own. Kai prefers simple pieces from A.P.C.; D.O., all-black workwear from American heritage brands. Chanyeol is passionate about streetwear—Vetements, Balenciaga, Supreme, Gosha—and he recently confessed to keeping the tags on his clothes for a month, unable to tear them off. Moments like this are thrilling; they feel intimate and authentic, a real flash of expression through fashion. There’s no better way to begin again.

Sehun

Whose style has changed the most? Kyungsoo [D.O.]. Just look on the Internet—you'll see. Which MV had your favorite look? “Monster.” The music, concept, everything really, really fit me well. Who is your style icon at the moment? I'm really interested in Chris Brown’s fashion.

Kai

Whose style has changed the most? I think we’ve all changed a lot. In my case, since I personally love clothes, I think my personal style has changed to match my age, as time goes on. Which MV had your favorite look? I loved what we wore back in “Call Me Baby.”

Chanyeol

Whose style has changed the most? Sehun. Compared to his style from before we debuted and our early days, it's gotten a lot better, and every day, he puts a lot of thought in it. So much as doing fashion research, and his sense is good, too. Which MV had your favorite look? I think what we wore in “Lotto” was really nice. Who is your style icon at the moment? Kanye West.

D.O.

Whose style has changed the most? Overall, I think everyone’s personal taste has changed. Our members have gotten cooler, bit by bit. Who is your style icon at the moment? The heroes from the Avengers? I guess I want to try that once (laughs).

Xiumin

Whose style has changed the most? D.O. Every day, he goes around in head-to-toe black, but now, he’s moved away from wearing only black—slightly. Which MV had your favorite look? I liked “Lotto” the most. Who is your style icon at the moment? Captain America (laughs).

Baekhyun

Whose style has changed the most? I think it’s me. Because I want to challenge myself by trying different styles. It’s not that I plan to, but I think I do change things up a bit each year. Which MV or performance had your favorite look? I liked what we wore to perform at Mama 2016 [awards show] and to shoot “Lotto.” Who is your style icon at the moment? Because I really like Chris Brown, I want to try his look—he mixes different cuts and fits, and they all look good. I want to be like that.

Suho

Whose style has changed the most? Kyungsoo’s [D.O.] style has changed me a bit. Usually, I don't wear all black clothes like he does. I pay a lot of attention to fashion, and I like to play around with a lot of different brands, shoes, and clothes. But our schedules have gotten so hectic, and I realized that when I don’t have time to sleep, I just reach for simple, comfy, black things (laughs). Which MV had your favorite look? In our “Monster” video, the military-inspired style. It looked a bit more manly, it was comfortable, and the clothes were a bit oversize, which made them easy to dance in. It looked cool. Who is your style icon at the moment? I loved Colin Firth’s look in Kingsman. Once I get a little older, I want to walk around with that kind of clean, gentlemanly style.

Chen

Whose style has changed the most? I think we’re all pretty consistent now. Since we have each found our own personal style and know what we like, I think it’s natural. Which MV had your favorite look? The clothes from “Call Me Baby.” There were so many fun ones. Who is your style icon at the moment? Let’s see . . . I think I don’t know yet. I’ll have to widen my circle!

Photo links: 1, 2

Credit: Vogue.

[fyeah-chanyeol]

Is EXO the Most Stylish K-Pop Band of All Time?

