Posts tagged ‘fur coat’

2011/09/04

The Manton Crystal Fox

Barbara Stanwyck - The Mad Miss Manton, 1938

Barbara Stanwyck - The Mad Miss Manton, 1938

Sure, you’ve seen it before, but it’s a really nice shot of one of the most “famous” furs in silver screen history. This is the fur with top billing in a film with a very crowded marquee, perfectly deployed upon the shoulders of the lovely Miss Stanwyck.

I found this in a (very well named) set from Flickr, collected by a fetching lady with very fine taste in furs: Hollywood Fur Glamor

2011/07/31

Furs on TV – Moonlighting Seasons 1 and 2

Posting has been a little thin in these, the dog days of summer. Not that that’s an actual excuse, mind you, just sounds nice. In any case, I think this one may be a little popular. My stats are clear on one thing, readers like color, and readers love the 80’s. Hey I love both too, just a little trickier getting 80’s furs here, at least with televised sources. Which leads me to this, which isn’t from a televised source at all. They didn’t turn out as well as I’d hoped, but I’ll try refining my technique over time.

Moonlighting- The Series

Not to say that Moonlighting wasn’t televised, it certainly was, and I watched it. The story of a down-on-her-luck model/actress (Cybill Shepherd) with only one remaining source of income, a detective agency she didn’t know she had, and the rather free spirited guy (Bruce Willis) who ran the place solo until she showed up. Romantic tension abounded, cases were solved, and some very innovative television appeared from time to time. Then the writers screwed it all up. But that was season 3 and 4, and so my annoyance with the show shouldn’t be much of an issue here.

Moonlighting- The Furs

While the monetary woes of Madeline “Maddie” Hayes drove her to a day job at a detective agency, little about her home, and, most importantly, her wardrobe, suggested she was in any real financial trouble. No, Maddie generally looked the part of a model/actress, and she certainly didn’t have to sell her furs to make ends meet. Oh, what furs they were…

Gunfight at the So-So Corral”

This episode introduces us to the full length amber fox coat that receives quite a bit of screen time in this and another episode. It’s the coat that ends up in the credit sequence for Cybill Shepherd in later seasons.

This episode provides two fairly long sequences for the fox coat, which is, like every fur Maddie wears, a poster child for 80’s mega fox.

There’s a few good close shots of it as well.

Fur Runtime: 3:55

Read the Mind… See the Movie”

Up next is this equally ravishing crystal fox.

Like the previous episode, the coat is given quite the display, clocking in at nearly 3 minutes, with some great wide shots.

And closer shots as Maddie argues with David later. Them, arguing? I’m shocked!

Fur Runtime: 2:41

Next Stop, Murder”

The full length amber fox fur coat is back, and, if you didn’t get enough of it in “Gunfight at the So-So Corral,” then “Next Stop, Murder” will help you out… a lot.

The coat clocks in at about 8 minutes of screen time, almost a fifth of the episode.

She wears it dangling from her shoulders most of that time, as we’re treated to it from most every angle and width of shot.

Multiple close ups provide very nice views of Miss Shepherd’s face framed by the fur.

Fur Runtime: 7:30

Brother, Can You Spare a Blonde?”

Season two starts off fairly light, with what may be the crystal fox coat seen in “Read the Mind… See the Movie” in a confined driving shot.

The coat is only seen twice, once when she’s driving, once when she’s a passenger. Not all that great an episode by any stretch of the imagination.

Fur Runtime: 0:40

Knowing Her”

Things don’t pick up, much, as season two rolls on. While Miss Shepherd did most of the fur wearing in the series, it certainly wasn’t exclusive to her. This rather fast shot of a quintessential 80’s prostitute, wearing fox, of course, isn’t very long, but is appreciated for keeping the stereotype alive.

Fur Runtime: 0:18

“The Bride of Tupperman”

Things get back on track with this episode, and a full length lynx fur coat that receives all the attention it deserves.

There’s a few close ups, and the coat is seen from all angles.

Plus, for those who may be interested, she is wearing some gloves with lynx.

This was the second season’s second best fur episode overall.

Fur Runtime: 2:45

“North by North Dipesto”

In keeping with the opening up of mega fox fur coat wearing to those not Cybill Shepherd in season two, there’s reliable Agnes Dipesto’s shot at glamor with this episode.

