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gatabella · 5 months

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Marilyn Monroe in a dress by Charles LeMaire, photographed by John Engstead, Photoplay, Sept. 1950

#marilyn monroe #john engstead #charles lemaire

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dozydawn · 2 months

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“sugar” & “salt” designed by charles lemaire for diamond horseshoe (1944).

#charles lemaire #costume design #diamond horseshoe #1944 #1940s

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cressida-jayoungr · 6 months

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One Dress a Day Challenge

November: Oscar winners

The Robe / Jean Simmons as Diana

Year: 1953

Designers: Charles LeMaire and Emile Santiago

I'm impressed that they managed to avoid the "bullet bra" silhouette, which was all the rage at the time. I also like the edging on the soft yellow dress; it creates a pleasing effect when the draped layers overlap.

My family used to jokingly refer to this movie as The Robe that Ate Richard Burton. It seemed a bit overwrought on our small TV. It must have been quite a spectacle on the big screen, though.

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dweemeister · 2 months

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The Robe (1953)

Henry Koster’s The Robe, distributed by 20th Century Fox, appeared near the beginning of an era where religious epics and sword-and-sandal films became massive box office draws worldwide. Cecil B. DeMille’s Samson and Delilah (1949) and Mervyn LeRoy’s Quo Vadis (1951) had already laid the foundation on which Koster’s film, adapting Lloyd C. Douglas’ novel of the same name, would find its success. Despite The Robe being highly influential in Hollywood and becoming the highest-grossing film of 1953, the likes of DeMille’s The Ten Commandments (1956) and William Wyler’s Ben-Hur (1959) overtook it artistically and financially – no shame there, as those are two far superior films.

So what is The Robe’s claim to movie history beyond its initial theatrical earnings? When The Robe first came to theaters, 20th Century Fox advertised it as the first film ever made in CinemaScope. Created by Fox’s president, Spyros P. Skouras, CinemaScope was a format in which a widescreen camera lens contracted its widescreen shots onto regular 35mm film and, during theatrical projection, another lens would de-contract the image from the 35mm film in order to project a widescreen format. Theaters would only need to make minor, inexpensive modifications to their projectors in order to show a film in true CinemaScope, a 2:55:1 widescreen aspect ratio. Almost all other films were shot in the Academy ratio at the time (1.37:1, close to the 4:3 ratio – think: black bars on the left- and right-hand sides of a widescreen monitor – seen on many older standard computer monitors and televisions). With increasing competition from television, Fox executives believed CinemaScope could be a way to lure audiences back into theaters. Despite this overreaction from Fox’s executives (as well as the other major Hollywood studios), the legacy of CinemaScope’s innovation is still apparent today. Seven decades later, widescreen formats, not the Academy ratio, are the default in film and television.

Walking through the markets of Rome, returning Roman Empire tribune Marcellus Gallio (Richard Burton) reunites with his childhood sweetheart, Diana (Jean Simmons), who is now promised to Marcellus’ rival, Caligula (an always-sneering Jay Robison). Not long after, Marcellus – out of pettiness rather than financial sense – outbids Caligula for the Greek slave, Demetrius (Victor Mature). Marcellus immediately frees Demetrius, but Demetrius thinks of himself as honor-bound to stay by Marcellus. Elsewhere, an incensed Caligula reassigns Marcellus to Palestine – which, to the film’s Roman characters, might as well be the armpit of the Roman Empire. Marcellus and Demetrius go to Jerusalem, where they witness a man named Jesus enter the city, heralded by crowds of Jews greeting him with palms. Several days later, Judean Governor Pontius Pilate (Richard Boone) orders Marcellus to crucify Jesus on Calvary. Marcellus executes the order but, during and after the crucifixion, witnesses and experiences supernatural events. Demetrius, who has become a follower of Jesus during that week, obeys Marcellus when he asks him to fetch Jesus’ robe. The moment Marcellus dons the robe, he suffers something like a seizure. He falls out with Demetrius, and spends the rest of the film reckoning with his conscience over his role in Jesus’ crucifixion.

The film also stars Michael Rennie as Peter, Dean Jagger as Justus, Torin Thatcher as Senator Gallio, and Ernest Thesiger as Emperor Tiberius. Michael Ansara and Donald C. Klune are both uncredited as Judas Iscariot and Jesus, respectively.