It is a 90-degree July day in Seoul, and the air is thick with unfallen rain. Still, the concrete steps leading up to the World Cup Stadium are swarming with boys and girls in black baseball jerseys armed with clear plastic ponchos and posters, paper boxes packed with sweet fried chicken and sour pickles. It is the sixth edition of SM Town Live, a summer concert series put on by SM Entertainment to showcase the company’s impressive roster of K-pop stars—icons such as BoA and Yunho of TVXQ, Girls’ Generation and Shinee. Yet the main event is without a doubt EXO, the reigning kings of K-pop, who are there to close one chapter of their career and kick off the next with a new album and look to match. Calling them kings is controversial. It stirs up rival factions (the band’s new album is titled The War), and internationally, that designation is up for debate. But in Korea, the beating heart of K-pop fandom, the nine-member boy band remains at the top. Last year they won five daesangs (Korea’s biggest music award, roughly equivalent to album or artist of the year), one of which they had won for the fourth consecutive time. The band celebrated its five-year anniversary in April with a live video broadcast that drew 80,000 viewers in less than two minutes. The next month, they played two nights at Seoul’s Olympic Stadium; seating some 70,000, it is the country’s largest venue and only four K-pop groups, including EXO, have ever played there. Both shows sold out in under 30. For years, their status has remained relatively unchallenged, but it is difficult for anyone at the top to stay there. EXO also struggles with the perception that they are too perfect, a manufactured pop act without much personality. Korean boy groups also have to deal with the country’s mandatory military enlistment policy, which effectively puts a two-year pause on their careers that is hard to bounce back from. It is one reason why this particular comeback is so crucial for EXO, and why they chose to dramatically change course. “Ko Ko Bop,” the lead single and sole video to be released from The War, is the aesthetic opposite of the band’s previous summer single, “Monster.” Musically, it combines EDM and reggae. It is a sun-soaked song with a distinct “tropical” vibe, and that sharp tonal shift is most clearly communicated through the clothes.

The starting point for the video’s style was The Talented Mr. Ripley, specifically the rich, disaffected Dickie Greenleaf, played by a young Jude Law, as he lazes about the Italian coast. “Ko Ko Bop” reimagines the eight singers (Lay, the group’s only remaining Chinese member, was unable to participate in this album due to his “schedule”) as younger, more fashion-forward versions of Dickie. Sehun wears a Saint Laurent Hawaiian shirt from Spring 2017, covered in retro pop surfboards and station wagons; his hair has been dyed and spiked to resemble a Bird of Paradise. Chanyeol has hair the color of tropical punch and has thrown a white Céline blouse with watercolor blooms over a Saint Laurent logo tee; Baekhyun appears in Valentino, a mustard ikat Etro blazer, and a red mullet. A matching pair of palm tree–dotted All Saints shirts make the rounds on almost all members, loosely swapped around to convey the shoot’s trippy, drug-fueled vacation vibe (a bit odd, considering Korea’s anti-drug culture). All said, it continues EXO’s tradition of slowly pushing the boundaries of K-pop men’s fashion. The band began honing their singular take on style two years ago with the song, “Call Me Baby.” Before that, they were generally clothed in matching suits or tees plucked off the racks of Boon the Shop and other local boutiques, a one-size-fits-all solution that emphasized their uniformity. In 2015, however, they found a way to bring out each member’s personality by tailoring what they wore in each shoot. More importantly, they began to source designers that K-pop stars were not wearing at the time. Back then, when singers wore high-end fashion, they generally went with big name, easily shoppable brands—Saint Laurent, Louis Vuitton. EXO reached instead for labels fashion people love: Pieces by Raf Simons, Dries Van Noten, archival Helmut Lang. These were mixed with Korean designers, including custom suits from Heich Es Heich, and eventually, a few items from their personal collections—a surprising move. K-pop bands, EXO included, are known for casting off and slipping on new identities with each album. To let a bit of their personal taste shine through, no matter how small, felt like a change. It is a sartorial mix that has influenced the rest of the industry and reflects the country’s growing emphasis on individual style, which took centerstage on their Exo’rdium world tour, where the above photos were shot. Below, they reflect on the band’s evolution and their own. Kai prefers simple pieces from A.P.C.; D.O., all-black workwear from American heritage brands. Chanyeol is passionate about streetwear—Vetements, Balenciaga, Supreme, Gosha—and he recently confessed to keeping the tags on his clothes for a month, unable to tear them off. Moments like this are thrilling; they feel intimate and authentic, a real flash of expression through fashion. There’s no better way to begin again. Article by Monica Kim @ Vogue.com

[editfandom]

Dickie Greenleaf - RIPLEY, S01E02

[denimbex1986]

'He starred in one of the year’s most profoundly moving films, All of Us Strangers, and won praise for bringing Uncle Vanya to the London stage. Now Andrew Scott continues an impressive run of work by giving audiences a fresh take on one of the most iconic characters of them all.

