Tagged: Spring
The Freewheelin’ Bob Dylan: Timothée Chalamet in A Complete Unknown
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Timothée Chalamet as Bob Dylan, folk singer-songwriter
New York City and Monterey, California, Spring to Summer 1963
Film: A Complete Unknown
Release Date: December 25, 2024
Director: James Mangold
Costume Designer: Arianne Phillips
Jacket Maker: Jimmy McBride
WARNING! Spoilers ahead!
Background
Happy 84th birthday, Bob Dylan! Born as Robert Allen Zimmerman on May 24, 1941, the iconoclastic musician’s early career was recently depicted in James Mangold’s biopic A Complete Unknown, starring Timothée Chalamet. Chalamet’s extensive work to achieve Dylan’s distinctive voice, mannerisms, and playing style resulted in a characteristically dedicated performance that earned the actor his second Academy Award nomination—one of eight total for the film, including Best Picture.
A Complete Unknown begins in early 1961 when the young Minnesota-born troubadour arrives in New York City, seeking out his ailing idol Woody Guthrie (Scoot McNairy). As Dylan’s star power evolves among the Greenwich Village folk scene, so do his tumultuous relationships and friendships with contemporaries like Joan Baez (Monica Barbaro), Pete Seeger (Edward Norton), and Johnny Cash (Boyd Holbrook)—who had previously been the subject of the Mangold-directed 2005 biopic Walk the Line starring Joaquin Phoenix.
Adapted from Elijah Wald’s nonfiction volume Dylan Goes Electric!, the film spans these four crucial years of Dylan’s early career leading up to his controversial performance at the 1965 Newport Folk Festival, fifty years ago this summer.
Dylan’s primary motivation through A Complete Unknown is presented as total musical freedom, often at the cost of public popularity or traditional friendships. Baez and other characters bemoan their struggle to know Dylan on a deeper level; indeed, some reviewers even cited this as a flaw of the film—however, I see it as part of its overall thesis: even after a career of 60+ years and hundreds of compositions and recordings, Dylan remains the titular “complete unknown”, to borrow a lyrics from his 1965 hit “Like a Rolling Stone”. The only human connection that never frustrates the cinematic Dylan is his bond with Woody Guthrie, centered purely around music—and no doubt helped by the fact that Woody’s medical condition has rendered him all but mute, never asking Dylan anything about himself that he doesn’t want to answer.
After his self-titled first album is comprised primarily of cover songs, Dylan embraces the opportunity to make a stronger musical signature by recording more original tracks on his follow-up record, The Freewheelin’ Bob Dylan. A Complete Unknown very briefly depicts CBS staff photographer Don Hunstein’s cover photo shoot on the streets of Greenwich Village in February 1963, with a casually dressed Dylan and his then-girlfriend, Suze Rotolo—renamed at Dylan’s own request to “Sylvie Russo” (Elle Fanning) for the screen, citing that the late Ms. Rotolo was one of the few people in his life who never sought fame.

“It is one of those cultural markers that influenced the look of album covers precisely because of its casual down-home spontaneity and sensibility,” Rotolo wrote in her memoir, A Freewheelin’ Time. “Most albums were carefully staged and controlled, to terrific effect on the Blue Note jazz album covers… and to not-so-great effect on the perfectly posed and clean-cut pop and folks albums. Whoever was responsible for choosing that particular photograph for The Freewheelin’ Bob Dylan really had an eye for a new look.”
French Connection II: Gene Hackman’s Windowpane Jacket and Aloha Shirt
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Gene Hackman as Jimmy “Popeye” Doyle, gruff NYPD narcotics detective
Marseille, France, Spring 1975
Film: French Connection II
Release Date: May 21, 1975
Director: John Frankenheimer
Costume Designer: Pierre Nourry
WARNING! Spoilers ahead!
Background
A lot of people may not even know they made a sequel to The French Connection. And why’s that? Because they didn’t really need to make it. But Gene Hackman’s portrayal of the profane detective “Popeye” Doyle was lightning in a bottle, and the late actor went two for two in bringing Popeye to the screen.
