I’m taking a bit of a blogging break and throughout the Summer I’m actually going to blog a bit less as I’m working on my novel/script [still deciding which format it’ll end up to be], plus I just need a break from review writing.
But as I mull over the topic presented by guest blogger Izzy on this post about Gender & Hollywood Screenwriting, it made me feel compelled to write a reaction post of sort. Izzy’s post made me ponder of some of my favorite movie quotes uttered by female characters. As Izzy pointed out, there are far fewer of memorable movie lines by female characters than the male counterparts, even fewer when it’s not romance related or about wanting something from the male co-star of the film. For example, take these two quotes from one of Hollywood’s biggest leading ladies, Julia Roberts:
“I want the fairy tale.” – Vivian, Pretty Woman
“I’m just a girl, standing in front of a boy, asking him to love her.” – Anna Scott, Notting Hill
For me, some of the truly memorable quotes are those that represent the strength of the character, those that display their feisty-ness, survival prowess or willful defiant against what society dictate them to be.
Well, after raking my brains, here are five quotes I love from some of my favorite female characters of all time:
All About Eve – It was based on the 1946 short story The Wisdom of Eve by Mary Orr, although screen credit was not given for it (per Wiki)
Gone With the Wind – 1939 American epic historical romance film adapted from Margaret Mitchell’s Pulitzer-winning 1936 novel of the same name.
Now, this one I had to put the scene before it to put it in context. Eowyn is perhaps one of the most well-rounded supporting female characters in blockbuster films. It’s no doubt one of the highlights of the final Lord of the Rings trilogy, The Return of the King:
Both Sense & Sensibilityand Mansfield Parkwere based on Jane Austen’s famous novels, which always feature strong female protagonists. I LOVE how both Elinor and Fanny are not defined by romance nor the men in their lives. Though they are in love with men who seem to be unattainable due to the societal norm of the day, they stick to their principles even if they have to emotionally suffer from it.
It’s no surprise that four of the films above are based on narrative stories written by women. And nobody could argue that there’s a shortage of female screenwriters [or female anything for that matter] in Hollywood. It’s a pity because just in the past few years, the movies that made a big impression on me happen to be written and/or directed by women, i.e. In A World, Belle, Beyond the Lights, Brave, Gone Girl, Girlhood (Bande de Filles), not to mention these three French films I saw recently that are women-centric: Thérèse Desqueyroux, Violette and Pour Une Femme (For A Woman). I like them because the protagonists break the female archetypes of women being defined by men, but show women as being the complicated, flawed and conflicted beings that we are.
As my friend Cindy wrote in her comment in Izzy’s Post, women are as complicated as men and their characters should represent that. Let’s hope we’ll see more women being active parts of Hollywood filmmaking process, both in front and behind the camera.
So what are some of YOUR favorite movie quotes by female characters?
This is my contribution to a mammoth blogathon event created by Paula (@Paula_Guthat) ofPaula’s Cinema Club, Kellee (@IrishJayhawk66) ofOutspoken and Freckled, and Aurora (@CitizenScreen) ofOnce Upon a Screenthat coincides with Turner Classic Movies’ 31 Days of Oscar, February 1 to March 3, 2013. It’ll be a month filled with fabulous tales and screen wonders.
I’ve agreed to do a post on the famed costume designer Edith Head as I love fashion and movies. Seems like an easy subject right? Well, not quite. I found myself quite stumped as to where to start. I mean she has contributed to over a thousand films! But I’m going to attempt to enlighten myself with this post, and hopefully you’d learn a bit more about her in the process.
Edith Head (October 28, 1897 – October 24, 1981)
Born Edith Claire Posener in San Bernardino, California, the daughter of Jewish parents, Max Posener and Anna E. Levy.
Received a bachelor of arts degree in letters and sciences with honors in French from the University of California, Berkeley, in 1919 and earned a master of arts degree in romance languages from Stanford University in 1920.
Attended the Chouinard Art College where she met her husband, Charles Head, who was the brother of one of her Chouinard classmates, Betty Head. Though they got a divorce in 1936, she kept her maiden name to continued to be known professionally as Edith Head until her death.
Before she entered the film industry, she was a high school teacher of French and art looking for a way to supplement her income.
Famous for wearing “sunglasses” they actually weren’t sunglasses in the beginning, but blue glass lenses on regular frames. It was a common trick for Costume Designers to look through blue lenses to get a sense of how the clothing would read on black and white film. Instead of looking through a single lens monocle as was common, Head had blue lenses put in normal frames. Later, she replaced the lenses with regular tinted lenses. [per DailyMischief.com]
Edith Head died of Bone Marrow Diseases on October 24, 1981 in Los Angeles.