Since US novelist Patricia Highsmith first brought Tom Ripley to life in a series of novels, the shrewd criminal and con-artist has enthralled readers and audiences alike.

Over the years, actors including Alain Delon, John Malkovich and Matt Damon have brought Ripley to the screen. Now the Dublin actor takes a deep dive into Ripley in a new series for Netflix - and characteristically makes the role his own. Not only does Scott take on an American accent for the role - impressively, he learned to speak Italian to play the character, who moves to the Mediterranean in the late 1950s.

“I had a wonderful Italian teacher and learned it for three or four months before we started just so you could understand it. It's a beautiful language to speak. And then of course, when you're around it, you become more interested in it," says Scott.

“It's one of the things you have to get used to a little bit as an actor - you've got to become really adept at something for a particular period, and then you have to move on to something else. I love that about acting, actually. But I'll try to keep it, I'm going to go back to Italy this year.”

Scott has given us a Ripley for the ages in the suspenseful series. It’s written and directed by Steven Zaillian, whose previous screenwriting credits include Schindler’s List, The Irishman and The Girl With the Dragon Tattoo.

Zaillian brings Hitchcockian levels of tension to the storytelling, shot in black and white and striking in its attention to detail.

“It's the most extraordinary character and we spend so much time inside his mind and inside his world,” says Scott of taking on Ripley. “I think that's what's remarkable about it. Sometimes in a television series where there's eight hours of this, it might be about a couple, or a police department, or a family, or a hospital. This is really based on one person. We spend so much time with this guy, the character's in 95% of the eight hours, that's an awful lot of time to spend with one character.

“And so the challenge of it is to not blot the copybook too much in relation to how wonderful the mystery of the man is, as well as what we do know about him, which is that he is an enduring character that people love. But I think the questions about him, and his mysteriousness and his secretiveness, are a reason that he's so fascinating to play.”

Understandably, he opted not to watch other performances depicting Tom Ripley, though he had seen Alain Delon in Purple Noon and Matt Damon in The Talented Mr Ripley years previously.

“I love both those versions for different reasons. It's happened before in relation to Shakespearean characters, you think: ‘Oh, I don't want to see that’. You want to be able to put your own stamp on it.

“I was very lucky because I received the full eight hours of scripts, a big pile of scripts to read, which is very unusual for an actor. You usually get maybe one or two episodes. I had the whole thing mapped out and I knew immediately how extraordinarily written they were and sparsely written.

“I love the film noir-ish element to it. It's absolutely exquisite to look at and I love the opaqueness of playing this character. It felt like a real departure for me.”

The series was shot in New York and various glamorous locations throughout Italy including Rome, Capri, the Amalfi Coast and Palermo, as Scott’s Tom Ripley travels to Europe to seek out an old acquaintance, the wealthy and privileged Dickie Greenleaf (Johnny Flynn).

As a boy, a shy Scott took up acting classes and quickly fell in love with the craft - playing the Tin Man in one of his first ever performances.

Years later, he went on to star in several Irish dramas including Jimmy’s Hall and Handsome Devil. He gave us the villainous Moriarty in a TV adaptation of Sherlock and the legendary ‘hot priest’ in Fleabag.

“I think we all as human beings want to do something that's of use to other people,” he says of his career. “You want to do something that's useful in the world. I suppose I appreciate more now, how much this can be of use to people, and how it genuinely helps.

“I do feel like I try to force myself sometimes into appreciating that what I do can be of use to people and it's not a frivolous thing, because I know that actors and artists of all different persuasions have really helped me.”

There have been many memorable screen performances from the Irish actor, but theatre is at the very heart of what he does, and his recent successes include an award-winning run of Vanya, which also screened widely in cinemas.

“It's just like injecting the atmosphere straight into your veins,” he says of live performance. “You don't wait around - you're the chief artist, if I'm honest, as an actor. In the theatre, you're in charge.

