Posts tagged ‘Fur in Film’


Furs in Film – Tin Pan Alley

The actual Tin Pan Alley is on its way to becoming some hi-rise. The alley’s history as a source of popular music from the late 19th and early 20th century meant it eventually figured into the new-born film business. The one in the 30’s and 40’s, not the current one. Maybe if was the center of a modern blockbuster, it wouldn’t be at the mercy of very real blockbusters. Granted, the time that a musical could be a blockbuster is pretty much past.

Tin Pan Alley – The Film

Tin Pan Alley, the 1940 film version, follows star Katie Blane, played by Alice Faye, and her sister Lucy (then up and coming Betty Grable) as they find fame and fortune with Tin Pan Alley songwriters Harry Calhoun and Skeets Harrigan. With the Blane sisters singing their songs, everyone is rocketed to fame and fortune. Until slightly more famous, and well dressed, Nora Bayes asks to sing one of Calhoun and Harrigan’s songs, one promised to the Blanes. The Blanes skip town leaving Harry and Skeets on the rocks as their fame fades and the end up joining the Army. Which is what most down-on-their-luck songwriters did back then. Happy reunions occur in France and, despite 3 or 4 years of hellish trench warfare summed up in about thirty second of stock footage no one manages to die in World War I.

Tin Pan Alley- The Furs

Another film from the “40’s” with great fur. This one is probably cheating, though. Maybe it hit theaters in January of 1940. Maybe it was the fact that the film is set in the mid to late 1910’s. The foxes are a bit too large to really work for that period. Not that I’m complaining. This is one case where a little Hollywood costume excess works in our favor.

Things only really get rolling after Harry and Skeets are on top of the world with the help of the Blane sisters and the “other woman” shows up to poach their latest songwriting masterpiece. That would be the famous Nora Bayes, played by Esther Ralston.

Nora shows up in a fox trimmed cape with a large, matching barrel muff with tails. Not quite the same as Barbara Stanwyck’s from Lady of Burlesque, but the combination is very nice indeed.

Nora gets her song, despite polite protests from one half of the songwriting team.

She calls back shortly, wearing this white fox trimmed dress. The trim forms a bit a circle around her arms. Certainly one of the more interesting uses of fox trim.

Apparently Betty Grable was written into the film as the younger sister at the last minute thanks to her success in Down Argentine Way, where she also wore some nice fur. Here she waits for sister Katie to return home in a large red fox trimmed coat.

Alice Faye wears a coat with black fox trim as she gets the bad news about Nora and the song.

Katie comforts Alice after getting the bad news. One supposes the heat in the lavish upscale apartment is on the fritz. Again, not that I’m complaining.

The years pass and the Blane sisters have found their own success in London. They learn Harry and Skeets have joined up with the Army and are in London before shipping out to France. They decide to see them and patch things up. Alice chooses a very nice fence-mending fur with this jacket with a huge white fox collar and cuffs.

They meet up at the docks. Miss Faye looks beautiful framed in this thick white fox fur.

The entire docks sequence is, per Hollywood cliche, drenched in fog. Muddies up the view of the fur from time to time, but Alice manages to shine through quite a bit.

Tin Pan Alley is actually one of the first films I ever tried doing caps on years and year ago. I remember struggling with the last sequence, as the combination of sweeping shots in the fog soaked docks made it a rather annoying one to cut one’s teeth on. Alice’s jacket would have been even more appealing if it were all white fox, but the size of the collar and cuffs made it almost indistinguishable from a full fur jacket in many shots.

The full Tin Pan Alley Fur Gallery.


Furs in Film – Night Shift

The 80’s, decade of mega foxes and power furs. Decade that, at the moment, it’s not really easy to find a whole bunch of people broadcasting content from. There are a few gems that appear, for whatever reason, from time to time. Like our next pick, which is notable primarily for the pure length of time the showcase fur appears on screen.

Night Shift – The Film

Henry Winkler spent a lot of time on TV as the Fonze, but like a lot of famous television personalities, was never able to completely translate that small screen success into the big screen. One of the more memorable attempts was Night Shift. At least, memorable to me, but perhaps not for the reason Henry Winkler wants.