The French Connection‘s director William Friedkin was more reluctant than its star to get involved, citing French Connection II and follow-ups to The Exorcist as “shit… simply made to cash in on the title.” Hackman may have agreed with Hurricane Billy but was admirably never shy about admitting when a movie was simply a “money job,” as he tersely described The Poseidon Adventure to Ben Stiller when the two co-starred in The Royal Tenenbaums.
And so Hackman reprised his Academy Award-winning role for French Connection II, released fifty years ago today on May 21, 1975. The sequel—which indeed does not include the definite article “The” in the title—picks up the action shortly after its predecessor, with NYPD narc Doyle still on the trail of the elusive and urbane drug kingpin Alain Charnier (Fernando Rey), who absconded to his native Marseille after the events of The French Connection. Continue reading
Scarface: Geno Silva as “The Skull”
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Geno Silva as “The Skull”, stealthy cartel killer
Miami, Spring 1983
Film: Scarface
Release Date: December 9, 1983
Director: Brian De Palma
Costume Designer: Patricia Norris
WARNING! Spoilers ahead!
Background
A silent but significant role in Scarface was the otherwise unnamed cartel assassin “The Skull” portrayed by actor Geno Silva, who died five years ago today on May 9, 2020. Continue reading
John Hannah’s Norfolk Suits as Lusitania Passenger Ian Holbourn
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John Hannah as Ian Holbourn, English-born professor, writer, and Scottish laird
RMS Lusitania in the North Atlantic Ocean, off the Irish coast, May 1915
Film: Sinking of the Lusitania: Terror at Sea
(Original title: Lusitania: Murder on the Atlantic)
Air Date: May 12, 2007
Director: Christopher Spencer
Costume Designer: Diana Cilliers
WARNING! Spoilers ahead!
Background
110 years ago today on the afternoon of Friday, May 7, 1915, the RMS Lusitania was steaming east toward its destination port of Liverpool when a German U-boat fired a torpedo that struck the Cunard ship on its starboard side. Less than 20 minutes later, the grand 787-foot-long ship was on its way to the bottom of the Atlantic Ocean in a disaster that would claim the lives of nearly 1,200 of its 1,960 passengers and crew.
Although the Lusitania was indeed a passenger liner, the Imperial German Embassy had just issued an official warning that any ship flying the flag of England or her allies was subject to a German attack. This open statement of aggression from the German government has resulted in lingering conspiracies that the British government had intentionally sailed the Lusitania through dangerous waters to provoke a German attack and lure the United States into war. Though these theories have been generally discredited, the deaths of 128 Americans who were aboard the liner has been cited as a significant factor in the U.S. ultimately entering World War I against Germany.
Unlike the famous sinking of the RMS Titanic three years earlier, the Lusitania victims were less determined by chance than a mix of luck and “survival of the fittest”, with the odds favoring able-bodied swimmers who were either on deck or able to quickly reach it during the 18 minutes that it took the liner to founder.
Despite the drama, scale, and significance of its sinking that took 1,197 lives, the Lusitania disaster has yet to be prominently portrayed on screen, save for a docudrama that first aired on the Discovery Channel in May 2007. Originally titled Lusitania: Murder on the Atlantic, the 90-minute production’s recognizable cast includes Kenneth Cranham as the ship’s captain William Turner and John Hannah as Ian Holbourn, an Anglo-Scotsman professor who was returning to his home on the remote Shetland island of Foula after a lecture tour of the United States. Missing his own sons who were at home with his wife, Holbourn befriended the homesick 12-year-old Avis Dolphin (Madeleine Garrood), a fellow second-class passenger.
A Matter of Life and Death: David Niven’s Houndstooth Jacket
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David Niven as Squadron Leader Peter David Carter, charismatic Royal Air Force pilot
Southern English Coast, Spring 1945
Film: A Matter of Life and Death
Release Date: November 1, 1946
Directed by: Michael Powell & Emeric Pressburger
Costume Designer: Hein Heckroth
WARNING! Spoilers ahead!
Background
Powell and Pressburger’s marvelous Technicolor fantasty-romance A Matter of Life and Death begins eighty years ago today, “the night of the second of May, 1945.”
