Tagged: 1960s
Rock Hudson’s Parka in Ice Station Zebra
Rock Hudson as CDR Jim Ferraday in Ice Station Zebra (1968)
Vitals
Rock Hudson as James “Jim” Ferraday, U.S. Navy Commander and nuclear submarine captain
The North Pole, Spring 1968
Film: Ice Station Zebra
Release Date: October 23, 1968
Director: John Sturges
WARNING! Spoilers ahead!
Background
Despite its lukewarm critical reception at its release, Ice Station Zebra was not only among star Rock Hudson’s favorites of his own films, but it also includes among its fans director John Carpenter (who admits it’s somewhat of a guilty pleasure) and Howard Hughes. During the reclusive tycoon’s years hidden away in his penthouse at the Desert Inn hotel, Hughes would supposedly demand that the local Las Vegas TV station that he owned play the movie on loop, eventually owning a private print that he reportedly watched around 150 times on a continuous loop. “We all knew when Hughes was in town,” wrote Paul Anka in his autobiography My Way. “You’d get back to your room, turn on the TV at 2 a.m., and the movie Ice Station Zebra would be playing. At 5 a.m., it would start all over again. It was on almost every night. Hughes loved that movie.”
The object of Hughes’ obsession was based on a 1963 novel by Alistair MacLean, the Scottish author also behind classic military adventures like The Guns of Navarone and Where Eagles Dare that were also adapted into movies during the ’60s. Inspired by a few real-life Cold War incidents, the novel was adapted into a screenplay by MacLean as well as Douglas Heyes, Harry Julian Fink, and W.R. Burnett, with a few diversions from and additions to MacLean’s source novel, including the renaming of the leading character from Commander Swanson to Commander Ferraday.
Matt Helm’s Coral Red Jacket in Murderers’ Row
Dean Martin as Matt Helm in Murderers’ Row (1966)
Vitals
Dean Martin as Matt Helm, smooth secret agent
New Mexico to French Riviera, Summer 1966
Film: Murderers’ Row
Release Date: December 20, 1966
Director: Henry Levin
Costume Designer: Moss Mabry
Tailor: Sy Devore
WARNING! Spoilers ahead!
Background
Today is National Wear Red Day, observed the first Friday of February to raise awareness of the dangers of the heart disease. In recognition, I wanted to feature an example of a movie or TV character prominently wearing red beyond just the usual red shirts, sweaters, or ties. Enter Matt Helm.
Once Upon a Time in Hollywood: Leo’s Brown Leather Jacket
Leonardo DiCaprio as Rick Dalton in Once Upon a Time… in Hollywood (2019)
Vitals
Leonardo DiCaprio as Rick Dalton, washed-up TV actor
Los Angeles, February 1969
Film: Once Upon a Time… in Hollywood
Release Date: July 26, 2019
Director: Quentin Tarantino
Costume Designer: Arianne Phillips
Background
Now that Once Upon a Time… in Hollywood has been released on video and streaming services, I wanted to get cracking on the much-requested to cover Arianne Phillips’ fantastic costume design that brought the end of the swinging ’60s to life. Phillips’ costume design is one of ten categories for which Once Upon a Time in Hollywood is a contender at the Academy Awards this Sunday, in addition to nominations for Best Picture, Best Director, Best Actor for Leonardo DiCaprio, and Best Supporting Actor for Brad Pitt.
As Pitt’s yellow Aloha shirt and jeans was already the subject of a BAMF Style “preview” post last summer (with a more robust post to come, I assure you!), I wanted to turn my attention to Rick Dalton, the fading star of TV westerns who’s forced to admit at the start of the movie:
It’s official, old buddy. I’m a has-been.
Cary Grant’s Final Screen Tuxedo in That Touch of Mink
Cary Grant and Doris Day in That Touch of Mink (1962)
Vitals
Cary Grant as Philip Shayne, smooth, sophisticated, and suave investment executive and “perfect gentleman”
Bermuda, Spring 1962
Film: That Touch of Mink
Release Date: June 14, 1962
Director: Delbert Mann
Tailor: Cardinal Clothes (credited “for Cary Grant’s suits”)
Background
To commemorate the birthday of Cary Grant, born on this day in 1904, let’s celebrate the debonair actor who was seemingly born to wear a tuxedo. After three decades of a well-tailored career, the erstwhile Archie Leach sported his final on-screen dinner suit in the romantic comedy That Touch of Mink released in 1962, the same year as the first James Bond movie was released, thus heralding the transfer of the definitive screen dinner suit-wearer to 007. Continue reading
Bond Style: Charcoal Suit for Air Travel in Goldfinger
Sean Connery as James Bond in Goldfinger (1964)
Vitals
Sean Connery as James Bond, British government agent
en route Washington, D.C., Fall 1964
Film: Goldfinger
Release Date: September 18, 1964
Director: Guy Hamilton
Tailor: Anthony Sinclair
Wardrobe Supervisor: Elsa Fennell
WARNING! Spoilers ahead!
Background
Following up on Saturday’s post about Frank Sinatra’s jet-setting style in the early ’60s, let’s see how a contemporary style icon dressed for a private flight of his own. As it’s the first 00-7th of the month in 2020, it seems only appropriate to check in with the first James Bond—Sean Connery! (Barry Nelson notwithstanding.)