Winlker stars as the standard troubled loser Chuck Lumley who, through circumstances that would never occur outside of an 80’s comedy, achieves self esteem and gets the girl. He accomplishes this via his new night shift co-worker Bill Blazejowski’s (young Michael Keaton) wacky plan of running a prostitution ring from the morgue in which they work.

Ah, 80’s hookers. If television and films taught me anything about them, they all wore really great furs.

Night Shift- The Furs

There are a variety of furs in the film Night Shift, though only one receives the kind of screen time it deserves. After their initial success in the world of pimping, Chuck buys his working girl’s a stake in a fast foot restaurant. They arrive rather bundled up in a variety of furs.

Also desperately searching for a springboard to film stardom from a popular television series, Shelly Long is Belinda Keaton, the hooker with a heart of gold, and a small silver fox jacket. Shelly’s fur wardrobe ramps up quickly with the success of their prostitution ring. This is her second fur, not a bad little jacket, but the main event is not far off.

This would that main event, a full length fox coat I believe is referred to as “indigo” or possibly bluefrost. Somewhere between crystal and silver, the fox plays for entire scenes in the film.

Not that I question Belinda’s financial acumen, but the reason this entire scene is played in that wonderful fox coat is the heat in her apartment doesn’t work. One would think with all her newfound “full length fox coat” money that would be simple to correct.

Not that I care, as this circumstance leads to Belinda and Chuck’s first kiss, and a rather drawn out scene in which they try to pull each other’s coats off but fail. If only it were that way in all films.

The tub shot, ’nuff said.

Naturally complications arise and Chuck is arrested. The girls come to bail him out on a cold winter’s night.

Love wins the day, as Chuck rescues Belinda from a life of prostitution and, presumably, gets some blood tests shortly after skipping off into the neon sunset.

Night Shift is a good example of a “long scene fur”.  Certainly unheard of in recent memory, the idea that entire scenes would play out with an actress in a full length fox coat was rare even in the 80’s.  Miss Long was not a particularly great beauty, but she manages to fill out the coat well enough.  A 1982 Morgan Fairchild would have done the coat justice, but then Morgan really didn’t play to the “heart of gold” type required for the film.

Here’s the full gallery: The Furs of Night Shift


Furs in Film – Love is News

Going from a famous, Oscar-winning films to something a bit more out-of-the-way. Like today, there was no shortage of cinematically pedestrian films produced in the 30’s. The studio system churned out film after film, and not all of them were destined for greatness, a fact the studios were well aware of. Fortunately, even these films were not lacking in the wardrobe department.

Love Is News – The Film

To demonstrate how otherwise unnoticeable this film was, it doesn’t even have a Wikipedia page of its own. In 1937’s Love is News, Loretta Young stars as Toni Gaston, who is one of the cinema’s most reliable creations for big fur wardrobes: an heiress. Pursued by reporter Steve Layton (Tyrone Power), Toni decides to strike back by announcing the two are engaged to be married and giving the “scoop” to everyone but Layton. Toni and Steve, naturally, end up falling in love and living happily ever after around 60 minutes later.

Love Is News – The Furs

Though the plot and film aren’t particularly noteworthy, the furs of 30’s heiress Toni Gaston are. She doesn’t quite give Miss Manton a run for her foxes, but she puts in a good effort nonetheless.

Steve Layton opens hostilities by tricking Toni into an interview upon arrival at the airport. She and gal pal Lois Westcott (Pauline Moore) both wear furs. Toni starts off slow in a rather conservative mink, while Lois gets the signature high lynx collar.

Lois uses her collar as a rather effective face mask to fool the rest of the press, until she’s found out when almost to the waiting taxi.

On the plane, Layton gets the interview with Toni, who smokes elegantly in her mink.

Lois, enacting her revenge for the airport deception, announces their fake betrothal in a silver fox trimmed wrap.

A car chase and jail time ensues, during which the multi-tiered silver fox trimmed wrap is filmed nicely. Here Miss Young speaks to her arresting officer, unable to convince him to let her go. Stern guy.