The Robe has the misfortune of peaking in the first half. The adapted screenplay from Gina Kaus (1949’s The Red Danube), Albert Maltz (one of the blacklisted Hollywood Ten; 1950’s Broken Arrow), and Philip Dunne (1941’s How Green Was My Valley) is at its most interesting whenever Marcellus and Demetrius find themselves at odds with the other. In the scenes they share together, that happens often. But when Demetrius disappears after their disagreement over Jesus’ robe midway through, the film begins to sag with no foil for Burton to play off of.

For the entirety of this film, Richard Burton’s acting is overwrought. Burton, who had just arrived in Hollywood the year before to star in My Cousin Rachel (1952), is leaning too deeply into his theatrical roots here. His grandiose exclamations, stiff facial acting, and inconsistent line delivery result in a performance that is easily the weakest part of this film (Jean Simmons is also guilty, to a far lesser degree, of these same flaws in her performance). The Robe requires Burton’s Marcellus to undergo a spiritual conversion – becoming an adherent of Jesus despite following orders to crucify him, a developmental arc more dramatic than any other character’s in this film. Burton’s inability to convincingly sell this conversion (the stoic masculine tension, which some will interpret as coded homosexuality, between Burton’s Marcellus and Mature’s Demetrius does not help) weakens the film’s spiritual power.

Instead, it is Mature who is The Robe’s reliable scene-stealer. Mature, at one time likened to a “miniature Johnny Weissmuller”, has the classical Greek physique that, frankly, Burton does not. And in contrast to Burton at this time in their careers, Mature was more capable of a nuanced performance, as evidenced in his roles as Doc Holliday in My Darling Clementine (1946) and Nick Bianco in Kiss of Death (1947). As Demetrius, his soul hardened through his enslavement, there remains hope for a life free from the yoke of the Roman Empire and its callous slave masters. One sees it in his face during Holy Week, culminating with seeing Jesus dying on the cross. His faith is there, too, during a torture scene upon his return to Rome and an encounter with Peter. Amid miracles and cruelties, Mature’s Demetrius is simply the most compelling character of The Robe and the viewer – through Mature’s performance, especially in contrast to those of Jean Simmons and Richard Burton’s – can discern his genuine turn of faith. The Robe’s failure to showcase this inner awakening more believably is the fault of its two central actors and its screenplay; Mature’s performance and Demetrius’ characterization are all that saves the narrative.

One aspect of Christianity that The Robe captures confusingly (and oxymoronically) is the insignificance of Judea and the prominence of early Christianity in Rome in the time immediately following Jesus’ crucifixion. Oftentimes in Biblical epics, Judea is a centerpiece of the Roman Empire when, in truth (and in The Robe), it was a relative backwater. By Caligula’s reign between 37 and 41 CE, Christianity almost certainly would not have had a substantial presence in Rome at that time. So while Caligula would probably see Christianity as a threat, the film’s decision to treat the early Christians as a clear and present danger to his rule and the Roman state religion is the film’s glaring historical inaccuracy. The Robe – the book and the film – muddies the timeline from Jesus’ crucifixion to the film’s final scene in Caligula’s court. The relative suddenness of the Roman Empire seeing the early Christians as a very minor cult into becoming an Empire-wide menace is difficult to reconcile.

With few other post-silent film era Biblical epics as a guide, The Robe helps set the aesthetic of its fellow Biblical epics and sword-and-sandals movies going forward through its costumes and production design. The work of costume designers Charles LeMaire (1950’s All About Eve, 1956’s Carousel) and Emile Santiago (1952’s Androcles and the Lion, 1958’s The Big Country) is resplendent, regardless of either the Roman or Judean setting. Art directors Lyle R. Wheeler (1939’s Gone with the Wind, 1956’s The King and I) and George Davis (All About Eve, 1963’s How the West Was Won) and set decorators Walter M. Scott (All About Eve, 1965’s The Sound of Music) and Paul S. Fox (The King and I, 1963’s Cleopatra) all make full use of the CinemaScope format and color to enliven the scenery – a sumptuous visual treat for the viewer, and, to reiterate, setting a standard that the crew of The Ten Commandments and Ben-Hur both would study and surpass.

