Originally Posted by DustB
There are so many well dressed films. ÊIn my fashion's eye I love:
-Antonioni's Blow-up. ÊThe coolest of cool.
-The padded and quilted jackets of Zeffirelli's Romeo and Juliet.
-The military uniforms in Francesco Rosi's Bizet's Carmen.
-Bogart in anything: Treasure of the Sierra Madre for casual, The Big Sleep for urban business day-wear, and Casablanca for evening to sunrise.
-Alain Delon in Le Cercle Rouge and Un Flic. ÊFilms with subtle hints at how a man should dress (the police firearms instructor who says always carry a lighter or key-carrier in your suit coat pocket so that the weight will help it swing out of the way when you go for your gun.)
-Nothing tops the glamour clothes on the men in Fellini's 8 and a half, but those in La Dolce Vita come close.
-Speaking of Armani's film clothes, his wardrobe for James Caan in Thief must not be forgotten.
Kinda fun thread, but one must really try to get the best of the best since all films try to pick good mood and theatrically appropriate clothes.
Beautifully elocuted. Trotsky really did come up with a challenging 'thread!' Whether one wants to emphasize beauty, or skill, or subtlety . . . everything must come together, for a film to be dressed 'well.' I have to think of Saint Laurent's costumes for Catherine Deneuve, in BELLE DE JOUR. For a dress she wore in a rape scene, YSL inserted strips of velcro, so that when the dress ripped off her body, the 'correct' shredding sounds, could be communicated to the audience. And I agree that the 'cad costuming' in 81/2 and La Dolce Vita . . . is oozing with the drop dead elegance that Europeans know how to create. The only man in American movies, who for me, reaches that apex of chic is Zachary Scott, in the movie Mildred Pierce. He was unbelievably sophisticated. Mr. Scott played a snide, aristocratic scounrel in the film. This helps. He held his cigarette close to his chest, which was just wickedly debonair. 8)