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Geoffrey Macnab, “Why Fashion On Screen Lacks Style,” The Independent
In the past, films specifically about fashion have been underwhelming. They have been visually appealing, but lack the characterization that makes watching a film worthwhile. According to Geoffrey Macnab, “Matt Tyrnauer's documentary Valentino: The Last Emperor has one quality that most fashion movies lack, namely emotional depth.” Many times, with fashion films, superficiality and exclusivity is so present that the movie becomes more of a parody. This can be seen in The Devil Wears Prada in which Merril Streep plays the role of a fictional Anna Wintour.
Even films about fashion that have received acclaim such as The September Issue lack true insight into the world of fashion. Grace Coddington takes center stage with her wit and humor, while Wintour, the Editor in Chief, “is a sphinx-like presence who betrays little sense of what is driving her.” Macnab concludes by explaining that the fashion industry has an abundance of talent and that that talent can translate into the film industry (as shown by Tom Ford in A Single Man). The issue at hand is that fashion cannot be taken at face value when used as a source of inspiration, but should be explored and challenged.
Bruzzi discusses the conflict between costume design and couture. In her discussion she explains the role of a costume designer -- which is to create looks that work cohesively with the character as well as the overall narrative of the film. A couterier, on the other hand, is more likely to create pieces that are more spectacular-- looks that take on a life of their own apart from the character who is wearing them. This can be seen with regard to the givenchy ball gown worn by audrey hepburn in sabrina. The audience becomes captivated by the beauty of the dress itself.
Bruzzi suggests that there is an independent alternative when it comes to costume design. The costumes need not be a distraction nor silent, they can be admired as their own entity.
Cathy Horyn interviewd Matt Tyrnauer, the director of Valentino: The Last Emperor for The New York Times Magazine. When asked questions about the film, it becomes apparent that not only is the Valentino couture dynasty a central focus, but also the relationship Valentino has with his partner, Giancarlo Giametti. The couple bicker and hug, it humanizes Valentino- his public image is only one part of him. Tyrnauer touches on the fact that the world of couture has changed with Valentino having stepped down – he was the last of his kind in the way he ran his business. The film seems to capture him in two different lights – viewers will get to see the image of Valentino they are familiar with (the glamour) but also, audiences will be surprised to see a more humble Valentino. A man with a sense of nostalgia, a man who is well aware of how far he has come and what he has created for himself.
Synopsis & Trailer
Donnie accepts his death, understanding what his continued life would mean. Most of the film takes place in a tangent universe, where Donnie is guided by Frank and others, and shown what will happen if he survives the jet engine.
Does Donnie choose to die? To me, this is hard to answer. At one point, Donnie asks his physics teacher about free will versus following the 'path of god.' We can actually see this 'path of god' for some people when their movements are predicted by some computer graphics. On a larger scale, Donnie has been marked for death as his path, and it is debatable as to how much choice he really ever had. I think to say he accepts it after losing Gretchen and killing Frank is the most accurate perspective.
Another theme of the film is dying alone. Grandma Death says that every living creature dies alone. In a way, Gretchen, Frank, and Donnie all do die alone. Donnie thinks about this doom in questioning the existence of god. He is often a lonely guy; the idea seems unfair. I think this theme is really about having to accept our own deaths. We need to see that the destruction of ourselves is just another form of creation -- something Donnie himself points out (in his own way) in analyzing Graham Greene's story in school.
Character Overview
The protagonist in the film is as the title, Donnie Darko; he plays a schizophrenic and is played by Jake Gyllenhall and the movie revolves around him and his delusions’ created by his situation. Obviously another primary character is his delusion ‘Frank the Bunny,’ which is played by James Duval. Donnie’s love interest, Gretchen Ross is played by Jena Malone and was a major sympathetic influence for him. Another important character was Dr. Kenneth Monnitoff who was his psycharerist and played an important role to develop the lead’s characteristics. Finally the mystery woman was Roberto Sparrow who played a role of joining ends and managing suspense.
COLOR PALLETE
There isn’t any particular color palette except for Donnie’s costume. We see Donnie dressed in pale colors and specially variance of blue; that is contrary to his mental state. The colors reflect to the audience a complete opposite emotion that is of calmness whereas Donnie is always in a volatile emotional state. The primary sets of colors are coherent to the secondary set of colors; we see that Donnie’s costumes are exactly the same color as the set in most of the movie. Initially we noticed that the room was of a teenage boy but after the destruction the room grasps a more mature look.
Donnie
GRECTHEN (Donnie'sLove)
The Characterization Study
The protagonist of the film is elucidated through the chronology of the movie; at instances where he encounters ‘Frank the Rabbit’ are situation that have the turning points, so these scenes carry heavy significance in the storyline and the costumes have played an important liaison between the audiences and the emotion to be scene. The use of the color blue is eminent in almost every shot whereas yellow is seen in the scenes where something goes abnormal than the emotion to be articulated. The bizarre use of liquidized visuals to convey the situation of Donnie’s elusion has also been a notable aspect.
The initial encounter of Donnie with frank is seen here; the use of the diffusion affect with the blue background lighting and Donnie wearing blue as seen routinely, creates the cold dreamy and Donnie’s evil affect of shot. This is where the viewer experiences the first instance of the actuality