Of all of 20th Century Fox contracted stalwarts behind the camera, composer Alfred Newman was the studio’s most important figure. If Fox’s executives needed a composer to craft a score for what they would consider would be their prestige motion picture of the year, Newman – who composed the original 20th Century Fox fanfare and its CinemaScope extension (the extension, which is now inextricable from the fanfare, was first introduced in 1954’s River of No Return) – was almost always their first choice.

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In one of Newman’s finest scores of his career, it is his choral compositions, with incredible help from his longtime choral supervisor Ken Darby, that form the score’s emotive spine. Jesus’ motif, shared between wordless choir and strings, appears almost immediately, in the opening seconds of the “Prelude”. During the many invocations of a Messiah before Jesus’ first physical appearance in The Robe, his motif shifts, changes form, and modulates – imparting not spiritual comfort or devotion, but a mysteriousness and otherworldliness. When Jesus (whose face we never see) first appears in Jerusalem on Palm Sunday, the cue “Passover/Palm Sunday” represents one of the rare juxtapositions of the brass-heavy martial music representing the Roman presence in Judea and Jesus himself. The modulation to a major key at 1:22 in this cue, with festive percussion, also includes one of the only instances of celebratory choral music in the score. Jesus’ motif in “Passover/Palm Sunday”, appears at 2:26 – cementing his (and Christianity’s) association with the cue, and appearing as the only instance in which one might consider this motif triumphant.

Choruses, which Western viewers so often associate in religious movies as angelic musical devices, become mournful in “The Crucifixion” – arguably the standout cue of Newman’s score. Even though one might be well aware of Jesus’ death and can anticipate a turn in the music (starting moments earlier in “The Carriage of the Cross”), it is startling to hear Newman’s composition change so rapidly. But it is in these several minutes depicting Jesus’ final moments that Newman, with modifications to his harmonies and orchestration, transforms Jesus’ motif to evoke its tragic dimensions. It is magnificent scoring from Newman, and this is not even mentioning his wonderful demarcation of Roman and Judean identities through his score.

In a film about faith – how it comforts, destroys, heals, and vexes – one wishes that the characterization of The Robe’s supposed lead characters in Marcellus and Diana could feel more plausible. The film’s final scene, possibly allegorizing of screenwriter Albert Maltz’s travails as a blacklisted figure in Hollywood, is decently powerful, but it needs far more storytelling support from numerous scenes preceding it.

As it is, the film’s expressive power lies within Demetrius and Victor Mature’s performance. So how fortunate that, because Fox also wanted to make a sequel to The Robe even before it finished production, Mature also signed a contract to appear in a sequel. Nine months after The Robe made its theatrical debut, Victor Mature starred in Demetrius and the Gladiators, directed by Delmer Daves and also seeing Michael Rennie and Jay Robinson reprise their roles as Peter and Caligula, respectively. Though it did not top the box office for that year like The Robe did, Demetrius and the Gladiators was a financial boon for Fox.

With Hollywood’s major studios always ready to respond to the box office successes of their rivals, The Robe helped make possible the decade of Biblical and sword-and-sandals epics to come – and the required viewings for many a Sunday School student in the years hence. These films were Studio System Hollywood in full maximalism, adopting human and tactile scales seldom seen today.

Yet outside of churchgoers, The Robe – for its CinemaScope and genre-specific innovations – has seen its standing slip gradually over the years, no thanks to the reputations of better movies of this tradition and, regrettably, decisions to keep 20th Century Fox’s valuable past under lock and key. 20th Century Fox’s refusal to distribute their classic films more often and more widely – before and after the studio’s 2019 takeover by the Walt Disney Company (and post-takeover, I believe the situation is now worse) – is resulting in films like The Robe slip through the proverbial cracks of film history, sights unseen for younger film buffs. That is unfortunate, especially as The Robe, almost incidentally (and no matter my aforementioned criticisms of the work itself), continues to quietly wield, by virtue of being the first CinemaScope film, a remarkable influence over cinema worldwide.

My rating: 6/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

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philoursmars · 2 years

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Retour à mon projet de présenter la plupart de mes 53880 photos (nouveau compte approximatif !)