Come Fly With Me: Sinatra’s Jet-Setting Style
Frank Sinatra, flanked by the stewardesses of his Trans-Canada Air Lines flight, circa 1950. The dawn of the “jet age”—and the best years of Frank’s career—were yet to come.
Vitals
Frank Sinatra, multi-talented entertainer and Rat Pack crooner
Background
Sixty two years ago this week, on January 6, 1958, Frank Sinatra released his ninth concept album for Capitol Records, Come Fly With Me. Anchored by the title track specifically penned for Frank by Sammy Cahn and Jimmy Van Heusen, the album celebrated the contemporary Jet Age, specifically the chic “jet setters” who were able to afford the luxurious amenities offered by BOAC and Pan Am flights that would spirit them between London and New York, Paris and Rome, and Hong Kong and Tokyo.
The album, which was Sinatra’s first collaboration with arranger and conductor Billy May, ascended like a state-of-the-art Boeing to #1 on the Billboard album charts in only its second week and would be nominated for Album of the Year at the first annual Grammy Awards, held May 4, 1959, at the Beverly Hilton Hotel in Los Angeles.
In the spirit of Frank’s musical trip around the world on this #SinatraSaturday, let’s take a look at how the Rat Pack leader himself dressed “where the air is rarified…” Continue reading
Peter Lawford’s New Year’s Eve Suit in Ocean’s 11
Peter Lawford as Jimmy Foster in Ocean’s Eleven (1960)
Vitals
Peter Lawford as Jimmy Foster, resentful profligate heir and 82nd Airborne veteran
Las Vegas, New Year’s Eve 1959
Film: Ocean’s Eleven
Release Date: August 10, 1960
Director: Lewis Milestone
Costume Designer: Howard Shoup
Tailor: Sy Devore
Background
“I made a cardinal rule never to answer the telephone during the month of December,” the urbane Jimmy Foster tells a masseuse deep at work in fixing his back in a Phoenix hotel suite he shares with his wartime pal. “One December, every time I picked up the phone, they’d send me out in the snow to play with my little friends,” he elaborates. “That was at the Bulge.”
Arguably the most famous film featuring the infamous Rat Pack, Ocean’s Eleven starred Frank Sinatra and his celebrated pallies Dean Martin, Sammy Davis Jr., Joey Bishop, and Peter Lawford among a group of eleven veterans from the 82nd Airborne who gather in Las Vegas after Christmas “to liberate millions of dollars” from five major casinos as Sin City rings in the new year. Continue reading
The V.I.P.s: Richard Burton’s Astrakhan Coat and Holiday Red
Richard Burton as Paul Andros in The V.I.P.s (1963)
Vitals
Richard Burton as Paul Andros, millionaire industrialist
Heathrow Airport, London, Winter 1963
Film: The V.I.P.s
(also released as Hotel International)
Release Date: September 19, 1963
Director: Anthony Asquith
Costume Designer: Pierre Cardin (uncredited)
Background
As December continues and plans are being made to travel home for the holidays, we’d be well-served to recall Anthony Asquith’s paean to the Jet Age, The V.I.P.s, a lavish and star-studded drama released five years after more passengers were making their transatlantic crossings by air than by sea.
Also known as Hotel International, The V.I.P.s was released in September 1963, just three months after Elizabeth Taylor and Richard Burton scandalized the silver screen in Cleopatra. Though Cleopatra met with polarizing reviews, the buzz around Taylor and Burton’s illicit affair generated enough buzz about their subsequent cinematic collaboration, though The V.I.P.s was a relatively tame effort when compared to the Egyptian epic that had been the most expensive movie ever made at the time of its release.
Downhill Racer: Redford’s Blue Skiwear and Yellow Porsche
Robert Redford and Camilla Sparv with her Porsche on the set of Downhill Racer (1969)
Vitals
Robert Redford as Dave Chappellet, U.S. Olympic ski team star
Wengen, Switzerland, Winter 1967
Film: Downhill Racer
Release Date: November 6, 1969
Director: Michael Ritchie
Costume Designer: Edith Head (uncredited!)
Wardrobe Credit: Cynthia May
Background
Let’s kick off a winter #CarWeek with an Alpine vibe, specifically the yellow Porsche that Robert Redford motors through the Alps after a day on the slopes with Camilla Sparv in Michael Ritchie’s directorial debut, Downhill Racer.
Mad Men, 1970 Style – Don’s Denim Trucker Jacket
Jon Hamm as Don Draper on Mad Men (Episode 7.14: “Person to Person”)
Vitals
Jon Hamm as Don Draper, former ad man in search of himself
Bonneville Speedway, Utah, to California, Fall 1970
Series: Mad Men
Episode: “Person to Person” (Episode 7.14)
Air Date: May 17, 2015
Director: Matthew Weiner
Creator: Matthew Weiner
Costume Designer: Janie Bryant
WARNING! Spoilers ahead!
Background
Moving forward has been the theme of Don Draper’s life, a trajectory made plainly simple at the start of the final episode of Mad Men as a denim-clad Dick Whitman barrels toward the viewers through the desert at more than 130 miles per hour.
Back in New York, Don’s naïve secretary Meredith (Stephanie Drake) shares her concern with Roger Sterling that her former boss may have died, ultimately suggesting that “I hope he’s in a better place.” Geographically, maybe. Mentally, absolutely.
