Louise Latham-Tippi Hedren "Marnie, la ladrona" (Marnie) 1964, de Alfred Hitchcock.

Mourning Fashion

Louise Latham   Brooke Bundy

- What you do need, I suspect, is a psychiatrist. - Oh, men! You say "no thanks" to one of them and bingo! You're a candidate for the funny farm.

Marnie, Alfred Hitchcock (1964)

12 febbraio … ricordiamo …

12 febbraio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2021: Christopher Pennock, attore statunitense. (n. 1944) 2018: Louise Latham, attrice statunitense. Latham è stata sposata due volte, con Raymond Pittman e con il produttore televisivo Paul Picard. (n. 1922) 2015: Movita, il cui nome alla nascita era Maria Luisa Castaneda, è stata un’attrice statunitense di origini messicane che, nella sua carriera, usò talvolta anche il nome di Movita…

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Sugarland Express

Benvenuti o bentornati sul nostro blog. Nello scorso articolo siamo tornati a parlare di fumetti e per la precisione nel panorama italiano, dove abbiamo ripreso una serie che, nonostante i suoi difetti, continua ad affascinarmi, Kalya con il suo settimo volume. Dopo il fallimento di Raal nel prendere l’Alkest, Varnon decide di usare l’arma che ha appena ultimato: attraverso il suo elixir riesce a…

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The Louise Latham Centennial

The Louise Latham Centennial

In a universe that’s got a Louise Lasser, a Louise Dresser, a Louise Carter, a Louise Carver, a Louise Fletcher, and a Luise Rainer, you perhaps can’t be expected to keep track of a Louise Latham (1922-2018). But the odds are fairly certain that you have seen her onscreen as many times or more than all of those other actresses, even if the name fell through your fingers. She would have been 100…

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You just gotta learn to relax about life, seriously. (1 of 4)

Andy takes on a laborer, Ben Latham, who informs him Wilf used to have a mower. Victoria continues to say she’s ill (dipping the thermostat in a hot cup) so Jack gets Siobhan to look at her but she finds nothing (more like skivitis). Robert once again looks after Victoria. Hearing there’s a field doing nowt, Ben’s brings up to Andy about his mates maybe using it for biking as it’s good money for him.

23-Jun-2003

The Awakening Land - NBC - February 19-21, 1978

Drama (3 episodes)

Running Time: 420 minutes total

Stars:

Elizabeth Montgomery as Sayward Luckett Wheeler

Hal Holbrook as Portius Wheeler

Jane Seymour as Genny Luckett

Steven Keats as Jake Tench

Louise Latham as Jary Luckett

William H. Macy as Will Beagle

Jeanette Nolan as Granny McWhirter

Bert Remsen as Isaac Barker

Charles Gowan as Alan Hamilton

Sean Frye as Resolve Wheeler, as youth

Tracy Kleronomos as Dezia Wheeler

Katy Kurtzman as Rosa Tench

Byrne Piven as Dr. Pearsall

Julie Gibson as Lady Peddler

Sean Connery and Tippi Hedren in Marnie (Alfred Hitchcock, 1964) Cast: Tippi Hedren, Sean Connery, Martin Gabel, Louise Latham, Diane Baker, Alan Napier, Mariette Hartley, Bruce Dern. Screenplay: Jay Presson Allen. Cinematography: Robert Burks. Film editing: George Tomasini. Music: Bernard Herrmann. Marnie, once dismissed as just a stew of melodrama and pop psychology, has undergone a wholesale re-evaluation in recent years, though some of it was spurred by revelations about Alfred Hitchcock's sexual harassment of Tippi Hedren. Now it's often seen as not only one of his most revealing films about his personal obsessions -- second perhaps only to Vertigo (1958), which it much resembles -- but also one of his greatest. (No other Hitchcock film has been made into an opera performed at the Met.) Its champions include the New Yorker's Richard Brody and filmmaker Alexandre Philippe, who has compared Hedren's performance to that of Isabelle Huppert in Michael Haneke's The Piano Teacher (2001). I wouldn't go that far. In fact, the most I'm willing to say is that Marnie is a very odd duck of a movie, one that just thinking about for a while can give me the creeps, especially in these times when each day seems to bring a new revelation about powerful men and their treatment of vulnerable women (and men). That's why the key to Marnie seems to me not so much Marnie herself but Mark Rutland (Sean Connery). Hedren is very good in her role, fully playing up her character's ever-present self-consciousness, born of being the constant object of the male gaze. But the film turns on an actor's ability to make something both credible and meaningful of Mark's obsession with Marnie, his persistence in trying to treat her disorder, and the breakdown of his endurance when he rapes her. I doubt that even Hitchcock's most gifted leading men, i.e., Cary Grant and James Stewart, could have brought off the role with much success. Sean Connery brings his Bondian smirk to the part, which heightens our sense of Marnie's fear of men, but also undercuts what should be at least a plausible interest on his part of treating her illness. There's no gentleness in Connery's performance, so that even Mark's attempts to win her over -- buying her beloved horse, for example -- look like power plays. But Marnie's response to Mark is equally perverse: After the rape, she tries to drown herself in the ship's swimming pool, and when he asks why she didn't just jump overboard, she replies, "The idea was to kill myself, not feed the damn fish." Not only is the reply nonsensical but it also underscores the truth: The idea was obviously to let herself be found, either to be rescued or by her death to score another point against men. So it's clear that Marnie is the kind of film that invites exhaustive comment, which is not exactly the same thing as saying it's a great film, or even a good one. To my mind, it's a showcase of Hitchcockian technique without heart or wit. It has some fine touches, such as the scene in which Marnie goes to rob the Rutland safe and we watch as she goes about it on one side of the screen while on the other a cleaning woman comes closer and closer to discovering her. Once again, Hitchcock makes us root for someone who's doing something we should disapprove of, but there's also something overfamiliar about it: We saw something like it in Psycho (1960), when Norman tries and almost fails to sink the Ford containing Marion's body in the swamp. But there it was an important alienating moment; here it just seems like a trick to build suspense in a film that doesn't particularly need it. It's style for style's sake, the essence of decadence, and Marnie may be Hitchcock's most decadent film.

Louise Latham (Hamilton, Texas, 23/09/1922-Montecito, California, 12/02/2018).