2013. Marseille en février. C’est le début de MP 2013 (Marseille capitale européenne de la culture).

Le musée “Regards de Provence” :

- Emile Loubon

- Charles-François Lacroix de Marseille

- Joanny Rave (on reconnaît l’abbaye de Saint-Victor)

- Amédée Ternante-Lemaire

- Charles Camoin

- Luc Dubost

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shoshiwrites · 6 months

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Band of Brothers Ages: IRL vs. Actors

Did you know that according to a 1947 study, almost half the men who served in WWII were still under age 26 by the end of the war?

What this is : A (very long) post comparing the ages of the actors in Band of Brothers vs. the IRL figures they are portraying.

Background: Did I need to do this? No. Did anyone ask for this? Also no. Did I do it anyway? Yes.

Disclaimers: This is SUPER approximate for the most part. I based IRL ages off of D-Day unless otherwise noted, and actor ages off of January 1, 2000, the year filming took place (the latter is where the most variation will be because I didn't try to figure out what month filming started). I also didn't fact-check birthdays beyond googling. Most are sourced from the Band of Brothers and Military Wikis on fandom.com, Wikipedia, and IMDb.

I broke them up into rough categories, which are, again, approximate. I know I often forget how young the real life people were here, and this was a good reminder of that. I also found it interesting to see which actors were actually younger than their roles!

Check it all out under the cut ⬇️

~10+ years older

Dale Dye (55) as Col. Robert F. Sink (39) (~16 years)

Michael Cudlitz (35) as Denver "Bull" Randleman (23) (~12)

Marc Warren (32) as Albert Blithe (20) (~12)

Rocky Marshall (33) as Earl J. McClung (21) (~12)

Frank John Hughes (32) as William J. Guarnere (21) (~11)

Neal McDonough (33) as Lynn D. (Buck) Compton (22) (~11)

Dexter Fletcher (33) as John W. Martin (22) (~11)

~5+ years older

Simon Schatzberger (32) as Joseph A. Lesniewski (23) (~9)

Richard Speight Jr. (30) Warren H. (Skip) Muck (22) (~8)

Jason O'Mara (30) as Thomas Meehan (22) (~8)

Ron Livingston (32) as Lewis Nixon (25) (~7)

Donnie Wahlberg (30) as C. Carwood Lipton (24) (~6)

Matthew Settle (30) as Ronald C. Speirs (24) (~6)

Nolan Hemmings (28) as Charles E. "Chuck" Grant (22) (~6)

Douglas Spain (25) as Antonio C. Garcia (19) (~6)

George Calil (26) as James H. "Mo" Alley Jr. (21) (~5)

Rick Gomez (27) as George Luz (22) (~5 year)

Scott Grimes (28) as Donald G. Malarkey (23) (~5)

Stephen Graham (26) as Myron "Mike" Ranney (21) (~5)

~less than 5 years older

Shane Taylor (25) as Eugene G. Roe (21) (~4)

Tim Matthews (23) as Alex M. Penkala Jr. (19) (~4)

Matthew Leitch (24) as Floyd M. "Tab" Talbert (20) (~4)

Peter O'Meara (30) as Norman S. Dike Jr. (26) (~4)

Tom Hardy (22) as John A. Janovec (18) (~4)

Rick Warden (28) as Harry F. Welsh (25) (~3)

Kirk Acevedo (28) as Joseph D. Toye (25) (~3)

Eion Bailey (25) as David Kenyon Webster (22) (~3)

Craig Heaney (26) as Roy W. Cobb (29) (~3)

Damian Lewis (28) as Richard D. Winters (26) (~2)

Robin Laing as Edward J. "Babe" Heffron (~2, 21/23)

Ben Caplan (26) as Walter S. "Smokey" Gordon Jr. (24) (~2)

David Schwimmer (32) as Herbert M. Sobel (33) (~1 year)

Michael Fassbender (22) as Burton P. "Pat" Christenson (21) (~1)

Colin Hanks (22) as Lt. Henry Jones (21) (~1) (age around Bastogne)

Bart Ruspoli (23) as Edward J. Tipper (22) (~1)

~Same age

Peter Youngblood Hills as Darrell C. "Shifty" Powers (21)

Mark Huberman as Lester "Les" Hashey (19)