While Agnes Dipesto (Allyce Beasley) doesn’t quite fill this fur out the way Maddie might, she makes a go of it.

It becomes the focus of a joke as Agnes’ encounters a man who (dashingly) removes it and tosses it over a railing where it lands on a chatting couple.

Fur Runtime: 0:20

“Every Daughter’s Father Is a Virgin”

Season two’s final fur is a good one to go out on. This is a different full length white fox coat, and it is worn a bit more appropriately by Maddie Hayes. It also receives the screen time such a large fox merits, a good 2 minutes.

At no point in any episode has Maddie worn anything but a huge 80’s fox fur, and for that we can certainly appreciate the dedication of the show’s costuming department.

You can tell this a different white fox from “North by North Dipesto” because of the chevron pattern to the pelts in back, which the previous white fox lacked.

Fur Runtime: 2:15

Moonlighting‘s overall episode ratio isn’t quite the impressive stat of a Dynasty or Dallas, but the quality of furs when they appear is exquisite. As I said, Maddie Hayes has only one kind of fur in her closet, and that’s big. There’s little doubt these wonderful fox and lynx coats hailed from the mid-80’s. Later seasons didn’t have quite so much fur, but when they did, they were still uniformly large. That certainly makes Moonlighting a worthy addition to any collection.

Full Gallery: Fur Fashions of Moonlighting’s 1st and 2nd Seasons

2011/06/12

More Awful White Fox

Irene Dunne, ''The Awful Truth'' 1937- publicity still

Irene Dunne, ''The Awful Truth'' 1937

It’s clever title week! Sometimes relevancy has to take one for the team.

That being said, this is quite the nice still shot of that most “well known” of furs from 1937’s The Awful Truth. Displays excellent highlights on Miss Dunne’s face and the fur.

2011/06/05

Furs on Film – I’ll Take Romance

Hey, I should post one of these “review” things… Admittedly the allure of just tossing out something I find on Flickr each week is pretty strong, but this is what I’m “supposed” to be doing, after all. This entry is from the late 30’s, that most special of times, and this film is another fine example of why.

I’ll Take Romance – The Film

This film is based around the romance of kidnapping. Just one of the many felonies made attractive by Hollywood’s lighthearted romantic comedies over the years. Fonts of juvenile delinquency worse than comic books, they are. Elsa Terry (Grace Moore), budding opera singer, is contracted to do a show in Buenos Aires, but isn’t going thanks to a better offer in Paris. James Guthrie (Melvyn Douglas), responsible for getting her to the Buenos Aires show, meets and ends up romancing her, but she still refuses to go. Elsa enjoys his company and, forewarned, plays along when Guthrie puts her on the “wrong” ship. That’s only the fake kidnapping in the film, there’s more real ones later. Lighthearted-romantic-comedy-immunity applies, though, and everyone lives happily ever after, instead of, you know, in a supermax facility.

I’ll Take Romance – The Furs

More Broadway divas in fur here, as actual-Broadway-turned-Hollywood star Grace Moore does almost all of the fur wearing, and all of it you’d want to see. Grace’s character has an “aunt,” you see, the kind scraped up from the leftovers of Marie Dressler’s fat and wrinkles (Helen Westley), who disgraces a silver fox fur for a mercifully brief few seconds early in the film.

Elsa’s first fur is not only refreshingly unique, but given quite a bit of screen time.

The silver fox fur trim on this dress is thick and heavy, just the way I like it.

One might say the 80’s big shoulder craze had nothing on this.

How you really boost your on-screen fur time? Easy, if you’re a musical, you do a number.

Elsa sings wearing the silver fox, accumulating an impressive seven minutes and some change in the big fur trimmed dress.

This next one is kind of tricky, because, while it suggests that it is pretty impressive, the age old quandary of black fox at night rears its… well, not exactly ugly… mostly just “hard to make out” head.

Most of the time she’s wearing this it’s in the dark backseat of a cab or on the equally dark deck of the ship. However, very briefly, she enters her stateroom and we get a better idea how nice it is.

Sadly this is a very short scene, but it does look rather nice for these few seconds we can actually make it out.

To the marquee fur, a white fox cape, as usual. Also a pretty good example of why white fox should always be your “go-to” choice for evening fur filming. Because… you can see it.

And this one is, like most from this period, rather hard to miss.

