Word: velvets
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Dates: during 1990-1999
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...public hated it--and her. The other is a painting of a fashionable gynecologist named Dr. Samuel Pozzi, renowned in Paris for his exquisite tastes and the breadth of his affairs, including one with Mme. Gautreau. He rises before one's eyes in a flaring crimson robe with a velvet curtain behind him, one hand on his breast, looking like some 16th-arrondissement Don Giovanni protesting the sincerity of his intentions. The pairing of the New Orleans siren and her reputed lover set off a frenzy of gossip, and Sargent, more than a little unnerved, presently decamped to London...
...Thoreau died in 1862 and supplemented over the years by reverent visitors. Nearby, a facsimile of Thoreau's tiny, spartan home reflects his belief that freedom lay in simplicity. "I would rather sit on a pumpkin and have it all to myself," he wrote, "than be crowded on a velvet cushion...
Elizabeth: Elizabeth was a bad, shallowmovie posing as a good, smart one. Neophytedirector Shekhar Kapur made a perfect mess of thealready-thin plot by attempting to cover up itsgaping holes with purple velvet and big, shinyswords. Want to toss historical accuracy out thewindow? Fine. Want to direct a period piece likean Aerosmith video? Okay. But must you givetalented lead Cate Blanchett such an atrociousscreenplay to work from? Must you so steadfastlyrefuse to permit your title character theslightest bit of development until the last reel?Kapur's film may have conned enough dopey Academymembers to secure it a nomination, but inevitablecomparisons...
...sits in her theater box facing us, wearing an off-the-shoulder pink gown and holding her fan on her lap. Even here, Cassatt is already experimenting with color. Cassatt employs bright tones; a red flower on the woman's dress echoes the rich red of the velvet chair behind her. More striking, however, than Cassatt's choice of bright colors is her manner of achieving these tones. The blues and yellow of the theatre walls, reflected in a mirror behind the young woman, reappear as blue and yellow tones in the skin of the woman's chest and arms...
...decadent sequins and satin that make up Velvet Goldmine eclipse everything else in the film. Recalls director Haynes: "When she agreed [to work on Velvet Goldmine], I started leaping up and down because I knew how important the costumes were to this film. Sandy's work is impeccably rich." Powell's best move in Goldmine, albeit the quietest, is ensuring that rock-star Brian Slade, the film's lead character, never looks all that different offstage than he does when he's performing. His lover and rival Curt Wild opts for black behind the scenes, but Slade believes in glam...