Less than a week until the German surrender that effectively ended the European theater of World War II, a Lancaster bomber is returning through the fog over the English Channel after a Royal Air Force mission over Germany that resulted in the aircraft’s terminal damage. His radio operator dead and the rest of the crew bailed out on his orders, the poetic Squadron Leader Peter David Carter (David Niven) sits alone at the controls, communicating to the charming U.S. Army Air Forces technician June (Kim Hunter), who attempts in vain to reassure the pilot while he offers his own reassurance that he isn’t afraid to meet whatever awaits him:
Hello, June, don’t be afraid. It’s quite simple—we’ve had it, and I’d rather jump than fry. After the first thousand feet, what’s the difference? I shan’t know anything anyway. I say, I hope I haven’t frightened you… you’ve got a good voice, you’ve got guts, too! It’s funny, I’ve known dozens of girls—I’ve been in love with some of them—but an American girl who I’ve never seen, who I never shall see, will hear my last words. It’s funny. It’s rather sweet! June, if you’re around when they pick me up, turn your head away.
With his own parachute damaged and the Lancaster hurtling toward a fiery fate, Peter stoically accepts the inevitability of death (“I’ll be a ghost and come and see you! You’re not frightened of ghosts, are you? It’d be awful if you were.”) and relays a few final messages for June to pass along to his mother and sisters before bailing from the craft. Continue reading
Midnight Mary: Ricardo Cortez’s 1930s Tuxedo
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Ricardo Cortez as Leo Darcy, sociopathic gangster
New York, Spring 1933
Film: Midnight Mary
Release Date: June 30, 1933
Director: William A. Wellman
Costume Designer: Adrian (gowns)
WARNING! Spoilers ahead!
Background
When Midnight Mary was streaming on the Criterion Channel last year, I was impressed not just by the well-tailored costumes worn by its male characters on both sides of the law but also the amount of dialogue within this 74-minute pre-Code classic dedicated to discussing menswear, whether that’s a a lawyer’s butler modeling his new dressing gown or an underworld mook fishing for positive feedback about his new tuxedo only to receive conflicting criticism about the length of his jacket.
The movie centers around the titular Mary Martin (Loretta Young), whose hard life as an orphaned young girl led to her acquaintanceship with the smooth-talking gangster Leo Darcy (Ricardo Cortez) by her late teens. One of the most popular actors of pre-Code Hollywood, Cortez died 48 years ago today on April 28, 1977. Continue reading
The Departed: Jack Nicholson’s Seersucker Sport Jacket
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Jack Nicholson as Francis “Frank” Costello, sadistic Irish-American mob boss
Boston, Spring 2007
Film: The Departed
Release Date: October 6, 2006
Director: Martin Scorsese
Costume Designer: Sandy Powell
WARNING! Spoilers ahead!
Background
With 12 Academy Award nominations (and three wins), today’s birthday boy Jack Nicholson remains the most-nominated male actor in Oscar history. Following a prolific career that began in the late 1950s, Nicholson delivered one final characteristically intense performance in The Departed (2006), his first—and, given his decades-long retirement from acting, only—collaboration with director Martin Scorsese. Continue reading
The White Lotus: Lochlan’s Tombolo “Reptile Dysfunction” Full Moon Party Shirt

Sam Nivola as Lochlan Ratliff on The White Lotus, Episode 3.04: “Hide or Seek”. Photo credit: Fabio Lovino.
Vitals
Sam Nivola as Lochlan Ratliff, timid and self-questioning high school senior
Ko Pha-ngan, Thailand, Spring 2024
Series: The White Lotus
Episodes:
– “Hide or Seek” (Episode 3.04, aired 3/9/2025)
– “Full-Moon Party” (Episode 3.05, aired 3/16/2025)
– “Denials” (Episode 3.06, aired 3/23/2025)
Director: Mike White
Creator: Mike White
Costume Designer: Alex Bovaird
WARNING! Spoilers ahead!