The back of the silver fox fur trimmed wrap, showing off the high collar and middle tier of fur while Toni appeals to the judge.

Lovely closeup of Loretta Young framed by the silver fox collar on the wrap. She is unable to convince the judge to let her go. Stern judge, too.

Later in the film Toni turns up in the best fur of the film, a sumptuously full white fox coat. Not quite The Awful Truth, but a lovely white fox coat nonetheless.

The white fox fur lacks a collar worthy of the huge frame, but still it is a beautiful, full coat that looks lovely on Miss Young.

With a white fox like that, she has reason to smile.

Finally, during the inevitable break up phase that occurs before the inevitable reconciliation, Loretta catches Steve making a movie of their sordid non-affair. She storms onto the set in a coat with a huge fox collar, one that would have been perfect for the white fox before it.

Again, framed by fox fur, Loretta Young sparkles.  Strange head gear though.

Though she storms off the set, she does so in high style thanks to the full, broad fox collar.

Love is News may never be considered a particularly noteworthy contribution to cinematic history, but the furs within are certainly worthy of appreciation. Loretta Young is beautiful in the mink and fox coats, with an able, if brief, assist by Pauline Moore and her big lynx collar. Sadly, the size of the full white fox coat and the later fox collar weren’t combined, but otherwise Love is News is a solid way to appreciate fur fashion in film.

Fur Film Gallery – Love is News


Furs in Film – Morning Glory

Did two color posts in row, how did that happen? Let’s get back to the 30’s, where the financial analysts of today get all their Depression predictions from. One hopes it won’t take another one of those to usher in a new period of mega fox fashion in Hollywood.

Fortunately, the 1933 Katharine Hepburn film Morning Glory provides a couple huge fox furs in case they need an example.

Morning Glory – The Film

Adapted from the play “Zoe Adkins” by Howard j. Green, Morning Glory tells the tale of Eva Lovelace, a young actress with aspirations of becoming a Broadway star but little in the way of experience. After being passed over in auditions she meets Adolphe Menjou, playing a theatre coach who agrees to give her a few pointers on the whole “acting” thing. Back when this wasn’t complete cliché, Eva ends up going from bit part to star when the leading lady throws a tantrum and quits.

Morning Glory – The Furs

Eva tries to break into Broadway by going to auditions. Unfortunately, more experienced, and better dressed actresses are there ahead of her. Geneva Mitchell as Gwendoline Hall relaxes in this large fox stole and muff combo when noticing Eva in the waiting room.

Eva’s attempts to chat up Gwendoline aren’t well received. This closeup of Geneva in the fox stole is excellent.

Gwendoline finishes up her audition and meets Rita Vernon on the way out. Rita is played by Mary Duncan, and wears a nice chinchilla jacket and muff.

Rita and Gwendoline appear delighted to meet one another at the same audition.

But they are actresses, after all…

Rita secures the lead the role in the play, and provides us this nice closeup of the collar of her chinchilla jacket in the process.

We move to the end of the film, after Rita walks out and Eva steps up to become the star. Since Katharine Hepburn never really faded from the public eye like many of the screen legends of her day, it’s sometimes hard to picture her during the time became famous. This is Katharine Hepburn at age 26, wearing an enormous white fox wrap.

The white fox fur wrap is technically just white fox trimmed, but the trim is that lovely enormous kind that make the golden sequined body of the wrap a mere distraction to the thick, fluffy fur.

Hepburn in close up, face surrounded by white fox. Screen legend, indeed. She won her first Oscar for this role, and I think the white fox may have helped.

From a fur fashion perspective, Morning Glory is an uneven film. It starts with Geneva and Mary in their audition furs and drys up until Katherine appears at the end in that massive white fox fur wrap. The nice thing about the wrap is Miss Hepburn spends the remainder of the film wearing it. The final scene plays out backstage after her successful turn in the staring role, and lasts a good five to ten minutes.

Fur Film Gallery – Morning Glory.


Furs In Film – Let’s Do It Again

The fact that there was a 50 year gap between the 30’s and 80’s is troubling to say the least for those of waiting for the next fashion cycle to look kindly upon the idea of huge fur coats. This is not to say though that those 40 years were completely devoid of “inspirational” furs. (Admittedly, the 70’s weren’t half bad.)

