Tagged: Raincoat
Michael Corleone’s Black Three-Piece Suit
Vitals
Al Pacino as Michael Corleone, cold and calculating Mafia boss
Long Island, Las Vegas, and Lake Tahoe, Winter 1959
Film: The Godfather Part II
Release Date: December 12, 1974
Director: Francis Ford Coppola
Costume Designer: Theadora Van Runkle
Background
For #MafiaMonday, I’m exploring Michael Corleone at his most iconic, coldly receiving his siblings and family while holding court at his mother’s funeral. Continue reading
John Wayne’s Plaid Sportcoat in Brannigan
Vitals
John Wayne as Jim Brannigan, tough Chicago PD lieutenant
London, Fall 1974
Film: Brannigan
Release Date: March 26, 1975
Director: Douglas Hickox
Wardrobe Credit: Emma Porteous
WARNING! Spoilers ahead!
Background
If McQ was John Wayne’s Dirty Harry, then its spiritual successor Brannigan was his Coogan’s Bluff, a “fish out of water” cop film that finds the Duke’s taciturn American lawman in London to secure the extradition of arch-criminal Ben Larkin (John Vernon) under the watchful – and often judgmental – eye of the quintessentially English Scotland Yard Commissioner Swann (Richard Attenborough). Continue reading
Don Draper’s Plaid Sportcoat at the Movies
Vitals
Jon Hamm as Don Draper, Madison Avenue ad man and movie buff
New York City, October 1968
Series: Mad Men
Episode: “The Quality of Mercy” (Episode 6.12)
Air Date: June 16, 2013
Director: Phil Abraham
Costume Designer: Janie Bryant
Background
Don Draper has always turned to the escapism of the movies in times of crisis or loneliness, most notably (and humorously) in “The Good News” (Episode 4.03) when drunkenly accompanying Lane Pryce to a screening of Gamera: The Giant Monster in during the men’s lonely week between Christmas and New Year’s Eve.
Two seasons later, Don is slightly less lonely with his new wife Megan (and his new upstairs mistress, Sylvia) but still frequents the movies whenever he can. “The Quality of Mercy” finds Don and Megan seeing Rosemary’s Baby when they run into Ted and Peggy, claiming to be on a client research mission. Continue reading
Michael Caine as Alfie – Brown Tweed Sportcoat
Vitals
Michael Caine as Alfie Elkins, caddish Cockney car service driver and playboy
London, Fall 1962 through Spring 1965
Film: Alfie
Release Date: March 24, 1966
Director: Lewis Gilbert
Wardrobe Supervisor: Jean Fairlie
Tailor: Douglas Hayward
Background
Brown tweed is a great look for fall, so BAMF Style is focused on this outfit sported by Michael Caine in Alfie (as suggested by frequent blog commentor Ryan Hall) for this early October post.
Caine wears this outfit in several major scenes in Alfie: during an argument with Gilda (Julia Foster) following the birth of their son and when he meets the vivacious Ruby (Shelley Winters) while out hocking photographs on the streets of London. Continue reading
Michael Caine as Alfie – Leather-Accented Raincoat
Vitals
Michael Caine as Alfie Elkins, caddish Cockney car service driver
London, Spring 1962
Film: Alfie
Release Date: March 24, 1966
Director: Lewis Gilbert
Wardrobe Supervisor: Jean Fairlie
Tailor: Douglas Hayward
Background
April showers in the spring are a fine reason to invest in a new raincoat, and – for all his faults – Alfie Elkins shows off a stylish example as he heads over to Emilio Scala Maternity Hospital to greet the product of his association with Gilda. Alfie is none too pleased with her choice of names:
Malcolm bleeding Alfred? He’ll never forgive you if you give him a name like that!
…but given his lack of involvement in either the child’s life or hers, I wouldn’t exactly believe that he deserves a say in the matter. Continue reading
Spy Game: Redford’s Herringbone Tweed Sportcoat
Vitals
Robert Redford as Nathan Muir, shrewd CIA case officer
Langley, VA, April 1991
Film: Spy Game
Release Date: November 21, 2001
Director: Tony Scott
Costume Designer: Louise Frogley
Redford’s Costumer: David Page
Background
After Brad Pitt spent roughly the first decade of his career being compared to Robert Redford, Tony Scott’s Spy Game paired the two actors as a world-weary CIA officer and his idealistic trainee.