Melvyn’s getting himself a handful. Easy there, cowboy.

This is a good sequence, giving up almost 3 minutes of white fox goodness. Sadly, Melvyn’s also in frame the entire time.

The film doesn’t stop there, providing this shorter tidbit on the dock where Grace appears in a coat with a large fur collar.

This is fairly short, and while a very nice collar, it’s not a particular loss that we don’t see it for very long.

To cover absolutely everything, there is another sequence near the end where Grace wears a different fur trimmed dress, but there’s not much fur and it’s very hard to see. Hard to film black fur even in the daytime. Even without this sequence the ratio clocks in at an impressive 16%, so there’s no reason to pad the totals with it. The white fox cape is virtually definitive of the period, and makes the film worth a look all by itself.

Fur Runtime: approx 14 minutes
Film Runtime: 85 minutes
On-Screen Fur Ratio: 16%

Full Gallery: Fur Fashions of the 1937 film I’ll Take Romance

2011/05/01

Furs on Film – Rockabye

Well, I was going to post this last week, but it kind of sucks to roll out of bed and suddenly discover the workflow you’ve used for three years now suddenly fails. Ah, codec drama! I have no idea what screwed it up, and the prospect of figuring it out is daunting, so I did a lazy workaround that involves moving mountains of data on an external hard drive, and… What, you don’t care? Right, right…

Then how ’bout one of the single biggest fox collars committed to the screen?

Rockabye – The Film

This early 30’s Constance Bennett flick, she plays Judy Carroll, a Broadway actress who testifies for her former boyfriend, an embezzler. While I’m not sure about the particular legal statute involved here (probably because they made it up), doing so ends up costing her custody of an orphan she had planed to adopt. She drowns her sorrows with a trip to Europe with, (le sigh) her old, rotund, alcoholic mother, and meets a playwright with an eerily autobiographical play called, wait for it: Rockabye. Judy theoretically falls in love with him and wants to take the play back to Broadway, but, in a twist that may not have been quite so cliché in 1932, ends up with her loving manager instead.

Rockabye – The Furs

As famous Broadway actress Judy Caroll, Constance Bennett does most of the fur wearing, and almost all of the fur wearing you’d particularly want to see. For the sake of accuracy, if not the level of bile in my stomach, I should mention Judy’s mother also wears fur. She’s played Jobyna Howland, a woman every bit as young, thin, and attractive as Marie Dressler. Okay, that’s a little unfair to Jobyna, she’s maybe 2% more attractive.

How do you get your dirty, embezzling, ex-boyfriend acquitted? You go to court and testify in this:

He’d be in the clear if I was on the jury.

Anyone who dated a woman with this kind of fashion sense is a-okay in my book.

Not sure how else to put this, but: I really, really like this collar.

I realize this isn’t exactly the insightful level of commentary you’ve come to expect from me, but, honestly, I’m a little distracted.

Now, the collar is pretty much grade-A, but let’s not forget what’s been in her lap the whole time. As she leaves the stand, she helpfully hefts that big barrel muff so we get good look at it.

The cherry on top of this is that not only is the quality amazing, but it’s not merely a fleeting glance. The courtroom sequence provides over 3 minutes of footage alone.

It’s followed by about 2 more, most with this shot as she’s riding home from the courtroom. Now, if I were to find fault with any of this, it’s that she spends the entire time in the backseat doing absolutely nothing with that cigarette holder in her hand.

She returns home where we meet her soon to be ex-orphan for a little heart-string tugging. This shot illustrates a point I made in an earlier update. The better the collar, the less of the head you can see from the back (or the side, for that matter).

There’s other fur in the film? Oh, right, yes, there is. Not that I think it matters at this point. There’s this probably mink item that I’ll call a wrap since “bib,” while seemingly more accurate, doesn’t sound all that fashionable.

For a film that starts out so spectacularly, it briefly descends into the depths of mediocrity with Constance Bennett in this most basic of full length mink coats. This fur is given all the screen time it deserves, which is: not much at all.

Finally, in what would have been a fur with a pretty decent collar in any other film but just ends up being an afterthought here, we see Virginia Hammond in this silver fox trimmed wrap.

It is a very nice, full-body trim, one that I might ordinarily lavish a bit more attention upon, but, really, you can just scroll up and call it even.