The petite (5’1″) Edith got her start at Paramount Pictures as a sketch artist when she was only 27 years old in 1924. Believe it or not, she actually borrowed another student’s sketches for her job interview (wonder what happened to that girl?). By 1927, she started working on silent films. She might even had a hand in the first Oscar-winning film Wings, though she was uncredited. By the 1930s, she had already established herself as one of the industry’s leading costume designers.
I think her key to her success could be that she consulted extensively with the female stars she worked with. I think that’s surely a lesson every costume designer should take to heart. I mean, it’s a mutually beneficial process when you keep the person you’re designing for in mind to make sure the outfit or dress is flattering on their figure. What worked for spindly Audrey Hepburn certainly wouldn’t have worked for the voluptuous Sophia Loren. It’s no wonder Edith became the favorite of the 40s and 50s leading ladies, such as Ginger Rogers, Bette Davis, Sophia Loren, Barbara Stanwyck, Grace Kelly, Audrey Hepburn, Elizabeth Taylor, and Natalie Wood, amongst others. They would personally requested to work with her so Paramount often had to ‘loan’ her out to other studios.
“A designer is only as good as the star who wears her clothes”
– Edith Head
According to Encyclopedia.com, Edith described herself on one occasion as “a better politician than costume designer,” Head was expert at handling star temperament, preferring to yield ground on a neckline or dress length than engage in a battle of wills. The conservative, neutral-colored suits she perennially wore symbolized her willingness to suppress her individuality in the interests of her craft.
She worked at Paramount for 43 years until she went to Universal Pictures in 1967, it’s perhaps no coincidence that her move was prompted by her extensive collaboration with Alfred Hitchcock, who had also moved to Universal, in 1960.
I used to do sketches when I was growing up, so I LOVE looking at sketches like these I found on this Fashion Journal. Apparently she released a book called How to Dress for Success, published by Random House in 1967.
“You can have anything you want if you dress for it.”
– Edith Head
A Legendary Career
During her 44 years as head designer at Paramount, and additional 14 years at Universal, Head worked on a total of well over a thousand films. She won a record of eight Oscars for Best Costume Design out of 35 nominations (unrivaled to this day).
Here are her Oscar-winning costumes:
The Heiress, 1949
Samson and Delilah, 1950
All About Eve, 1950
The story goes that the silk cocktail dress that Bette Davis’s Margo wears in the Eve’s famous party scene didn’t fit her, in fact it slipped off her shoulders, causing Edith to freak out right before the scene was supposed to be shot. But Ms Davis pulled off the neckline, shook a shoulder, and said, “Don’t you like it better like this anyway?” [per RookieMag.com]
A Place in the Sun, 1951
Roman Holiday, 1953
Although Edith Head won an Oscar for Best Costumes, most of Audrey Hepburn’s “Parisian” ensembles were, in fact, designed by Hubert de Givenchy and chosen by the star herself. However, since the outfits were actually made in Edith Head’s Paramount Studios costume department, some felt that doing so created enough of a technicality to nominate Head, instead of Givenchy. And, indeed, since she refused to have her name alongside Givenchy’s in the credits, she was given credit for the costumes, even though the Academy’s votes were obviously for Hepburn’s attire. Head did not refuse the Oscar, however.
The Facts of Life, 1960
The Sting, 1973
What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen he’s become a different person.
– Edith Head…
My personal five favorite Edith Head dresses
Picking just FIVE favorite Edith Head dresses are akin to Sophie’s Choice. So I’m not ranking these, I mean they are all equally exquisite, largely because of the elegant beauties who wore them. Edith certainly knew how to dress each woman in a way that they accentuate the best of her figure.
Audrey Hepburn in Sabrina When I first beheld this amazingly beautiful dress I literally gasped. I mean the ornate details on the bodice and flowing skirt is nothing short of breathtaking. …
Audrey Hepburn in Breakfast at Tiffany’s The classic little black dress (LBD). Worn to perfection dress by Audrey Hepburn, it actually gave her a bit of curves to her extremely slender figure. I think the accessories here are key, the pearls, tiara, large black sunglasses, and of course, the right ‘tude, made this look eternally chic. …
Elizabeth Taylor in A Place in the Sun I actually haven’t seen this film yet but I came across this photo a while back and I did a double take. It’s not the kind of dress I’d ever have the courage to wear, but Liz Taylor had the figure and gracefulness to pull it off beautifully. The cluster of little flowers on her chest, fitted bodice that accentuate her teeny-tiny waist, and the full organza skirt… this is a fairy tale dress fit for a Disney princess! …
Grace Kelly’s in Rear Window I guess when you’re working with an unbelievable beauty like miss Kelly, anything you put on her would look amazing. But Edith’s dresses are often as gorgeous as those who wore them, and this one is definitely one of them. It’s a simple dress yet so incredibly striking… I love that Edith pared down the accessories so the dress became the focal point. …
Ann Baxter in All About Eve There are certainly a boat-load of gorgeous costumes in this film, but for some reason I love this simple one that most people probably don’t remember, favoring the one that Bette Davis wore when she said her famous line, ‘It’s gonna be a bumpy night.’ What I like about this one is how understated ans sweet it is, but that sheer neckline is just sublime. It accentuates Ann’s petite figure beautifully, and it’s interesting that in this sweet, demure dress, she displayed her most cunning scheme to Celeste Holm’s character. It’s an intriguing dichotomy.