The bulk of the action is set in April 1991 as the Cold War is whispering its final breaths and the world’s intelligence agencies begin looking for a new paranoia to exploit. Agent Tom Bishop (Pitt) has gone rogue, and his mentor Nathan Muir (Redford) is called in on the last day before his retirement to lend a helping hand to the new generation of overseers. Continue reading
Bogart in The Big Sleep: Gray Birdseye Wool Suit
Vitals
Humphrey Bogart as Philip Marlowe, archetypal hard-boiled private detective
Los Angeles, Fall 1945
Film: The Big Sleep
Release Date: August 23, 1946
Director: Howard Hawks
Wardrobe Credit: Leah Rhodes
WARNING! Spoilers ahead!
Background
The Big Sleep is often considered the apex of American film noir. Plot becomes secondary (and often disregarded) in favor of colorful characters made of private eyes, floozy femme fatales, and pornographers spitting snappy dialogue at each other against the backdrop of both the glamorous and seamy sides of the city. The same plot and characters from Raymond Chandler’s 1939 source novel are here, with the anti-Code elements like pornography and homosexuality all but removed. Continue reading
Bogart’s Trench Coat and Suit in Casablanca
Vitals
Humphrey Bogart as Rick Blaine, cynical “gin joint” manager
Casablanca, Morocco, December 1941
Film: Casablanca
Release Date: November 26, 1942
Director: Michael Curtiz
Background
Before Casablanca was released in 1942, Humphrey Bogart had spent the majority of his career in secondary roles as sniveling bastards. His first major role in The Petrified Forest saw him as a Dillinger-esque armed robber far more interested in his six-shooter than romance. He was the foil to Jimmy Cagney’s criminal “hero” in Warner Brothers gangster flicks like Angels With Dirty Faces and The Roaring Twenties, and it wasn’t until 1941 when he finally received star billing in both High Sierra and The Maltese Falcon. The latter film is often considered his breakout role as the cynical P.I. Sam Spade, but it wasn’t until a year later with Casablanca that he would finally be a romantic lead.
The role of Rick Blaine was perfect for Bogie, finally allowing him to develop a romantic depth to his character’s cynicism. Casablanca was never intended to be anything out of the ordinary, despite the cavalcade of stars and writers involved in its production. Many, including those at Warner Brothers, considered it to be a mere copy of the now-forgotten 1938 film Algiers. The film exceeded all expectations and is considered to be one of the few true masterpieces in cinema. It took home the three major production Oscars in 1943 for Best Picture, Best Director, and Best Screenplay (Julius J. Epstein, Philip G. Epstein, Howard E. Koch, and an uncredited Casey Robinson), and shines a contemporary look at World War II. Continue reading
Clive Owen as “The Professor” in The Bourne Identity
Vitals
Clive Owen as “The Professor”, English sleeper assassin for the CIA
Paris, Winter 2002
Film: The Bourne Identity
Release Date: June 14, 2002
Director: Doug Liman
Costume Designer: Pierre-Yves Gayraud
Background
A hallmark of the Bourne series is the dogged adversary, usually a fellow government assassin who always manages to stay one step ahead of our protagonist, even when the agency itself can’t quite manage to do the same. The first major example of this adversary is “The Professor”, the otherwise unnamed hitman played by Clive Owen in The Bourne Identity. Continue reading
Steve McQueen’s Brown 3-Piece Suit as Thomas Crown
Vitals
Steve McQueen as Thomas Crown, millionaire busienssman and criminal mastermind
Boston, Summer 1968
Film: The Thomas Crown Affair
Release Date: June 19, 1968
Director: Norman Jewison
Costume Designer: Alan Levine
Tailor: Douglas Hayward
Background
The Thomas Crown Affair is one film where I would feel comfortable ruling that the style outweighs the substance. In some ways, the plot reads like a harlequin novel – a dashing millionaire is investigated by an impossibly stunning insurance investigator and the two play a cat-and-mouse game, culminating in some symbolism-driven sex and his eventual escape. It is a simple plot in a film best remembered for its lavish touches across the board from cinematography to costuming.
In fact, Crown himself is far more sophisticated than the plot. Watching for plot can be more than mildly frustrating as the film really electrifies when McQueen and Dunaway are onscreen and – not the fault of the other actors – stumbles when neither are there to save it. The film is still a fun and very ’60s caper, but it’s important to keep in mind that the focus is totally on style. Continue reading