Let’s Do It Again – The Film

I’ve found the 50’s, though somewhat hung up on shorter haired, far more conservative fur coats, to have been a heyday of very large fox stoles. From 1953, Let’s Do It Again boasts one of the single largest ever committed to film. Why? Perhaps it isn’t coincidence that Let’s Do It Again is based on the same play as an earlier film, 1937’s The Awful Truth.

Like many 50’s remakes, this one is a musical, and again takes us down the madcap, zany path of jealousy and divorce. Jane Wyman fills in for Irene Dunne as Connie Stuart, married (and remarried later) to Gary, played by Ray Milland. Connie intends to make her husband jealous with a hayseed named Frank McGraw played by Aldo Ray. Divorce and eventual reconciliation ensue. Who cares, on with the fur…

Let’s Do It Again – The Furs

Jane Wyman starts things off with a comparatively conservative gray fox wrap. This richly gray fox is a fur Betty Grable was put in quite a bit.

I won’t belabor the wrap, it’s a fine “appetizer”.

This is the “main course.” Four tiers of floor length blush fox stole. The sheer size of this mega fox is fully revealed when first encountered.

Though the massive white fox coat from The Awful Truth slips away far too soon, the remake does a fine job of showcasing this beauty from all angles.

Another closer show, giving a peak into the rich depths of the full blush fox fur.

Jack gives Connie a ride back home. The giant fox stole covers virtually every inch of Jane Wyman.

Finally they arrive, where hi-jinks ensue and eventually Miss Wyman sheds this wonderful piece for good.

The stole may be the showcase fur, but Let’s Do It Again isn’t completely finished. Later Connie visits a party in particularly “sexy” mood, donning this ensemble of fur wrap, fur muff, and long cigarette holder.

The sequence is short, but incredibly sensual as she vamps down the hallway wearing the furs and the holder.

I’m not certain what kind of fur this is. Seen it on Kay Francis before, and it’s certainly very full and visually appealing. The large fur muff is quite memorable.

A petty gripe with Let’s Do It Again would have to be Jane Wyman’s signature hairstyle. Readers may be able to infer I’m not a particular fan of severely short hairstyles. A couple extra feet of rich brunette would have settled nicely on that giant fur stole.

Fur on Film Gallery – Let’s Do It Again


Furs in Film – I’m No Angel

These days it’s easier to find media from the 30’s with mega furs than it is to find similarly well fashioned media from the 80’s. Despite what chronological order may suggest, even plumbing the depths of cable rarely turns up any 80’s gems. So we return to the by gone days of power furs and the women who knew who to use them.

I’m No Angel – The Film

This time the woman in question is Mae West, who could pull off a power fox like few others. 1933’s I’m No Angel is considered one of her classic roles. It serves up a couple very classic fox outfits in addition to a variety of classic Mae West lines.

Mae stars as Tira, a circus performer who rises from circus obscurity to circus stardom as the lion tamer. Fortunately the circus paid really well back in the 30’s, at least lion taming must have. Now much better off, Tira climbs the social ladder, ditching her boyfriend and trading up to the New York social scene. After one of those wacky misunderstandings, she ends up suing would-be boyfriend Jack Clayton (Cary Grant) for “breach of promise.”

Tira arrives to the trial exceptionally well dressed, and ends up winning, both the trial, and her boyfriend back. The moral of the story is that all attractive women should wear fox to civil litigation.

I’m No Angel – The Furs

Tira first meets Jack’s cousin Kent when he and some friends visit her after an evening of lion taming. One of the friends sports this rather nice white fox collar.

Kent’s fiancée doesn’t particularly care for Tira’s new found interest. She drops by to dissuade Tira from pursuing Kent. Gertrude Michael as Alicia Hutton wears the fox trimmed wrap in this scene, but Mae is in charge. The cigarette holder is a nice touch.

The marquee fur is up next, this coat trimmed with enormous white fox collar and huge cuffs. Wisely we see it all when Miss West first enters, putting the entire coat on display. The combination collar / full fringe on the coat is perfect.