While the full Fur Ratio is 19%, and that’s pretty darn impressive, the only fur that really matters is actually on screen for a total of five and a half minutes. That makes the “Awesome Fur Ratio” about 6%, but that’s still not shabby. That five and a half minutes is filled with closeups that lavish the appropriate amount of attention on Constance and that amazing outfit.

Fur Runtime: approx 14 minutes
Film Runtime: 75 minutes
On-Screen Fur Ratio: 19%

Full Gallery: Fur Fashions of the 1932 film Rockabye

2011/03/20

Furs on Film – Snapshot

How bout that Ozploitation flick? This one is fun for a few reasons (not to actually watch, mind you). It’s one of the first I’ve posted with a unique combination of multiple release titles and a severed pig’s head. TCM showed it as Snapshot, as that was the name it was released under in its country of origin, Australia. It can also be found under the title One More Minute (as in the IMDb), and also as The Day Before Halloween or The Night After Halloween, both a transparent attempt to capitalize on the recent success of Carpenter’s film in the states at the time.

Should note the quality of the caps is a little lower than I’d like. Amazingly, the version TCM showed was a 16:9 ‘zoom’ of a 4:3 pan-and-scan. Basically, you’re looking at the least amount of actual film possible, like seeing a movie through a keyhole.

Snapshot – The Film

Sigrid Thornton stars as Angela, a hairdresser who becomes friends with Madeline, an actress played by Chantal Contouri. Madeline convinces Angela to drop the hairdresser gig and become a model. On a shoot for a cologne ad we get to see both of Angela’s talents (this one is rated R, kids). Angela becomes the next big thing in Australian modeling, but she has some baggage with an ex boyfriend who follows her around in an ice cream truck and may or may not be trying to kill her. The ex isn’t the only suspect, and it wouldn’t be a “thriller” if he was. Madeline ends up liking Angela… a lot, (a lot, a lot), further mixing things up. Apparently there’s a twisty sort of ending, but I can’t be sure since Chantal wasn’t wearing any furs there so I wasn’t paying attention.

Snapshot – The Furs

Chantal Contouri as the actress / model who propels Angela into what passes for for the film’s plot also wears all the fur in the film. Not only that, but at least half time she’s wearing those furs she’s smoking as well.

Madeline and Angela meet at the hairdressers. Madeline enters in this so very 70’s horizontally striped red fox jacket.

Red fox was particularly popular in the 70’s it seems. Not my favorite natural shade (I prefer far more unnatural dyed shades of red), but Madeline has a couple in her fur wardrobe.

At the shoot, just before Angela and her chest meet the celluloid, Madeline gives her a little pep talk, like the concerned, supportive friend she is. This is her other major fur in the film, though again, hard to see thanks to the cut. I do enjoy the fact that she’s basically “popped the collar” here.

Here we are the club, a location with which viewers of the film will become quite familiar. The club scenes are a perfect illustration of why I take the time to edit clips in the first place, as otherwise they’d be unbearable. It’s here we find Madeline in her other red fox coat, in a long sequence that’s interrupted routinely by a horrible cabaret singer.

Smoking in her furs, Madeline watches Angela dancing in the club. The remainder of the sequence may be less-than-favorably be referred to as “filler,” but this is certainly my favorite kind.

After minutes of casual, detached smoking, Madeline intervenes when it appears Angela has met a new male friend, seriously inhibiting the rest of his evening. There may be subtext to this, but it’s totally lost on me.

Leaving the club, we see this is full length red fox coat, unlike the one from earlier in the film.

After more of the things that pass for events in this film happen, we find ourselves back at the club. Madeline finds Angela again, striding through the collected patrons in a long white mink coat with a cigarette holder perched high in her right hand. I like where Madeline is going with her fashion choices.

The cinematographer and the broadcast display issues contrive to make this more difficult than it should be, but we do get half a closeup of Madeline smoking with her cigarette holder in the white mink. This one was all too short.

If you were hoping to get a better view of the ‘pep-talk’ fur from earlier, here it is. This walk and talk gives a good chance to take in the fur, which I’ve studiously avoided naming because I’m not entirely sure what it is. Opinions are welcome.

Brief closeup of Chantal Contouri’s character framed with the large collar.

Back at the club… again, with Madeline smoking in the same fur coat, this time mostly in a background shot.

