The opening credits of the Avengers in color are deservedly beloved. What struck me recently was how sharp the compositions of the main frames are, though. They make a wonderful sequence – the dirty floods of color, the stark contrast, the precision staging of it all. Amazing thing is, even when frozen, they retain a jaunty swagger, the lightly hammy sophistication, and flair.
Can we take a moment to be gobsmacked by the art direction and costume design of Gus Van Sant’s To Die For? (written by the brilliant Buck Henry, in bowtie, above) Lurid, mean, lusty, sarcastic, and genuinely and absurdly fashionable in equal measure, just like the movie itself. Well worth digging up and re-watching, both for it’s delectable eye candy as well as the tart sweet taste of it’s sadly unexpired satiric cocktail —
~ 1 jigger of Hallmark
~ a generous splash of Maury Povich
~ 1 dash of vintage Vogue
~ fresh squeezed orange juice
~ two fingers carbolic acid.
Mix well and enjoy.
Delightfully designed opening credits for the 1971 film Mrs. Pollifax – Spy. They were done by Don Record, who also did titles for flicks like Downhill Racer, Flareup, and the magnificent Cleopatra Jones. Among his oeuvre is a personal favorite – Smile, the 1970 California beauty pageant mockumentary featured in a post in the first few weeks of the blog – here.
Mrs. Pollifax is a oddball spy spoof about the recently widowed Mrs. Emily Pollifax of New Jersey. Restless and idle, she shows up at CIA headquarters looking to volunteer for spy duty. Technicolor, wood-paneled, skinny-tied hilarity ensues…
The stills above are taken from Jean-Luc Godard’s Made in USA. Made in 1966, it was an unauthorized adaptation of Donald Westlake’s the Jugger, featuring the adventures of Parker, a hard-boiled thief – the same character played by Lee Marvin in John Boorman’s 1967 classic Point Blank. (Parker was also recently adapted by Darwyn Cooke in an amazing graphic novel, the Hunter)
The movie is a squirrelly one. On the one hand, visually, it’s perfectly captivating. It is composed like a comic book, all bright colors shot rigidly against stark backgrounds.The stills speak for themselves – Scene after scene, the movie is farrago of pop art, mod fashion, and commercial signage. The dialog could be in Tasmanian and it wouldn’t matter a smidgen – it’s still a flat out sock knocker.
Which it might as well be, because the movie scarcely makes any sense at all. It’s confusing, deadpan, stiff, meandering, and plot-wise, essentially indecipherable. A decoder ring is provided on the Criterion Edition DVD in the form of a short interview with two Godard scholars. According to them, the flick is simultaneously a passionate love letter to, and a fierce rejection of, American films and culture, as well as a record of the disintegration of one of two concurrent love affairs. It is also, obviously, French. Enjoy it any way you see fit.