“If the audience is getting bored, it's your job to pick the pace up, it's your job to be sort of all seeing, and there's nothing like that. If you don't exercise those muscles, you lose them and I don't want to lose them. I find it just the purest form of storytelling. Vanya was exhilarating, and exhausting, and all the things.”

Scott brought audiences one of the finest screen performances of the year in All of Us Strangers, which audiences are falling in love with on streaming services following its successful cinema run. He and his friend and co-star Paul Mescal entertained fans with their banter while publicising the film.

“It's been extraordinary,” says Scott of the film’s reception. “I’m still processing that actually, how affecting the film was for people. I suppose I understand for my own personal reasons more now why it affected people so much.

“I did that project with people that I really love - Paul especially. And when we brought it back to Ireland it was completely magical for both of us. It was very, very special. I'm very grateful to have just been part of it, not just the film, but the process and the reception and everything about it.”

Ripley comes to Netflix from Thursday, April 4. www.netflix.com/Ripley.'

[fashiontrendin-blog]

Why The 1950s Is The Most Stylish Decade Right Now

http://fashion-trendin.com/why-the-1950s-is-the-most-stylish-decade-right-now/

Why The 1950s Is The Most Stylish Decade Right Now

There’s a key moment in The Wild One, the 1954 youth-ploitation movie in which an outlaw biker gang runs rampant through Hicksville USA, when a starstruck girl inquires of their ringleader, an impeccably leather-jacketed, cuff-jeaned, scuff-booted, 1950s fashion icon Marlon Brando, “Hey Johnny, what are you rebelling against?”

Brando’s response, with a world-weary sigh: “What’ve you got?”

The short answer, at least in sartorial terms, was: quite a lot. The early years of the decade were a style desert, a buttoned-up hangover of rigid post-war conformity in which even the maddest of men were trapped in grey-suit lockdown; but a great loosening-up had begun to occur by the time Brando roared into town.

Rock ‘n’ roll music, Beat poetry, and the abstract expressionists were leading the countercultural charge, and fashion took its cue from their let-it-all-hang-out ethos; cuts became looser, collars lost their starch, and elements of sportswear, workwear, and military uniform began to find their way into the everyday wardrobe.

What Is 1950s Style?

This was a time when some of today’s style staples – the turtleneck, the denim jacket, the knitted polo – were starting to come into their own, worn with an air of studied nonchalance, if not a sneer at the be-hatted corporate drones. But perhaps nothing symbolised the new, rebel-yell era more potently than the elevation of the humble white T-shirt.

Formerly a military-issue undergarment, it was suddenly draped across the decade’s most iconic chests; Brando got sweaty in one in 1951’s A Streetcar Named Desire, while James Dean brooded in one in Rebel Without A Cause (1955). Even Arthur Miller was pictured in one at his writing desk. “It became a kind of visual shorthand for rebellion,” says G. Bruce Boyer, fashion historian and author of True Style: The History and Principles of Classic Menswear, who was himself a teenager in the 1950s. “It represented the appropriation of blue-collar clothing for those who refused to buy into corporate society.”

Meanwhile, rockers like Elvis Presley left more formal dress codes, well, all shook up, replacing trilbies with slick quiffs, ties with button-down shirts, and fusty flannels with featherweight fleck-linen jackets. Jack Kerouac and the Beats made a fetish of utilitarian workwear, both in their lives – in their plaid shirts and beat-up blouson jackets – and in their literature: “His dirty work clothes clung to him so gracefully, as though you couldn’t buy a better fit from a custom tailor but only earn it from the Natural Tailor of Natural Joy,” writes Kerouac of Dean Moriarty (inspired by real-life Beat hipster Neal Cassady) in 1957’s On The Road.

Leading the pack of unruly artists, Jackson Pollock sported splattered denim overalls when creating his epoch-making drip paintings: “A lot of artists in the 1930s and 1940s dressed like accountants,” says Boyer. “Jackson and his peers wanted to look like the antithesis of that.” In their decisive break with sartorial tradition, the 1950s rebels found their ultimate – and most enduring – cause. “They broke the mould,” says Boyer. “And we’re continuing to live with their legacy.”