“Your dresses should be tight enough to show you’re a woman and loose enough to show you’re a lady.”
– Edith Head
Edith in Popular Culture
Not only did Edna created iconic gowns for Hollywood’s classic beauties, but she’s also got her own iconic look of her own with her round-rimmed glasses, short blunt cropped hair and full bangs and her ‘uniform’ of pencil skirt suit. She even made her mark in popular culture in The Incredibles, as Edna Mode, the fashion designer to the Supers, was based on Mrs. Head. [Another bit of trivia: she was voiced by director Brad Bird].
Edith became as big a star as the leading ladies she dressed. There’s even a play based on her which wrapped in L.A. in the Fall of 2010. A Conversation with Edith Head was brought to life by Susan Claassen — who bears a striking resemblance to the real life designer — in her one-woman show. See the ad below:
Edith was commemorated by a US 37 cents postage stamp, issued on February 25, 2003, depicting Ms Head at work.
Check out this screen test of Audrey Hepburn in Roman Holiday, where Edith was interviewed on her process of creating the costumes for the film:
Books written by Edith:
With Jane Kesner Ardmore, The Dress Doctor, Boston, Massachusetts, 1959.
With Joe Hyams, How to Dress for Success, New York, 1967.
With Paddy Calistro, Edith Head’s Hollywood, New York, 1983.
There a Pinterest devoted to her sketches, see below:
I feel like I could never do Ms Head justice with my post. Having been reading all kinds of articles on her the past week, I’ve hugely admired her talents and work ethic and marveled on her beautiful costumes. Catherine Martin, the Oscar-winning costume designer for Moulin Rouge! whose work will be seen in the upcoming The Great Gatsby called Edith ‘the quintessential costume designer.’ Edith has become synonymous with fashion on film, and her amazing work left such a huge mark on Hollywood, more than any other person in her profession.
Per TCM.com, screen legend Bette Davis gave this eulogy at Edith’s funeral:
“A queen has left us, the queen of her profession. She will never be replaced. Her contribution to our industry in her field of design, her contribution to the taste of our town of Hollywood, her elegance as a person, her charms as a woman – none of us who worked with her will ever forgot. Goodbye, dear Edith. There will never be another you.”
What an icon… what a woman!
If you enjoy this post, would you kindly submit it to Reddit? Thanks in advance. Sharing is Caring.
I hope you’ve enjoyed this tribute.
Share your thoughts on Hollywood’s costume queen and feel free to share your own favorite Edith Head’s costumes.
Hello everyone! Happy post-BAFTA Monday, fellow film fans. I’ve only followed it somewhat via Twitter, seeing people’s reactions on the winners. What’s with the hate against ARGO, I think it deserved the Best Film and Best Director win for Ben Affleck. In fact, it’s perhaps one of my favorite Best Picture contenders, but I remember people were grumbling too when The King’s Speech won. Ah well, I don’t always agree with the winners so it’s nice to be on the other side of that spectrum.
Well, we’ve got sleet/freezing rain/snow mix all day Sunday so I never left the house, which rarely happens. To all my friends in the Northeast affected by the monster storm Nemo, I pray that you’re all ok. I’m not gonna complain that we barely half a foot of snow!
I skipped the cinema again as nothing interest me. I had seen Side Effects a couple of weeks ago so check out my review if you haven’t already. Oh apparently Top Gun IMAX 3D re-release still spells ‘ka-ching’ for Paramount as it raked in $1.9 mil this weekend playing in 300 theaters. I wouldn’t mind rewatching that again on Blu-ray, I’ll see if my pal Ted has the BD 😉
So my weekend viewings consist of a brand new made-for-Netflix show House of Cards, a masterpiece classic All About Eve, and Bel Ami, which was so inferior compared to the other two. I don’t even feel like reviewing that last one. Right after I finished it, I couldn’t help but watch the last episode of North & South just to see this scene. Richard Armitage as John Thornton never fails to beguile me and erase my memory of Robert Pattinson as a cunning Frenchman. …
House of Cards (2013)
I’ve only seen two episodes in and both are directed by David Fincher so naturally I expect something great. Well, thankfully it didn’t disappoint. Fincher’s directing style with his signature camera work and framing technique works well for this story. It made me wish he had directed the entire episodes though I reserve judgment until I see the entire first season. Kevin Spacey is perfectly cast Frank Underwood, a ruthless and ambitious politician (is there any other kind?) willing to use and betray anyone to get what he wants in Washington. I’m usually not into political shows, but this one is quite entertaining. Spacey’s got this inherent playfulness in portraying a despicable character, you’re repulsed and captivated by him at the same time.