Finally we see the same fur one last time as Angela visits Madeline on the set, finding her relaxed with her fur and, yes, smoking once more. Seriously, even I have to say you should probably cut back a bit Maddy.

Yet another little obscure fur fashion gem that TCM aired, along the lines of Darktown Stutters. Granted, I doubt they were airing it because of the furs. Great examples of 70’s furs in this, and yes, I admit Madeline’s bad habit is one I enjoy viewing, from a distance, at least. Since there’s still no 70’s or 80’s nostalgia channels yet, can’t pass up the opportunity to post these when I find them. The ratio isn’t particularly great, but the quality definitely makes up for it.

Fur Runtime: approx 9 minutes
Film Runtime: 92 minutes
On-Screen Fur Ratio: 10%

Full Gallery: Fur Fashions of the 1979 film Snapshot

2011/03/06

Furs on Film – Lady with a Past

This week we have an entry from 1932 that, considering the ratio it racks up, I’d have preferred it be shot in 1938. That’s a bit of a quibble, as it has some good furs, and the viewer is certainly able to take their time and enjoy them. Besides, it was either this or a 70’s Aussie exploitation film TCM probably showed by accident or something. I’ll get to that one later.

Lady with a Past – The Film

Constance Bennett stars as Venice Muir (a name someone should probably use in a future exploitation film), one of those rare non-madcap heiresses from the 30’s. Venice is not exactly “left at the altar,” but has her elopement to Paris canceled by playboy Donnie Wainwright (David Manners). As, obviously, Donnie is totally not a jerk, she cooks up a plan to follow him to Paris, make him jealous, and get him back. She is aided by Guy (Ben Lyon), an employment challenged individual who becomes her fake gigolo. Since this isn’t a 1980’s romantic comedy, she doesn’t end up with Guy; she gets her man Donnie in the end.

Lady with a Past – The Furs

Constance Bennett does most of the fur wearing in the film, and boy, is there a lot of it. She’s helped out by a couple others, but their contributions are slim compared to hers. In general the fur fashions are quite exemplary of the early 30’s, where designers were still ramping-up to the glorious excesses of the late 30’s.

We start with this red fox stole. I don’t care for the more common silver fox variant, so making a red fox version doesn’t help much. You can also note the very small fox trim on the dress of Lola Goadby (Astrid Allwyn) opposite Venice.

Speaking of which, there’s that exact silver fox stole on Ann (Merna Kennedy). She’s visible in this long sequence for only a few seconds, but those few include this reasonably good shot.

Before Donnie dumps her, Venice arrives to a party in this long, sable trimmed ermine coat. My chief problem with ermine is that it’s not fox.

Cut to Paris, where Venice meets Guy and eventually ends up hiring him. She’s hanging out in a cafe in this fox trimmed outfit.

This is one of the two furs the film allows the viewer to indulge, as the entire sequence provides almost four and half minutes to take it in. It is sprinkled with fine close shots such as this.

To the second fur we’ll be seeing a lot, the linchpin of the entire film, a short jacket with a rather agreeably large collar and cuffs. I’m going to say this is probably a dark sable, though it could be black fox.

The fur is onscreen for about 10 full minutes, and that is amazingly impressive even for this decade.

This illustrates a good rule of thumb when designing fur collars, the less you can see of the back of the wearer’s head, the better.

As it is onscreen so long, we do get a few fine close shots to study it further.

While the dark fur trimmed jacket is the film’s “big” fur, it’s hardly done. As Venice is building her rep as the most desirable woman in Paris, she’s in quite a few more furs. Can’t say this is a favorite, but I’m sure others can appreciate the short mink cape.

Later there’s a poorly filmed, sort look at this fox trimmed coat. Another reason to wish it was 1938, this would probably have been all fox.

Yet more, this blue fox trimmed top that also has some small cuffs that can be seen later.

She meets up with Lola again upon returning to New York. Lola is wearing… a fur coat. Not sure what kind of fur that is, but I can at least be sure it’s fur. Could be some form of rabbit.

Finally, the end of the film gives us this, a long black and white ermine fur coat. This is where she and Donnie finally get together.

Another one for the missed-opportunity pile, the fashioning of the coat is superb, with a high collar and full sleeves, but the use of ermine mitigates that. Even mink would have been a better choice here.