What Does 1950s Fashion Mean Today?

“I wanted to try and push some freedom into the men’s collections,” Miuccia Prada has said, “and one of the best ways I found of doing that was to reference a time – the 1950s – when men first found the freedom to express themselves with their clothes.”

While many brands have rebooted the classic 1950s fashion – high-waisted trousers, Perfecto leather jackets, Cuban-collar shirts, penny loafers – Prada have done more than most to keep the faith while adding a modern twist; witness their recent collaboration with Mr Porter that consisted of striped bowling shirts, checked Harrington jackets, graphic knitted polos, suede blousons, and loafers in Prada’s own Spazzolato leather. “The 1950s was a time of celebration and optimism,” said Mr Porter buyer Daniel Todd, “and the collection reflects that.”

Prada x Mr Porter

Fifties styles are also increasingly relevant at a time when traditional dress codes have broken down, and a well-placed knitted polo, textured sport coat, or pair of pleated trousers will add an air of breezy insouciance and smart-casual confidence to a work-or-play outfit.

“We’re at a similar point to the 1950s themselves, in some ways,” says the tailor and designer Timothy Everest. “Separates have largely replaced suits in most offices, so people need to find different ways to stand out. A lot of the shapes and patterns that are key to that – from the wider-leg trouser to the fine-checked blouson jacket – came to prominence in that decade.”

Reiss

And other modern designers aside from Mrs Prada – Lucas Ossendrijver at Lanvin, Pier Piccioli at Valentino – have put their own spin on some of those looks, from printed satin bomber jackets to palm tree-print shirts. “The ‘50s styles laid down the marker for modern menswear,” Ossendrijver tells FashionBeans. “They can be reinvented again and again.”

But there’s another reason why 1950s fashion is imperishable; more than half a century after Marlon Brando roared his way into cinematic history, they still carry a whiff of the subversive and the ineffably cool. From Cliff Richard’s urging us to move-it-and-a-groove-it in a drape jacket in 1958 (yes, he was a hepcat once) to a bequiffed Alex Turner donning a Saint Laurent varsity jacket in the 2010s, this particular revolt into style shows no sign of burning out.

As a contemporary issue of Life magazine declared, of the newly-minted species of teenager: “They live in a jolly world of gangs, games, movies, and music. They speak a curious lingo, adore chocolate milkshakes, wear moccasins everywhere, and drive like bats out of hell.” Be honest – sixty years on, who wouldn’t want to channel at least a little bit of that?

1950s Lookbook

Key 1950s Fashion For Men

Cuban Collar Shirt

Nothing says ‘Havana blast’ more than this breezy summer staple, which can trace its history back to the 18th century in South America, where it was a kind of working-class uniform, though it really made a striped, checkered, and Polynesian-print splash in the ‘50s, where it was seen on the back of everyone from Elvis to Montgomery Clift.

With its notch lapel-like collar (also known as a camp or revere collar), short sleeves, and straight, boxy hem, you could think of it as a classier take on the Hawaiian shirt. The modern variant has a more fitted cut and tapered sleeves; wear under a blazer for an off-duty Don Draper effect or roll the sleeves for the full Gene Vincent look. Reiss has a pretty good selection, both plain and printed, or try Timothy Everest’s bold-checked or white-weaved versions.

Pleated Trousers

Those who would see the ‘50s as a bastion of flat-front uniformity in the trouser department didn’t reckon with the hepcats or the rockabillies, who were saying “pleats please” decades before Issey Miyake got in on the act. “The early rockers borrowed heavily from the zoot suits that the jazz musicians of the 1940s wore,” says G. Bruce Boyer. “It was a colourful, exaggerated take on tailoring.”

Pleated trousers create elegant lines and a full silhouette (though any maxi-pleated ‘80s-style take should be avoided, unless you’re heading to a Kid Creole & The Coconuts-themed costume party), work equally well in a formal or casual context, and have the added summertime benefit of allowing air to circulate around the pins. E.Tautz has many versions on offer – the beige cotton chinos are particularly mid-century chic – while Kent & Curwen’s come in utilitarian tan.

