David Duchovny as Hank Moody, womanizing novelist and screenwriter
Los Angeles, Spring 2010
Episode: “Lights. Camera. Asshole.” (Episode 4.08)
Air Date: February 27, 2011
Director: Adam Bernstein
Costume Designer: Peggy A. Schnitzer
It just seems appropriate to feature Hank Moody on 6/9, so today’s #NiceDay post explores one of his lesser seen outfits.
Midway through the fourth season, in the midst of Hank’s post-Mia revelation legal troubles, he is offered a gig to rewrite the shitty dialogue littering the script of a zombie movie starring his latest fling, Sasha Bingham (Addison Timlin), as a police officer.
Of course, Sasha’s request for our favorite writer turns out be more libidinous than literary, so Hank escapes this potentially sticky situation… and finds himself landing in another one. Continue reading
Robert Redford as Jack Weil, smooth, cynical gambler and U.S. Navy veteran
Havana, December 1958
Release Date: December 14, 1990
Director: Sydney Pollack
Costume Designer: Bernie Pollack
Gambling is Jack Weil’s raison d’être. Having arrived in Havana on Christmas Day 1958 to make the most of the city’s poker scene, Weil never anticipated getting caught up in the throes of the Cuban Revolution… unless it would get him laid or make him an extra buck.
Of course, his chance meeting with Roberta Duran (Lena Olin) made both possibilities an enticing reason to help the cause. Continue reading
Timothy Olyphant as Raylan Givens, old school Deputy U.S. Marshal
Harlan County, Kentucky, Fall 2010
– “The Lord of War and Thunder” (Episode 1.05, Director: Jon Avnet, Air Date: April 13, 2010)
– “Hatless ” (Episode 1.09, Director: Peter Werner, Air Date: May 11, 2010)
– “Cottonmouth” (Episode 2.05, Director: Michael Watkins, Air Date: March 9, 2011)
Creator: Graham Yost
Costume Designers: Ane Crabtree (Season 1) & Patia Prouty (Season 2)
Justified took some time to find its footing at the beginning, developing the style of its characters as well as the show’s own format: would this be an episodic “case-of-the-week” procedural or more serial?
Luckily, the show found its place at the perfect intersection of these two as its lead character, Deputy U.S. Marshal Raylan Givens, often had to handle a quick new case with eccentric, one-off criminals all developed against the longer arcs of his feud with the Crowder clan, his romantic entanglements in Harlan County, the consequences of his quick trigger finger, and frustrations with his own family, particularly his father Arlo (Raymond J. Barry) whom we meet in “The Lord of War and Thunder” (Episode 1.05). Continue reading
Al Pacino as Tony Montana, hotheaded Cuban-American cocaine dealer
Miami, August 1981
Release Date: December 9, 1983
Director: Brian De Palma
Costume Designer: Patricia Norris
BAMF Style is continuing Car Week with the second grand American convertible from the automotive golden era – the 1963 Cadillac Series 62 owned by Tony Montana in 1983’s Scarface. Ironically, we first see this Caddy while Tony is actually shopping for a different luxury car, the silver 1979 Porsche 928 4.5L that he adds to his growing collection.
The ’63 Caddy convertible is clearly Tony’s favorite, though, driving it to show off his status even though Elvira pointedly tells him:
It looks like somebody’s nightmare.
Lee Marvin as Maj. John Reisman, taciturn and independent U.S. Army officer
England, Spring 1944
Film: The Dirty Dozen
Release Date: June 15, 1967
Director: Robert Aldrich
Tomorrow is the 71st anniversary of the Normandy landings. On June 6, 1944 – now known as D-Day, 156,000 troops from 13 Allied nations conducted the largest seaborne invasion in history, beginning the invasion of German-occupied western Europe that led to the liberation of France, and – eventually – an Allied victory to win the war within a year. Although the Allies failed to achieve their goals on the first day, the tremendous fighting spirit of the soldiers in the face of unbelievable odds led to the foothold needed by the Allies that would catapult them to victory.
Many excellent films have focused on the Normandy landings, including The Longest Day and Saving Private Ryan. The Dirty Dozen used a different approach, sending a renegade OSS officer behind the lines with twelve ex-soldier convicts to create chaos for the Nazis and distract them from the upcoming landings. The film, which WWII veteran Lee Marvin had originally dismissed as “just a dummy moneymaker”, has gone on to become a classic piece of badass cinema that even received recognition in Sleepless in Seattle during a scene where Tom Hanks and Victor Garber hilariously ad-lib about what movie could make a man cry:
Jim Brown was throwing these hand grenades down these airshafts. And Richard Jaeckel and Lee Marvin – (begins mock crying) were sitting on top of this armored personnel carrier, dressed up like Nazis… and Trini Lopez… he busted his neck while they were parachuting down behind the Nazi lines…
Gene Hackman as Jimmy “Popeye” Doyle, rough but dedicated NYPD narcotics detective
Brooklyn, December 1970
Film: The French Connection
Release Date: October 9, 1971
Director: William Friedkin
Costume Designer: Joseph Fretwell III
Car chases have been engrained in American cinema since the early days of the Keystone Kops. As the interest in cars grew, auto manufacturers began highlighting their most innovative products through on-screen action. The James Bond franchise innovated the use of car chases with Goldfinger‘s gadget-laden Aston Martin DB5 and a conveniently placed Ford Mustang convertible. The Mustang poked its head out again for the seminal chase in Bullitt as Steve McQueen faced off against a black ’68 Dodge Charger in his Mustang GT-390. After Bullitt, filmmakers began exploring the possibilities of cars on film. New, exciting cars were showcased like the new Dodge Challenger in Vanishing Point to the new Mustang Mach 1 in Diamonds are Forever.
For The French Connection, William Friedkin’s 1971 film based on Robin Moore’s book about intrepid NYPD cops Eddie Egan and Sonny Grosso, the car chase formula was injected with something new. Rather than the super-cool hero coolly chasing a villain in his super-cool car, the film places its ragged protagonist off-duty cop in an ordinary sedan commandeered from a civilian. Not only that, but this villain isn’t in a car; rather, he has hijacked an elevated train as Popeye is forced to race the train to each stop. Continue reading