— OLIVIA (1951)
dir. Jacqueline Audry
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1. Mädchen in Uniform (Leontine Sagan, 1931)
2. Olivia (Jacqueline Audry, 1951)
first screenshot by @marypickfords because i can't find those exact subtitles right now and i like how it's translated
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Okay for 1951 the period costuming in Olivia is stunning? And the silhouettes of bodices and skirts, though very clearly worn over 20th century undergarments, were pretty historically adequate for the late 19th century if we ignore the bullet bras and girdles?
According to Wikipedia, the real life inspirations for Mlle Julie and Mlle Cara split in 1883, which is right around where I was guessing the film was set based on bustle and skirt styles. It’s just always so refreshing to see research behind costuming, as opposed to a lot of “Victorian” costuming in the late 20th (and 21st let’s be real) film/tv. Half of the evening gowns looked straight out of a fashion plate from Godey’s—and they damn well might’ve been! (Or any notable French women’s magazine of the era, I do not speak French so I only have English publications on the top of my head. I think Le Mode Illustree was one? I might be making that up.)
Also, Wikipedia needs to uh. Subtitle their entry for the novel anything else. Even if it is the author’s last name, this was a sucker punch to read:
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Mädchen in Uniform (1931) dir. Leontine Sagan
Olivia (1951) dir. Jacqueline Audry
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Dany Robin-Fernand Gravey-Bernard Blier "L´école des cocottes" 1958, de Jacqueline Audry.
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EDWIGE FEUILLÈRE : LA GRANDE DAME DU SEPTIÈME ART
Avec son élégance naturelle, la comédienne a su conquérir aussi bien le milieu du théâtre que ceux du cinéma et de la télévision. De Lucrèce Borgia aux Dames de la côte, de L’aigle à deux têtes au Blé en herbe, retour sur un parcours d’exception.
Edwige Cunati-Koenig voit le jour le 29 octobre 1907 à Vesoul, en Franche-Comté. Son père, un ingénieur italien, est catholique ; sa mère est issue…
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But, much like stories of this time, there cannot be a happy ending for these women. Still, the film does not punish Olivia’s love and feelings even if for its time it would be deemed “unnatural.” While her “crush” on Miss Julie on its face has the fleeting energy tied to her youth, there is something raw and unshakeable that Olivia must wrestle with for the rest of her life moving forward in a society that cannot know as they cannot even comprehend such feelings.
Read the full essay.
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