As for the ideological and artistic value of the film, its outstanding position in the history of modern film has little to do with me. Here, I don’t want and have no ability to discuss it. What I see is only the wonderful colors and mysteriousness of the film. Monica Witty.
Italians are natural tailors and singers, just as Germans are poets and philosophers.
The Italians' sensitivity to color and love for lines, nurtured by the Mediterranean sun, is an important source of thought for the Renaissance. I think it is this unique worship and sensibility for beauty that has made the classic Italian fashion industry.
Italians love beauty, love the beauty of others, and their movies are the most beautiful movies in the world. To say that it is beautiful, on the one hand, belongs to the category of emotions. Those neo-realistic films that permeate tears express people's most beautiful and sincere emotions. Even in these plain black and white films, one can feel the passion and depth of Italians.
On the other hand, Italy has a tradition of aestheticism. Both Fellini and Antonioni are obsessed with beautiful faces and discover the most beautiful part of the human body, just like all Italian men with nasty eyes. Imagine a person whose eyes have been spoiled by Raphael and Titian since childhood, who has amazing insights into colors and the human body.
In an interview, Monica Viti refused to take an angled shot. She said that Antonioni knew the most beautiful part of her and the angle of the shot, so she guided journalists who were at a loss. It can be seen that the Italians' pursuit of beauty is almost pathological.
Her face and Jeanne Moreau's images in Truffaut's works have been given modernist symbols. In fact, these two women are not that amazing beauty, but have an elusive, mysterious, decadent, and ruinous beauty. This post-industrial beauty is exactly what the masters think of modernity. goddess.
Witty has light brown, fluffy hair, her makeup in the film is also the style of the 60s, emphasizing the eyes, thick eyelashes, pale face, nude lips.
Her eyes are very characteristic, both the sexy of Lauren Bakau and the sadness of Streisand, and her plump lips indicate a strong desire for affection.
She appears in this film as a typical high-class housewife in the 1960s, wandering boringly in the smoke and ruins, like a lonely soul.
This Lonely Soul's costume is so beautiful, most of the clothes are not affected by time and fashion, so it is a classic, and I have to read it again and again. Another classic costume was in Marienbad last year.
The green coat that conquered people's eyes for the first time is an oasis in the desert, and it is also the most humane part of the film.
This green tulle coat is straight cut---all the heroine's clothes in the film are modern straight cuts, not emphasizing the curves and allure of women, but a neutral and elegant style. The neckline is decorated with a round crystal corsage with a small black handbag. Obviously, this is the dress of a classic European and American middle-to-upper intellectual female, with a cordial and elegant style, reflecting a woman's good education and background.
When going out with her husband and colleagues, she wore a purple dress with a black long scarf. The mystery and melancholy of purple itself, Sano emphasized the loneliness and insecurity of black, which made the heroine want to express. The disappointment of the emotional desert and the inner sorrow are undoubtedly obvious.
Of all the clothes, I think the most realistic value is the camel lambswool lapel and buttoned windbreaker.
As soon as I saw it, I immediately thought of the latest Burberry trench coat this year.
It is also the warm and intellectual camel that is popular this winter, with a turn-up sweater collar, but this season’s windbreaker is more fashionable, adding zippers and metal accessories with a neutral and handsome modernity, but even so, the windbreaker also shows the classic women. The gentleness still exudes irresistible charm.
Similarly, a long black scarf is tightly wrapped around her neck, looking so generous and elegant.
In addition to the above three pieces of clothing that I think are timeless and classic, there are also black jackets and brown corduroy coats, which are also very worthy of imitation. I secretly hope that I can find one in HM or ZARA.
In fact, when I watched "On the Cloud" for the first time that year, I was attracted by the elegant costumes of the protagonists in the film. Especially Sufi Marceau's dashing navy blue long coat, Innissast's camel coat, and finally Ilena Jacob's light green coat, I was fascinated by it. In the end, it was discovered that all the costumes of the film were provided by Armani, which is the case.
It seems that it is not surprising that in Antonioni's later years it was Muccia Prada who interviewed him. There is always something to do with fashion for such a beautiful Italian director.
Therefore, I always think that instead of buying fashion magazines plagiarized and imitated by editors with no artistic aesthetics in China, it is better to watch classic movies and look for fashion elements in them. That is the simplest and most direct response. Fashion copying, and learning fashion is the same as copying painting. You must start with the master’s work. I don’t mean that one who draws Mona Lisa a thousand times will become Leonardo da Vinci, but in this thousand times of copying , You always gain something, the higher the starting point, the better the effect.
Well, watching such a famous movie, but talking about a bunch of topics unrelated to the theme, this is also a kind of irony.
At the very least, I am going to buy a camel fur coat this winter to show my respect for the red desert.
View more about Red Desert reviews