Younger

Lucie Jeanne (23) as Renée Lemaire (30) (age around Bastogne) (~7)

Ross McCall (23) as Joseph D. Liebgott (29) (~6)

Simon Pegg (29) as William S. Evans (~33) (~4)

Philip Barantini (19) as Wayne A. "Skinny" Sisk (22) (~3)

James Madio (24) as Frank J. Perconte (27) (~3)

Stephen McCole (25) as Frederick "Moose" Heyliger (27) (~2)

Matt Hickey (~16) as Patrick S. O'Keefe (18) (~2)

Incomplete/not found

Phil McKee as Maj. Robert L. Strayer (34)

Rene L. Moreno as Joseph Ramirez (30)

Doug Allen as Alton M. More (24)

David Nicolle as Lt. Thomas A. Peacock (24)

Rebecca Okot as Anna (Augusta Chiwy) (24) (age around Bastogne)

Alex Sabga-Brady as Francis J. Mellet (23)

Mark Lawrence as William H. Dukeman Jr. (22)

Nicholas Aaron as Robert E. (Popeye) Wynn (22)

Peter McCabe as Donald B. Hoobler (21)

Marcos D'Cruze as Joseph P. Domingus (not found)

#ty mercurygray for that sweet sweet jstor access #band of brothers #uhh one more disclaimer it's entirely possible that i mistyped stuff here and that i switched ages/etc.#i did try to proofread though!#anyway. i apologize if anyone has already done this.#shoshi.txt #sort of #it's also very possible that i spent too much time online today

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clawmarks · 1 year

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Flore des serres et des jardins de l'Europe - Charles Lemaire - 1858 - via Gallica

