Tagged: London

Dracula A.D. 1972: Peter Cushing’s Striped Suit

Peter Cushing as Lorrimer Van Helsing in Dracula A.D. 1972 (1972)

Peter Cushing as Lorrimer Van Helsing in Dracula A.D. 1972 (1972)

Vitals

Peter Cushing as Professor Lorrimer Van Helsing, occult researcher and descendant of the famous vampire hunter

London, Fall 1972… A.D. 1972, that is

Film: Dracula A.D. 1972
Release Date: September 28, 1972
Director: Alan Gibson
Wardrobe Supervisor: Rosemary Burrows

Background

Just days away from Halloween, today’s post responds to a request received earlier this year from BAMF Style reader Alan, who suggested the “extremely cheesy and, at times, ridiculous” Hammer production Dracula A.D. 1972, starring horror maestros and real-life pals Christopher Lee and Peter Cushing reprising their usual roles as Count Dracula and Van Helsing, respectively.

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Matt Damon in Jason Bourne

Matt Damon in Jason Bourne (2016)

Matt Damon in Jason Bourne (2016)

Vitals

Matt Damon as Jason Bourne/David Webb, amnesiac ex-CIA assassin

Athens, Berlin, London, and Las Vegas, Fall 2015

Film: Jason Bourne
Release Date: July 11, 2016
Director: Paul Greengrass
Costume Designer: Mark Bridges

WARNING! Spoilers ahead!

Background

Happy 50th birthday, Matt Damon! Nearly 15 years after the actor first kicked cinematic ass as the amnesiac assassin, Damon again stepped into Jason Bourne’s globe-trotting boots for one more installment of the spy franchise extolled for its relative realism, intriguing narrative, and expertly choreographed fight scenes.

I remember… I remember everything.

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A Warm December: Sidney Poitier’s Diamond-Grid Suit

Sidney Poitier as Dr. Matt Younger in A Warm December (1973)

Sidney Poitier as Dr. Matt Younger in A Warm December (1973)

Vitals

Sidney Poitier as Matt Younger, widowed father and clinic physician

London, Summer 1972

Film: A Warm December
Release Date: May 23, 1973
Director: Sidney Poitier
Wardrobe Supervisor: John Wilson-Apperson

Background

Despite its title, Sidney Poitier’s second directorial effort A Warm December is actually set during a summer in London. (The title is contextualized during one of the film’s final scenes, so I won’t spoil it for those who haven’t seen it!) Poitier plays Dr. Matt Younger, a recent widow who brings his daughter across the pond for what he hopes to be a mindless vacation spent riding his motorbike until he makes the acquaintance of the mysterious and magnetic Catherine (Ester Anderson) and falls for her.

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The Long Good Friday: Bob Hoskins’ White Striped Jacket

Bob Hoskins as Harold Shand in The Long Good Friday (1980)

Bob Hoskins as Harold Shand in The Long Good Friday (1980)

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Bob Hoskins as Harold Shand, ambitious English gangster

London, Spring 1979

Film: The Long Good Friday
Release Date: November 3, 1980
Director: John Mackenzie
Costume Designer: Tudor George

WARNING! Spoilers ahead!

Background

Today is Good Friday, a liturgical observance often overshadowed by Easter but certainly not overlooked in the world of British gangster cinema thanks to The Long Good Friday. Considered among the top 25 British movies ever made in separate polls by BFI and EmpireThe Long Good Friday has been a frequent request by BAMF Style readers including Dominic, Scott, and Wendi (and thank you, Wendi, for sending me the DVD copy used to source these screenshots!)

The title was intentionally chosen to suggest a tonal alignment with the works of Raymond Chandler, and our boisterous anti-hero, Harold Shand, would be a welcome presence in any noir. Specifically written for the actor, the role of Harold provided Bob Hoskins with his breakthrough performance as a London gangster seeking to take his enterprises in a legitimate direction, though he can’t outrun his criminal legacy as he finds his promising world collapsing among mob hits and bomb scares.

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Lassiter: Tom Selleck’s Tweed Jacket

Tom Selleck as Nick Lassiter in Lassiter (1984)

Tom Selleck as Nick Lassiter in Lassiter (1984)

Vitals

Tom Selleck as Nick Lassiter, debonair jewel thief

London, June 1939

Film: Lassiter
Release Date: February 17, 1984
Director: Roger Young
Costume Designer: Barbara Lane

Background

While we’re still in the midst of tweed-friendly weather, I’d like to respond to a few requests I’ve had to focus on Tom Selleck’s gentlemanly style in Lassiter as an American thief in England, a far cry from the Aloha shirts he was famously wearing on Magnum, P.I. at the same time.