I just read this interview on Hitfixwith Fincher on how the show came about, which was inspired by an early 90s UK TV series of the same name. It’s fascinating to see the casting process as well…
“…One of the responsibilities I put on the cast when we had our first read through is I said, “I want everybody here to know that you represent our first choice – each actor here represents our first choice for these characters. So do not f*** this up.”
The ‘breaking the fourth wall’ style where the character speaks directly at the audience is tricky, but I think it works well here, or at least the filmmaker and actor makes it work. Only Spacey’s character uses this technique though, it gives the feeling that we’re in on it on all of Frank’s schemes. I’m also impressed with the rest of the key players on the show: Robin Wright as Spacey’s equally sly wife, Kate Mara as the ambitious young reporter, and Corey Stoll as a Pennsylvania congressman consumed by his own demons of sex and drug addiction.
I hope the rest of the episodes are as intriguing as the first two, but my hubby and I are definitely hooked for more.
All About Eve (1950)
I’m sooo glad I finally saw this film, special thanks to my friend Vince for his help to get this movie! I initially wanted to see this as I’m participating in Paula and Aurora‘s 31 Days of Oscar Blogathon and I’m going to be featuring the famed costume designer Edith Head. So naturally I want to see some of her Oscar-winning work, and I’ve been wanting to see this one for ages. I also promised Andrew when he made this excellent Scene on a Sunday post on All About Eve over a year ago. It’s a bit late, sorry Andrew, but hey I did get to see it on a Sunday 🙂
This film was nominated for 14 Academy Awards and won six, including Best Picture. As of today, it remains as the only film in Oscar history to receive four female acting nominations (Bette Davis and Ann Baxter as Best Actress, Celeste Holm and Thelma Ritter as Best Supporting Actress). It’s worth noting that out of the four actresses, I’ve only seen Baxter and Holmes in a previous film, thanks to my Gregory Peck marathon. Same with the two male actors Gary Merill and Hugh Marlowe who were excellent in Twelve O’Clock High. George Sanders was excellent as well as the mischievous theater critic.
Andrew said it best on Twitter last night… “… imagine it’s more than half a century old. It’s so (sometimes startlingly) relevant and fresh.” Indeed it was! In fact I was thinking that there are some similarities between House of Cards‘ Frank and Eve Harrington, different end goal but they both used the same conniving, manipulative means to get what they want.
Andrew also asked me which one is my favorite performance. Oh boy, between Davis, Baxter and Holmes, it’s really hard to say. Having seen Bette Davis’ performance for the first time, I was quite mesmerized by her. Baxter perhaps has the hardest role to convincingly portray an innocent small town ingenue to a devious, scheming b*tch climbing her way to the top. At times her delivery is a bit too over the top When she was wearing a black wig in her dressing room following a performance, I was reminded of her seductive pur in The Ten Commandments as she was trying to seduce Moses, ahah. I guess I like Holmes’ character the most because she’s kindhearted and sees the good in people. She’s a fantastic actress and her scene with Baxter in the powder room is especially memorable. Oh, there was also a brief but interesting cameo of a then unknown starlet by the name of Marilyn Monroe as an aspiring actres, but it was kind of a thankless role for her.
There are much to admire about this film… starting with the bewitching story, brought to life by all the talents involved. What this film also has in abundance is style. Visually, its set direction, cinematography, and of course costume design are superb. The brilliant script also makes this film surprisingly funny. Davis’ Margo Channing not only dresses well, but she seems to have an endless supply of great lines as well. She seems to have the best lines when she’s vexed… “I’ll admit I may have seen better days, but I’m still not to be had for the price of a cocktail like a salted peanut.” And of course her most famous line “Fasten your seat belts, it’s going to be a bumpy night” is delivered with such a perfect sense of irony.
I feel like I can’t do it justice reviewing this film in my weekend roundup post, so let me just say that the iconic status is absolutely well-deserved. Joseph Leo Mankiewicz‘s film lives up to my already high expectations and captivated me from start to finish. Like Casablanca, I’m glad I finally saw one of Hollywood’s finest, and certainly it wouldn’t be the last.
Well, that’s my Wintry weekend roundup. How ’bout you folks… seen anything good?