#meerson

[jontheblogcentric]

2023 Oscars Short Films Review: Animation

It’s interesting with seeing the reels of the shorts films, the Animation nominees are often the ones with the least running time. They go by so fast, the shorts.tv reel add in a couple of other shortlisted films that got their honorable mention. Anyways without further chit-chat, here are my reviews of the nominated animated shorts: Letter To A Pig (dir. Tai Kantor) – The story begins telling…

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Harry Ossip Meerson (1910 – 1991)

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Jardin des Modes Décembre 1962

Simonetta & Fabiani Alta Moda Collection Fall/Winter 1962-63. A comfortable skirt in thick black and white tweed, gently gathered with long pockets. A shapely sports jacket, with jet buttons revealing in its neckline a jacket entirely sequined with jet.

Simonetta & Fabiani Collection Alta Moda Automne/Hiver 1962-63. Une jupe à l'aise de gros tweed noir et blanc, doucement froncée avec de longues poches. Une veste sport galbée, avec des boutons de jais laissant voir dans son décolleté une casaque entièrement pailletée de jais.

Photo Harry Meerson

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Carmen Miles

Harrry Ossip Meerson.

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Harry Meerson - Louis Feraud Ad (1970)

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Ivy Nicholson by Harry Meerson, 1953

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The bridge crew of the USS Enterprise in a stolen Klingon ship travelled back in time to 1986 Earth in order to capture some wales and bring them back to their present where whales were extinct and to prevent Earth’s destruction by a wale loving alien force. (Star Trek IV: The Voyage Home, Flm)

[80smovies]

[randomrichards]

LETTER TO A PIG:

Girl listens to speech

How pig saved boy from Nazis

Living nightmare

[bob-the-movie-man-film-reviews]

Reviews of the Films in the Oscar Best Animated Short Category 2024

#onemannsmovies #filmreview of the shortlisted films for the #Oscars Animated Short Category.

It’s the Oscars tonight and I’ve been trying to watch all of the Animated Short Films before the awards get given out. Here are my reviews of the films – all but one – that I did get to watch. The nominees: LETTER TO A PIG – Tal Kantor and Amit R. Gicelter NINETY-FIVE SENSES – Jerusha Hess and Jared Hess OUR UNIFORM – Yegane Moghaddam PACHYDERME – Stéphanie Clément and Marc Rius WAR IS…

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Harry Ossip Meerson (1910 – 1991)

Woman with white dove

1935

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René Lefèvre and Annabella in Le Million (René Clair, 1931)

Cast: Annabella, René Lefèvre, Jean-Louis Allibert, Paul Ollivier, Constantin Siroesco, Vanda Gréville, Odette Talazac, Pedro Elviro, Jane Pierson, André Michaud, Eugène Stuber, Pierre Alcover, Armand Bernard. Screenplay: René Clair, based on a play by Georges Berr and Marcel Guillemaud. Cinematography: Georges Périnal. Art direction: Lazare Meerson. Music: Armand Bernard, Philippe Parès, Georges Van Parys. 

The French do wonderful things with air. They invented the soufflé and Champagne, and the Montgolfier brothers mastered the art of ballooning. And no French director had a greater gift for buoyancy than René Clair, whose mastery of pacing keeps even the most cockamamie of stories from collapsing, going flat, or crashing to Earth. Le Million is the quintessential Clair film, a musical farce that inspired countless movies, some of which don't always stay aloft. You can see the lineaments of the Marx Brothers' A Night at the Opera (Sam Wood, 1935) in it as well as Jacques Demy's The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967). The story is much ado about a lottery ticket left in an old jacket owned by a young artist (René Lefèvre) with a mountain of debts, and it carries us from his studio to the jail to backstage at the opera and back again, sometimes journeying over the rooftops of Paris, all of which are embodied not by the real things but by Lazare Meerson's evocative sets. The music is pretty but forgettable, which is really all you need it to be. 

[chicinsilk]

Jardin des Modes Décembre 1962

Marc Bohan for Christian Dior Haute Couture Fall/Winter 1962-63 Collection. "Faux deux-piece, skirt with patch pockets, slit at the front to the knee and belted under a bolero effect; the very narrow little jacket is entirely sequined by Rébé in monochrome tones.

Marc Bohan pour Christian Dior Collection Haute Couture Automne/Hiver 1962-63. "Faux deux pièce, jupe à poches plaquées fendue devant jusqu'au genou et ceinturée sous un effet de boléro; le petit casaquin très étroit est entièrement pailleté par Rébé dans les tons camaïeu.

Photo Harry Meerson

[byneddiedingo]

The Divorce of Lady X (Tim Whelan, 1938)

Merle Oberon and Laurence Olivier in The Divorce of Lady X

Cast: Merle Oberon, Laurence Olivier, Binnie Barnes, Ralph Richardson, Morton Selten, J.H. Roberts, Gertrude Musgrove, Gus McNaughton, H.B. Hallam, Eileen Peel. Screenplay: Lajos Biró, Ian Dalrymple, Arthur Wimperis, based on a play by Gilbert Wakefield. Cinematography: Harry Stradling Sr. Art direction: Lazare Meerson. Film editing: Walter Stovkis. Music: Miklós Rózsa. 

Screwball comedy movies, in which an otherwise sober and respectable male, usually a lawyer, a professor, or a businessman, is prodded into absurd behavior and outlandish situations by a giddy, beautiful, and usually rich female, seem to be a particularly American genre. They may have their antecedents in the French farces of Feydeau and Labiche, but they need that American sense, particularly common in the Great Depression, that the rich are idle triflers, not to be trusted by everyday hard-working folk. Which may be why the British attempt at screwball seen in The Divorce of Lady X is a bit of a misfire. Merle Oberon plays the madcap lady in the film, who delights in deceiving and annoying the barrister played by Laurence Olivier until he inevitably falls in love with her. One problem with the film lies in the casting: Olivier's vulpine mien is not one that easily expresses naïveté, which the barrister Everard Logan must possess in order to fall for Leslie Steele's wiles, when she allows him to believe that she's really the scandalous Lady Mere. The real Lady Mere is played by Binnie Barnes, and the subplot revolves around the desire of her husband, played by Ralph Richardson, to divorce her, with the aid of Logan in the dual role of both barrister and corespondent -- how he got into that predicament is the rather clumsy setup for the film. Barnes and Richardson are far better suited to this kind of comedy than Oberon and Olivier, and they contribute some of the more amusing moments in the movie. It's filmed in the rather wan hues of early Technicolor, which only contribute to the general sense of underachievement.

Merle Oberon in The Divorce of Lady X (1938)

[items-i-know]

"Double Vision", arresting photomontage by Harry Meerson (note the middle eye which is her right eye) works equally well as the left or right eye) , 1960