Lady with a Past clocks in at 39% on-screen fur ratio. That is almost four times the rough average of 10% I just sorta made up based on what I recall from all the previous updates. So, for over a third of the film, you’ll be seeing someone wearing a fur. I can, and have, quibbled over the kind of fur in the film, but if you’re a little less picky than me (and I sense many, many are) then this probably goes into the “must have” pile.

Fur Runtime: approx 31 minutes
Film Runtime: 80 minutes
On-Screen Fur Ratio: 39%

Full Gallery: Fur Fashions of the 1932 film Lady with a Past

2011/02/13

Furs on Film – Fools for Scandal

A small gem of a box office bomb from that most magic of years, 1938, that features what could have been a bit of a Mad Miss Manton moment, but misses the mark a bit. Still, decent selection of good furs here with the good sense to save the best for last. Hope I’m not overselling this one…

Fools for Scandal – The Film

This is the story of movie star Kay Winters (played by movie star Carole Lombard) and Rene (played by some Belgian guy) and how they fall in love despite both being privileged rich people pretending to be poor people. Kay’s cover is blown early, and Rene ends up following her around until she hires him as a cook. Love blooms of course, though Kay has another suitor whom she intends to marry, she and the disguised marquis eventually end up together. That would end up making her a marchioness, which is pretty much the most uncool sounding of all feminine noble ranks. The Spanish got it right by going with marquesa.

Fools for Scandal – The Furs

While movie star Kay is the main character, she doesn’t do all the fur wearing. Isabel Jeans plays noted gossip, and cause for the title of the film, Lady Paula Malverton, and provides her share of fur fashions as well.

In fact, we start off with Lady Malverton hosting a party in this mink stole. Down in the corner there is “Jill” (Marcia Ralston) wearing a silver fox wrap that is not well filmed at all. Bit of a disappointment.

Lady Paula and Jill show up later as the action has moved from Paris to London. The fox trimmed cape on Isabel Jeans gets a nice chuck of screen time, but Jill’s really long haired jacket is quickly forgotten.

Black fur at night strikes again. At least the trim on Lady Paula’s outfit is easy to see.

There’s a long sequence that features Isabel Jeans’ character snooping around Kay’s London home while wearing the fox trimmed cape.

There are a couple decent close shots while wearing it.

Now we come to the part that, while promising, was ultimately a little disappointing. Here we see Kay relaxing in bed with a mink trimmed robe. She is about to have some visitors…

…starting with Lady Malverton in this red fox stole.

She is quickly joined by quite a few other ladies who all happened to be walking their dogs and decided to drop in, and gossip.

Lather, rinse, repeat, until there’s a quite the collection of ladies in some variety of fur all lined up at the foot of Kay’s silk sheets.

Sadly, the furs here aren’t all that spectacular, especially for a year that gave us The Mad Miss Manton. I like the idea, but the costume designer didn’t go far enough with it.

This is the most complete shot of all the girls who crowd into Kay’s bedroom. Lot’s of fox trim and a couple full coats of “not-fox”. Many even have no furs at all. Simply not acceptable.

Fortunately the films narrative sense as regards fur fashion is spot on, providing Carole Lombard in this coat as the climax.

Lombard looks lovely this this thick, shaggy fox coat. It’s so shaggy I won’t discount the possibility that it’s coyote.

There’s a good two minutes of screen time devoted to this fur, a solid performance. Interestingly, the coat’s construction is somewhat odd, as if put together by a few enormous pelts with a big gap between them.

Makes for an odd look from the back, as it appears she’s wearing it backwards.

From what I found in my meticulous research on this film (read the Wikipedia article, natch), this is not considered Carole Lombard’s finest film. It’s on the exact opposite end of that spectrum, in fact. So bare that in mind if you’re actually planning on watching it without the fast-forward button firmly depressed. I found it disappointing for different reasons, of course. It did redeem itself in the end there with that big fluffy fox coat, which is probably worth the price of admission alone.

Fur Runtime: approx 8 minutes
Film Runtime: 80 minutes
On-Screen Fur Ratio: 10%

Full Gallery: Fur Fashions of the 1938 film Fools for Scandal

2011/01/30

Furs on Film – Father Takes a Wife

Back to my favorite part of the 1940’s, the bit where costume designers didn’t get the memo about how “fur is boring this decade.” Father Takes a Wife is from 1941, and falls into that period quite nicely. This was Gloria Swanson’s last film before a nine year hiatus that would eventually lead to her “comeback” role in Sunset Blvd. This was Swanson at 42, and while not quite the young hottie from her silent film days, she still cuts an impressive figure.