Penny Loafers

The classic slip-on shoe (the ‘moccasins’ referred to in Life’s breathless anatomisation of the teenager) has a chequered history – Norwegian fishermen and small-denomination coins factor in at various points – but, for our purposes, it’s enough to know that they became the classic finishing touch for the Ivy League preppy look that blossomed in the ‘50s, and that they’ve been gracing the feet of every well-dressed man since, from Paul Newman – who remains the only man to pair them with white socks and still look cool – to Tinie Tempah.

If you want to go full prep, team an original pair of Bass Weejuns with khakis, navy blazer, Oxford button-down and knit tie (no socks, natch) and avoid the ‘enhancements’ that various designers have felt moved to add in the ensuing decades – zebra print, baroque tassels, Cuban heels, backless iterations with fun-fur trim and so on.

Knitted Polo

The original polo shirt, pioneered by Rene Lacoste, was designed in the ‘20s as a breezy alternative to the heavily starched, long-sleeved whites that tennis players had hitherto laboured in; the knit polo, developed in the ‘50s in fine-knit cottons and cashmeres, was a breezy alternative to the shirt, with patterned versions conferring pizzazz and Riviera-readiness on their wearers.

For confirmation, check out Dickie Greenleaf, as played by Jude Law in The Talented Mr Ripley, all stripe-panel polos, cuffed shorts, and suede loafers, an object lesson in dressing with corniche-owning, bebop flair. Modern-day Dickies can sip their dirty proseccos in retro-futurist versions by the likes of Scott Fraser Collection (sky blue L-stripe) or Uniqlo (plain emerald green).

Blouson Jacket

Where to start with the blouson? Starting out as the Harrington jacket, the sporty, waist-length, zippered, tartan-lined, elastic-cuffed mainstay was initially produced as a lightweight rainproof golfing jacket in the UK in the 1930s (the lining came courtesy of Lord Lovat, a British commando and keen putter who gave permission for his clan check to be used), but really took off after its export to the US in the 1950s, dovetailing with the trend for flight and bomber jackets worn by pilots during World War II and the Korean War.

It was taken up by the decade’s Holy Trinity of style – Elvis, Dean, Steve McQueen – and has since been adopted by subcultures from mods to soul boys and Britpop legends (take a lightweight bow, Damon Albarn and Liam Gallagher). You could do a lot worse than investing in an original Baracuta G9, but Prada’s satin number is a little more Drive, though at an investment-piece price.

[editfandom]

Dickie Greenleaf - RIPLEY, S01E01

[denimbex1986]

'...it was Fanning’s work as a Charles Manson acolyte in Quentin Tarantino’s Once Upon a Time . . . in Hollywood that convinced writer-director Steven Zaillian (Schindler’s List) she would be the perfect Marge Sherwood in his eight-part series Ripley, a provocative adaptation of Patricia Highsmith’s 1955 novel The Talented Mr. Ripley. An aspiring writer whose understated confidence exudes the air of upper-crust society, Marge is a constant companion of Dickie Greenleaf (Johnny Flynn), the errant playboy who is suddenly orbited by an odd stranger named Tom Ripley, played bewitchingly by Andrew Scott. Where others are taken in by the suave grifter, Marge can sense that the man is not what he seems.

Fanning jumped at the chance to play the character and take on the challenges associated with the role — not least of which was learning Italian prior to the months-long location shoot that visited Rome, Venice, Palermo, Capri, and Atrani on the Amalfi Coast. Perhaps the greatest artistic thrill, she says, was working opposite Scott in the confrontational moments between Tom and Marge: “I knew that it would be really fun to do those scenes with Andrew — and it was.”

Krista Smith: What drew you to Ripley and why did you want to play Marge Sherwood?

Dakota Fanning: Having eight hours to explore these characters that you think you know, whether through the book or through the [1999] film adaptation, I was like, “Oh, that’s going to be amazing.” I was such an admirer of Steve and of Andrew. So when I [was cast as] Marge, I was overcome with excitement. Just hearing Steve’s vision and how devoted he was to the story, you knew that you were going to be supported. He’s so detailed, you were always going to know exactly where you stood. And that’s what I like as an actor.