Released today in 1984, Lassiter starred Selleck as the titular jewel thief—Nick Lassiter—crafted in the daring and debonair tradition of cinematic cat burglars like Cary Grant in To Catch a Thief and David Niven’s “Phantom” in The Pink Panther. Much like his previous film, High Road to China, this movie compensated for the fact that Selleck had to pass on the role of Indiana Jones by giving him the role of a charismatic, resourceful, and risk-averse rogue facing danger from under the brim of a fedora in the years leading up to World War II.

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Indiscreet: Cary Grant’s Christmas Dressing Gown

Cary Grant as Philip Adams in Indiscreet (1958)

Cary Grant as Philip Adams in Indiscreet (1958)

Vitals

Cary Grant as Philip Adams, sophisticated playboy economist

London, Christmas Eve 1957

Film: Indiscreet
Release Date: June 26, 1958
Director: Stanley Donen
Tailor: Quintino

Background

Merry Christmas, BAMF Style readers! In the spirit of the holidays, let’s continue looking at stylish dressers in “Christmas-adjacent” fare by focusing on that most famously elegant icon, Cary Grant, in what was reportedly the actor’s favorite among his own movies.

Stanley Donen’s 1958 romantic comedy Indiscreet reteamed Grant with Ingrid Bergman a dozen years after the two iconic stars had shared the screen in Hitchcock’s spy thriller Notorious (1946), though the suspense of Indiscreet is less a matter of international espionage and more romantic intrigue with Bergman’s character believing herself to be engaged in a clandestine affair with a married man… though Grant’s Philip Adams only pretends to be married to limit his commitments to the women he can’t resist.

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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)

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 InternationalThe 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.

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Rod Taylor in The V.I.P.s.

Rod Taylor and Maggie Smith in The V.I.P.s (1963)

Rod Taylor and Maggie Smith in The V.I.P.s (1963)

Vitals

Rod Taylor as Les Mangrum, gregarious Australian tractor manufacturing mogul

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

A generation after Grand Hotel (1932) established the subgenre of the ensemble drama with a packed cast of international stars, Anthony Asquith updated the pattern for the jet age with the genteel director’s penultimate film, The V.I.P.s, which—appropriately enough, given its spiritual predecessor—had also been released as Hotel International. Continue reading

Sidney Poitier’s Navy Jacket in To Sir, with Love

Sidney Poitier as Mark Thackeray in To Sir, with Love (1967)

Sidney Poitier as Mark Thackeray in To Sir, with Love (1967)

Vitals

Sidney Poitier as Mark Thackeray, novice high school teacher

London, June 1966

Film: To Sir, with Love
Release Date: June 14, 1967
Director: James Clavell
Wardrobe Supervisor: John Wilson-Apperson

Background

As many students are returning back to school at the end of August, BAMF Style takes a look at Sidney Poitier’s scholarly style as the patient teacher in To Sir, with Love, based on E.R. Braithwaite’s autobiographical novel from 1959. The film was produced, directed, and adapted for the screen by James Clavell, the prolific writer whose works include “the Asian Saga” (including Shōgun) and the screenplay for The Great Escape.

Sidney Poitier stars as Mark Thackeray, the determined teacher who takes his first appointment (or “job,” as he is politely corrected) instructing a senior class of troubled—and often troubling—high school students at the North Quay Secondary School in London’s East End just a few weeks before the students were scheduled to graduate.

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Arabesque – Gregory Peck’s Brown Flannel Suit

Gregory Peck as David Pollock in Arabesque (1966)

Gregory Peck as David Pollock in Arabesque (1966)

Vitals

Gregory Peck as David Pollock, American hieroglyphics professor

London, June 1965

Film: Arabesque
Release Date: May 5, 1966
Director: Stanley Donen
Tailor: H. Huntsman & Sons, London

WARNING! Spoilers ahead!

Background

Today marks the 103rd birthday of Eldred G. Peck, better known to the world as Gregory Peck after dropping his first name in pursuit of his now legendary acting career. Peck received five Academy Award nominations over the course of his career, finally winning the Best Actor statue for his performance in To Kill a Mockingbird.

Later in the decade, Peck starred opposite his friend Sophia Loren in Arabesque, Stanley Donen’s follow-up to Charade that—like its predecessor—blended elements of comedy, espionage, and romance into one Hitchcockian package, though even Donen had to admit that the film was more style than substance.

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