#scientific illustration #sea creatures

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hbowar-bracket · 4 months

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Albert Blithe

Alex Penkala

Alice

Alton More

Anna

Anthony 'Manimal' Jacks

Antonio 'Poke' Espera

Antonio Garcia

Army Chaplain Teska

Baba Karamanlis

Bernard DeMarco

Bill 'Hoosier' Smith

Bill Leyden

Billy Taylor

Brad 'Iceman' Colbert

Burton Christenson

Capt. Andrew Haldane

Carwood Lipton

Charles (Chuck) Grant

Charles Bean Cruikshank

Charles K. Bailey

Col. Robert Sink

Cpt. Bryan Patterson

Cpt. Craig 'Encino Man' Schwetje

Cpt. Dave 'Captain America' McGraw

Curtis Biddick

Darrell (Shifty) Powers

David Solomon

David Webster

Denver (Bull) Randleman

Donald Hoobler

Dr. Sledge

Edward (Babe) Heffron

Elmo 'Gunny' Haney

Eric Kocher

Eugene Jackson

Eugene Roe

Eugene Sledge

Evan 'Q-Tip' Stafford

Evan 'Scribe' Wright

Everett Blakely

Father John Maloney

Floyd (Tab) Talbert

Frank Murphy

Frank Perconte

Frederick (Moose) Heyliger

Gabe Garza

Gale 'Buck' Cleven

George Luz

Glenn Graham

Gunnery Sgt. Mike 'Gunny' Wynn

Gunnery Sgt. Ray 'Casey Kasem' Griego

Hamm

Harry Crosby

Harry Welsh

Helen

Herbert Sobel

Howard 'Hambone' Hamilton

Jack Kidd

James (Mo) Alley

James Chaffin

James Douglass

James Gibson

James Miller

Jason Lilley

Jean Achten

Jeffrey 'Dirty Earl' Carisalez

John 'Bucky' Egan

John Basilone

John Christeson

John D. Brady

John Fredrick

John Janovec

John Julian

John Martin

Joseph 'Bubbles' Payne

Joseph Liebgott

Joseph Toye

Josh Ray Person

Katherine 'Tatty' Spaatz

Ken Lemmons

Lance Cpl. Harold James Trombley

Larry Shawn 'Pappy' Patrick

Leandro 'Shady B' Baptista

Lena Basilone

Lew 'Chuckler' Juergens

Lewis Nixon

Lt. Edward 'Hillbilly' Jones

Lt. Henry Jones

Lt. Nathaniel Fick

Lt. Thomas Peacock

Lynn (Buck) Compton

Maj. 'Red' Bowman

Maj. John Sixta

Mama Karamanlis

Manuel Rodriguez

Mary Frank Sledge

Meesh

Merriell 'Snafu' Shelton

Navy Hm2 Robert Timothy 'Doc' Bryan

Neil 'Chick' Harding

Norman Dike

Old Man on Bicycle

Patrick O'Keefe

Phyllis

R.V. Burgin

Ralph (Doc) Spina

Renee Lemaire

Richard Winters

Robert 'Rosie' Rosenthal

Robert 'Stormy' Becker

Robert (Popeye) Wynn

Robert Leckie

Rodolfo 'Rudy' Reyes

Ronald Speirs

Roy Claytor

Roy Cobb

Sammy

Sgt. Mallard

Sidney Phillips

Stella Karamanlis

Teren 'T' Holsey

Vera Keller

Walt Hasser

Walter (Smokey) Gordon

Warren (Skip) Muck

Wayne (Skinny) Sisk

Wilbur 'Runner' Conley

William Guarnere

William Hinton

William J. DeBlasio

William Quinn

Winifred 'Pappy' Lewis

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bubu0h · 1 month

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Live Again To Be Loved By You by melanie_bxx

Myosotis Impératrice Elisabeth (semperllorens) (1854-1896) by Charles Antoine Lemaire

#Live Again To Be Loved By You #melanie_bxx #ao3 #fanfic #book cover #jegulus #public domain art

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gatabella · 4 months

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Marilyn Monroe (William Travilla, 1956) - Leslie Caron (Charles LeMaire, 1959)

#marilyn monroe #leslie caron #william travilla #charles lemaire #pinup #parallels #fishnets

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love-for-carnation · 4 months

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Bouquet d'oeillets Madeleine Lemaire, née Coll (1845-1928, French)

Madeleine was a painter, pastellist and illustrator, who specialized in elegant genre works and flowers. She exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois. George Painter stated in his book Marcel Proust she is one of the models of Proust's Madame Verdurin (In Search of Lost Time). Born into the upper middle-class, Madeleine had spent her childhood in the presence of artists. Her aunt, famous miniaturist Mathilde Herbelin (1820-1904), was her first teacher, and Charles Chaplin later became her tutor. Her marriage to municipal civil servant Camille Lemaire in 1870 and subsequent motherhood never prevented her from working tirelessly to perfect her talent. Her relationship with Alexandre Dumas fils cemented her position within the artistic elites and marked her emancipation and her move towards a more personal output.

#dianthus #carnation #painting #still life #flowers #flower vase #women in art #woman painter #french art #Madeleine Lemaire

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patepatu · 2 years

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Illustrazione botanica di Charles Antoine Lemaire, 1854

#illustrazione #botanica

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almost-a-class-act · 1 year

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I assembled my festive prompt fills for the HBO War Barely Coherent Christmas Chaos daily prompt challenge.

Word Count: 21,859 Fandoms: Band of Brothers, The Pacific Pairings: Robert Leckie/Bill "Hoosier" Smith, Andrew A. "Ack-Ack" Haldane/Edward "Hillbilly" Jones, Donald Malarkey/Joseph Toye, Joseph Liebgott/Edward Tipper, Vera Keller/Lena Riggi Basilone, Edward "Babe" Heffron/John Julian, Eugene Roe/Ralph Spina, George Luz/Donald Malarkey, Charles Grant/Floyd Talbert, R. V. Burgin/Eugene Sledge, Carwood Lipton/George Luz, Frank Perconte/Denver "Bull" Randleman, Wilbur "Runner" Conley/Robert Leckie, Bill Guarnere/Joseph Toye, Darrell "Shifty" Powers/Donald Hoobler, Joseph Liebgott/Donald Malarkey, Eugene Roe/Richard Winters, George Luz/Ronald Speirs, Anna/Renee LeMaire, David Dobie/Lewis Nixon, Edward "Babe" Heffron/Johnny Martin, George Luz/Eugene Roe, Charles Grant/Ronald Speirs, Wayne "Skinny" Sisk/David Kenyon Webster, Edward "Babe" Heffron/Eugene Roe

#HBO War Barely Coherent Christmas Chaos #christmas fluff #band of brothers #the pacific #prompt fills

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