Closer shot, highlighting the sheer size of the white fox collar on the coat. Fashion is fickle, but why did this ever go out of style?

This shot is worth it just for Mae West’s expression alone. The white fox collar is the perfect frame.

A brief interlude when Tira consults her lawyer before heading to trial against Jack. The silver fox muff and trim on the dress are just a prelude to the final act.

Finally, in the penultimate sequence, the trial is on, and Tira takes over as her own counsel. She’s dressed the part in a cape with a huge fox collar and matching muff. The trail sequence lasts a good 10 minutes and she’s in this fur the entire time.

Close up of the collar, because it’s definitely worth it.

Victorious, Tira plays to the press, but realizes she loves Jack after all. Jack’s definitely the lucky one.

Were I to gripe, I’d say that gold fabric on the the white fox was completely unnecessary. Were it all white fox, it would certainly be same league as Irene Dunne’s white fox from The Awful Truth. Still, the collar and cuffs were spectacular enough as they are.

Enjoy: I’m No Angel Fur Gallery.


Furs in Film – Libeled Lady

From 1936, we have Jean Harlow and Myrna Loy draped in some beautiful furs for the film Libeled Lady. Not sure what it is about divorce, but man, toss that into the plot and the costumers seem to really break out the furs. This film had no roots in anything but the script that birthed it, though it was remade later as Easy to Wed.

What’s great about Easy to Wed is they dressed almost exactly the same way… I’ll get to Easy to Wed later. Much like a sequel though, it didn’t quite live up to the quality of the original.

The Film

Libeled Lady tells the story of Connie Allenbury, who sues a newspaper for 5 million bucks for… libel. Miss Allenbury was falsely accused of… breaking up a marriage, in other words, causing a divorce. The newspaper’s editor (Spenser Tracy) sends suave lady’s man reporter (William Powell in “The William Powell Role”) to catch her en flagrante delicto with him when his wife walks in.

The “wife” is played by Jean Harlow, who is only posing as such at the behest of the editor, to whom she is doing a favor as they are in love. Complications arise, multiple divorces occur, and everyone lives happily ever after. Or rather, they all end up arguing when “The End” title card shows up.

The Furs

Bill Chandler’s (William Powell) plan to catch the lovely, wealthy Miss Allenbury starts on a cruise ship. It’s cold in the Atlantic, and Connie shows up for dinner in a beautiful white fox cape.

Connie is with her father, so Bill has to chat them both up at the same time.

Some girlfriends arrive, who are far less interestingly dressed.

Cinematographers are to be rewarded when they care enough to give a glimpse of all sides of a classic white fox cape like this:

Up next, Jean Harlow as put-upon faux bride Gladys Benton wears what is probably just a marabou feather sleeved nightgown. Anything that suggests an entire sleeve becoming a single cuff warrants mention. Those “cuffs” are huge.

Jean leaves the feathers behind for this chinchilla jacket / cape.

The collar looks like an errant sleeve cuff hanging off her shoulder, an interesting design.

Finally, as the screwball hi-jinks reach their apex, Miss Harlow spends the last ten minutes or so of the film in this dress coat with an enormous fox collar and trim. It’s there right up until the closing credits.

This shot shows the full dress coat in its entirety. Though the wide collar would probably be enough, the lower trim bookends nicely.

The collar literally fills the screen in this reaction shot, which occurs only once and is entirely too brief at about 2 seconds. Perfect framing:

I’d like to think Myrna is admiring that collar in this shot in a rather roomy bathroom. Then I realize my mind is wondering a bit too far.

Libeled Lady doesn’t skimp on Jean Harlow’s last huge fox trimmed dress. As mentioned, she literally spends the last 10 minutes of the film wearing it. It’s right there as it fades to credits. In terms of quality, Myrna Loy’s white fox cape is probably my preference, but the huge collar of Harlow’s dress is definitely the very close runner up.