Father Takes a Wife – The Film

While I can’t really call this a divorce film, the plot veers close to it. Fred “Senior” Osborne (Adolphe Menjou), a shipping magnate, decides abruptly to get married to actress Leslie Collier (Swanson) and turn the company over his son, Junior. Don’t really get a lot of films about shipping magnates these days. The marriage is a little rocky as Senior turns out to be the jealous sort, and things don’t get easier when he invites a stowaway Latin singer they met on their honeymoon home with them. Hey, that’s what anyone would have done…

Father Takes a Wife – The Furs

As a successful actress and soon to be trophy wife, Leslie has quite the wardrobe. Swanson’s Wikipedia entry suggests her early history in silent film was as the first “clothes horse,” a tradition this film attempts to continue.

In a shot as brief as the fur deserves, Leslie heads off to her farewell performance in this 40’s mink. Thankfully it’s around for only about 5 seconds.

That farewell performance is apparently set in a cold place, as her stage outfit includes… this. Now, I don’t know what ‘this’ is, but I do know I like ‘this’.

Gloria Swanson putting on a muff that matches the coat and hat. That is all.

What’s odd about this fur is that I can’t recall seeing anything like it anywhere else. It’s like a mutant fox with extremely long black guard hairs.

We see it on stage in a very brief, very wide shot before she takes it off, leaving only the hat.

Which gets a close up, again, not really suggesting what kind of fur it is. I’m sure someone knows and may help us all out in the comments section. Or everyone will just skip reading all this noise and go right to the gallery page, which my analytics suggests is, in fact, the case.

Intercut with the final performance we see in the audience Leslie’s new family on her husband’s side, including Junior’s wife, Enid (Florence Rice), wearing a white fox fur wrap that is given the attention it deserves after the show.

Enid and Leslie smile at one another. The mystery fur is in the background.

This sequence could be a little longer, but the shots of the white fox are well done.

Returning from the honeymoon cruise, stowaway in tow, Leslie has a large dark fur coat.

This one is also a little quick, and not as well shot as should have been.

There’s a decent but quick full view as they all return home. The coloring in the sleeve suggests it may be fox, but can’t be 100% sure.

After the aforementioned stowaway gets kicked out of the aforementioned home, he shacks up with Junior and wife Enid. Enid takes him in wearing this very full fox jacket.

Not a common length for the time, but well done, and well shot.

If the stowaway is looking vaguely familiar, that’s because it’s Ricky Ricardo, er… Desi Arnaz in an early film role.

This one is a little short in the runtime department, but has a very nice variety of furs. Definitely could have used some rewrites to keep them in frame a little longer, but considering it was 1941, getting this many was amazing enough. There’s a couple more foxes on the character of “Aunt Julie” played by Helen Broderick, who wasn’t quite up to making the cut in the “looking at for any extended period of time” department. Still, they wouldn’t have done much to pad the runtime, and one of them was that standard 30’s silver fox stole I already dislike. I suppose pairing the two makes sense now.

Fur Runtime: approx 6 minutes
Film Runtime: 79 minutes
On-Screen Fur Ratio: 8%

Full Gallery: Fur Fashions of the 1941 film Father Takes a Wife

2010/11/21

Marilyn Monroe in Chinchilla

Marilyn Monroe

Originally uploaded by Famous Fashionistas

I confess I’m rather ‘neutral’ on Marilyn Monroe. I agree that she is attractive, but never had any particularly greater appeal to me beyond that. If there is some ‘objective’ standard of attractiveness, she certainly meets it, but I’ll take Garbo any day. In terms of her approximate contemporaries, I’d prefer Natalie Wood.

Also, like most actresses that achieved super stardom in the 50s and 60s, her fur wardrobe was a bit inhibited by the fashions of the time. This is a shot from 1962 in Vogue, displaying a fur that’s reasonably rare in any era: chinchilla.

That’s due mostly to the cost, I reason. I will say this, if you’ve never actually “experienced” chinchilla, at least do yourself a favor, drop into your local furrier, assuming you have one, and see if they have a chinchilla coat. You’re in for a unique and powerful tactile experience.