Vitals

Joseph Cotten as George Loomis, former sheep rancher and Korean War veteran

The Canadian side of Niagara Falls, Summer 1952

Film: Niagara
Release Date: January 21, 1953
Director: Henry Hathaway
Costume Designer: Dorothy Jeakins

WARNING! Spoilers ahead!

Background

One of 20th Century Fox’s biggest box-office hits of 1953, Niagara is one of the most accessible movies to be described with the seemingly oxymoronic “color noir,” blending elements of dark film noir with stunning three-strip Technicolor, photographed by cinematographer Joseph MacDonald.

The action is set at picturesque Niagara Falls—specifically on the Canadian side, though the American side became New York’s first state park 140 years ago today when Governor David B. Hill signed legislation creating the Niagara Reservation on April 30, 1885. The tradition of newlyweds journeying to Niagara Falls dates back to at least 1801, when Aaron Burr’s daughter Theodesia joined her new husband Joseph Alston at the falls.

The destination’s self-dubbed reputation as the “Honeymoon Capital of the World” inspired producer Charles Brackett, who co-wrote the script for Niagara with Richard Breen and Walter Reisch. The story centers around the honeymooning Cutlers—Ray (Max Showalter) and Polly (Jean Peters)—who arrive at the Rainbow Cabins, only to find their reserved suite still occupied by George Loomis (Joseph Cotten) and his sultry wife Rose (Marilyn Monroe), who explains to the couple that George was recently discharged from an Army mental hospital.

Rose eventually lures George to a confrontation with her violent lover, Ted Patrick (Richard Allan), who waits to ambush him in a tourist tunnel under the falls. After George gets the upper hand and kills Ted, he goes on the run—leaving Rose and the police to believe that George is indeed dead, giving him the upper hand as he seeks deadly revenge on his duplicitous wife and then struggles to cross back into the American side in an escape that draws the Cutlers deeper into his current.

---

What’d He Wear?

Contrasted with the colorful cinematography and Rose’s vivid costumes, George maintains a subdued neutrality in a grayscale wardrobe that would have looked almost exactly the same had the film been shot in black-and-white. His outfit gives literal definition to the concept of the “gray man”, dressing to blend in to avoid detection—which serves George when he finds himself on the run after Ted and Rose’s deaths.

For most of Niagara, George wears a flecked gray tweed single-breasted sports coat with a two-button front—keeping the lower button fastened just over his waist line. The wide-shouldered jacket has notch lapels, three-button cuffs, a ventless back, and appropriately sporty patch pockets—one over the breast and one on each hip.

A black embroidered label is visible as George pulls off the jacket while aboard the Cutlers’ rented fishing boat during the finale, though I can’t see it clearly enough to discern the tailor, manufacturer, or shop inscribed on it.

George wears a polo-style knit shirt in a lighter, warmer shade of stone-gray than his gray sport jacket. Likely knit from a soft and lightweight merino wool, the long-sleeved shirt has a three-button top with a spread collar. He keeps the waist hem tucked into his trousers and self-cuffs the end of each sleeve.

George’s trousers are tailored in a cool, dark shade of gray woolen flannel that contrasts enough against his jacket to present a tonal harmony without looking like he’s attempting a slapdash gray suit with mismatched pieces. The trousers have side pockets, two jetted back pockets, and belt loops for George’s black leather belt with its gold-toned single-prong buckle.

The long rise to Joseph Cotten’s natural waist, full fit emphasized by the utilitarian yet elegant reverse-facing pleats, and bottoms finished with turn-ups (cuffs) are consistent with the fashions of the fabulous ’50s.

George maintains the outfit’s presentable informality by initially wearing brown leather moc-toe penny loafers—the only non-gray color in his outfit as he also wears black socks. Distinguished by the slotted leather strap across the instep, this style of slip-on shoes were popularized after G.H. Bass introduced their “Weejuns” in the mid-1930s.

Luckily for George, Rose prefers paramours with the same shoe size as her husband, so George is able to claim Ted’s snappy brown-and-white moc-toe penny loafers from his cubby as he abandons his own for the police to discover—buying himself enough time to exact his revenge on Rose and escape.

Two-tone footwear is alternately known as “spectator shoes” or “correspondent shoes”—the latter dating back to a rakish association with third-party “co-respondents” in early 20th century divorce cases, making it even more appropriately that these were favored by Rose’s late lover.

In the pre-Camelot era where hats were still the standard for American men, George tops his dressed-down sport jacket and polo shirt with a dark-gray felt fedora with a low pinched crown, self-edged brim, and black grosgrain band.

At the start of Niagara, we’re introduced to George wearing a slate-gray wool cardigan sweater instead of his sport jacket. The sweater has two patch-style hip pockets and six dark-gray buttons up the front that he wears fully open.

---

How to Get the Look

Contrasted against the scenic setting and the brightly dressed honeymooners including his own wife, George Loomis embraces subdued, neutral shades of gray with his sport jacket, polo, and slacks, though slipping into his wife’s dead lover’s two-toned loafers adds a snappy yet appropriately sporty dimension to the outfit.

• Light-gray flecked tweed single-breasted 2-button sport jacket with notch lapels, patch breast pocket, patch hip pockets, 3-button cuffs, and ventless back
• Light stone-gray merino wool knitted long-sleeved polo shirt with three-button top
• Dark-gray flannel single reverse-pleated trousers with belt loops, side pockets, jetted back pockets, and turn-ups/cuffs
• Black leather belt with gold-toned single-prong buckle
• Brown-and-white leather moc-toe penny loafers
• Black socks
• Dark-gray felt fedora with low crown, black grosgrain band, and self-edged brim

---

Do Yourself a Favor and…

Check out the movie.

---

The Quote

Why should the falls drag me down here at 5 o’clock in the morning? To show me how big they are and how small I am? To remind me they can get along without any help? All right, so they’ve proved it. But why not? They’ve had ten thousand years to get independent. What’s so wonderful about that? I suppose I could too, only it might take a little more time.