Background
This weekend, revelers gathered on the Thai island of Ko Pha-ngan for the monthly Full Moon Party, a celebration that coincided this month with the start of Songkran—the vibrant three-day festival observing the Thai New Year. While the April Full Moon Party is often the biggest of the year for this reason, the 2025 celebration is especially significant as it markst he 40th anniversary of the first Full Moon Party on Haad Rin Beach in 1985.
The intersection of Songkran and the Full Moon Party was depicted on the most recent season of The White Lotus, which ended last Sunday. While most characters from the ensemble cast were removed from the central Songkran action, the privileged Ratliff brothers Lochlan (Sam Nivola) and Saxon (Patrick Schwarzenegger) joined their new friends Chelsea (Aimee Lou Wood) and Chloe (Charlotte Le Bon) on the island for a night of neon-lit chaos and self-discovery.
Among The White Lotus‘ characteristically excellent ensemble cast, the third season offered a breakout performance for 21-year-old Sam Nivola as Lochlan, the shy youngest sibling navigating the uncertain space between adolescence and adulthood and the masculine and feminine forces in his family. Continue reading
Bill Paxton’s Sea Exploration Style in Titanic
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Bill Paxton as Brock Lovett, deep-sea treasure hunter
North Atlantic Ocean, Spring 1996
Film: Titanic
Release Date: December 19, 1997
Director: James Cameron
Costume Designer: Deborah Lynn Scott
WARNING! Spoilers ahead!
Background
This week marks the 113th anniversary of the RMS Titanic sinking in April 1912, a tragedy that has captivated generations—and resurfaced in the public consciousness with every new discovery or disaster, including the OceanGate submersible incident that dominated headlines (and memes) in June 2023.
Forty years ago in the summer of 1985, the wreck of Titanic was discovered by Dr. Robert Ballard, reigniting global fascination and eventually inspiring James Cameron’s 1997 blockbuster. For Cameron, the shipwreck was more than a cinematic setting; it was, as he described, “the Mount Everest of shipwrecks.” Despite being “almost past the point” of considering a real undersea expedition, Cameron sought Hollywood funding for what was, at its heart, a chance to dive to the wreck. “Secretly, what I wanted to do was I wanted to dive to the real wreck of Titanic. And that’s why I made the movie,” he admitted to laughter and applause during a 2010 TED Talk, earning laughter and applause. Across 12 dives, Cameron spent more time with Titanic than most of her actual passengers.
Cameron’s longtime friend and collaborator Bill Paxton embodied this pursuit of the ship in his role as Brock Lovett, the modern-day treasure hunter leading the expedition to find a priceless necklace rumored to be buried aboard the ship. Charismatic yet opportunistic, Brock could be a stand-in for Cameron himself, driven by both adventure and the promise of a big payday—be that a sunken treasure or a billion-dollar box office. Paxton’s character even mirrors history; his reaction upon discovering Jack’s drawing of Rose (“I’ll be goddamned”) echoes Dr. Ballard’s exact words upon locating the wreck in 1985. Continue reading
Johnny Depp as Cry-Baby
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Johnny Depp as Wade “Cry-Baby” Walker, rebellious high school hellcat and rockabilly singer
Baltimore, Spring 1954
Film: Cry-Baby
Release Date: April 6, 1990
Director: John Waters
Wardrobe & Makeup Designer: Van Smith
WARNING! Spoilers ahead!
Background
Just over three weeks after its premiere in John Waters’ native Baltimore where the film—among so many of his others—is set, Cry-Baby was more widely released 35 years ago tomorrow on April 5, 1990 in more than 1,200 theaters across North America—an unprecedented opening for the offbeat director.
This wider release indicated the film’s more mainstream appeal, lacking the more scatological elements of Waters’ prior works like Pink Flamingos (1972) while retaining enough of the director’s signatures to make it an effective introduction to his work. Despite this increased accessibility and some critical acclaim, Waters’ camped-up tribute to ’50s teen romances (think Grease for weirdos) still failed to find a solid audience at the outset. It wasn’t until years after its initial release that Cry-Baby developed a cult following among much of Waters’ other movies. Continue reading










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