Watching your back-and-forth with Andrew Scott is mesmerizing. How was that to play some of those scenes and what was happening between takes?

DF: There were some moments where we were so [in character that we just wanted] the other one to drop dead. Steve would cut, and Andrew and I [would say to each other], “You bitch!” Then we’d crack up. We had to bring that play and joy to it. The tension between the two of us [would be so palpable] that when “cut” would happen, my whole body would relax. That energy is harder than running all day. So, I loved it. I was happy to not just be a pawn in Tom’s game as Marge. You see her own opportunistic tendencies come out sometimes and you explore that vanity in her as well. I think that’s deeply human.

Ultimately, in this series you’re exploring people and what people are capable of. You almost feel like you’re reading everyone’s thoughts through their eyes, which is what I like to do as an actor — finding what’s underneath and not focusing on the exterior.

You shot all over Italy, and so much of the aesthetic of that country plays through. How does being immersed in that kind of environment influence your performance?

DF: It’s really comforting. Having the luxury of actually being where it’s written that you’re supposed to be, that’s a rarity these days. So I didn’t take any of that for granted. It was a lot of hard work from a lot of different people.

I once found Steve rearranging the knitting needles in the knitting basket in [Marge’s] house. There’s that closeup of the knitting basket and it’s this perfect mess, [which] says something about Marge. It’s all for a reason. Every shot is important, every moment is important, every costume is important. I’ve been doing this a long time, and a lot of the time, it’s hurry, hurry, hurry and rush, rush, rush. That was not ever said [here]. Watching [the series] was a very moving experience for me because it all came full circle. You see how him rearranging those knitting needles did do something, and you think, Whoa...'

[denimbex1986]

'...4.5 Stars

You could be forgiven for assuming that the new "Ripley" series on Netflix is a cash grab. Patricia Highsmith's Tom Ripley books (beginning in 1955 with The Talented Mr. Ripley) have already inspired a slew of film adaptations, and it's hard to top Anthony Minghella's 1999 version of the first book. Who didn't feel for Matt Damon's awkward social climber as he tried to claw his way into the world of the beautiful people, iconically represented by Gwyneth Paltrow and Jude Law?

But even die-hard fans of that film recognize how fundamentally it deviates from its source. Despite featuring a non-canonically older Tom Ripley (Andrew Scott), the new "Ripley" is a truer adaptation.

Scripted and directed by Steven Zaillian (The Irishman), the eight-episode Netflix series moves at a deliberate, detail-oriented pace perfectly suited to its midcentury setting. There are no action scenes or blockbuster flourishes to obscure the machinery of a well-constructed psychological thriller whose characters are all too human. The impeccable production design and the meticulously composed black-and-white cinematography of Robert Elswit (Oscar winner for There Will Be Blood) bring postwar Italy to life in all its grubbiness and glamour.

Unlike Damon's version of the character and like Highsmith's, this Ripley is something of a sociopath — low on affect and eager to pour himself into the mold of someone else, preferably someone richer. A small-time con man, he jumps at the all-expenses-paid trip to Italy offered him by a shipping magnate who wants someone to convince his wayward heir, Dickie Greenleaf (Johnny Flynn), to return to the fold.

But once Ripley arrives in the coastal village where Dickie lounges on the beach with his writer girlfriend (Dakota Fanning), he doesn't want to leave, either. What he wants is to be Dickie — to live Dickie's golden-boy boho dream better than Dickie himself can do. Ripley clumsily yet methodically works toward that goal, eliminating every obstacle in his way.

Scott's almost schlubby Ripley is the perfect antidote to the glamorized killers of series such as "Dexter." For him, murder has such a steep learning curve that it's a comedy of errors. With forensic technology in its infancy, he's often less talented than just lucky. Ripley honed his criminal cred in Highsmith's four subsequent books about him, however — and, with any luck, the series will explore that evolution in a second season...'