Full Gallery: The Furs of the 1936 Film Libeled Lady


Furs in Film – The Awful Truth

I’d like to think I have pretty high editorial standards for singling out an individual film for recognition. Since this is only the second one I’ve done, then perhaps I haven’t done a great deal to establish those high editorial standards yet. Personally, I think a film needs both quality and quantity to really distinguish itself. The previous film, Roberta, is a perfect example. Great furs and a lot of them.

1937’s The Awful Truth only really has one of any note. But… That one may just be the greatest one in film history.

The Film

The term “divorce comedy” probably sums up the plot. Mining the light-hearted comedy inherent in gut wrenching emotions of divorce was a bit more common in 30s. Irene Dunne and Cary Grant star as Jerry and Lucy Warriner. Jerry divorces his wife after she returns home the country with her music teacher, the suspiciously named “Armond.”

What she returns home wearing we’ll get to in a moment.

Naturally, it was all a misunderstanding, but Jerry ends up divorcing Lucy, and hilarity ensues. Not to spoil the ending, but yes, they get back together. Irene Dunne’s luck in love holds steady from Roberta, apparently.

The Fur

“The” is correct; there’s only one that really matters. Not 2 years earlier Irene Dunne sashayed down the steps of a French boutique in a dress fringed by possibly the biggest white fox wrap ever seen. In The Awful Truth, she gets to top it.

Shortly after entering, Lucy greets Jerry with a big hug. Lucky Jerry.

Jerry notices Armand, demonstrating a rather unnatural amount of willpower.

The scene continues, and I’m no longer really paying any further attention to anything but Miss Dunne’s staggeringly enormous white fox coat.

Fortunately the cinematography gives this singular white fox beauty much of the time it deserves. We see Lucy up close, and enjoy the rather large collar.

One more shot in which the coat is framed perfectly.

Sadly, the tone of this light-hearted divorce comedy is shattered to one of shock and terror as… she takes the coat off…

Irene Dunne’s white fox coat in The Awful Truth is, as far as I can currently remember, the greatest fur coat ever seen in film. Sure, I’ve seen a few other mega foxes in print that would hold outshine it in side-by-side comparison, but on film, I can’t think of anything that’s better. Lucky Irene, going from the white fox wrap in Roberta to this.

Let me say, were I to quibble with greatness, I would have added a couple of cuffs that did the collar and coat as whole justice. Perhaps a couple barrel muffs would have been the prefect addition.

Proving (if nothing else) that I can be picky enough to find fault with the greatest fur in film history.

Full Gallery: The Fur in the 1937 Film, The Awful Truth


Furs in Film – Roberta

This series of posts will focus on a single film, one in which fur fashion is notably well represented. This set is based on a recent update of one of the first galleries.  I’m leaving both galleries up, just to see how much better I am at this than I used to be.

First in the series is the 1935 film Roberta. Roberta is based on a 1933 Broadway musical of the same name, which, in turn, was based on a novel by Alice Duer Miller named Gowns by Roberta. Unlike today, when novels go straight to film, there was a more common interlude on Broadway.

The Film

Roberta the film is basically the story of a football player John Kent inheriting a noted Paris fashion house after his aunt Roberta passes away. This kind of thing happens all the time, of course. The football player happens to fall in love with the chief designer, played by Irene Dunne. The plot takes the usual boy-meet-girl, boy-loses-girl, boy-and-girl-reunited twists. The important part is this particular Paris fashion house of 1935 shows some great furs.

The Furs

Ginger Rogers, playing Lizzie Gatz playing Countess Scharwenka, opens the show with a nice silver fox trimmed outfit.

Countess Scharwenka is soon the victim of the kind of statistical improbability that can occur only on film, in that old beau Huck Haines from Indiana is tagging behind his football playing pal with his band. She ups the glamor quotient with a lovely cigarette holder when confronted by Huck about her “exotic origins.”

The first fashion interlude features some decent stuff. This long, multi-tailed silver fox stole is one.

This is a beauty with huge collars and cuffs, possibly coyote or more likely blush fox, but lacking color its difficult to tell.

The Countess and Huck watch this show from the sidelines, with the Countess still draped in some fur of her own.

Later, in the “boy-experiences-conflicting-emotions-about-the-arrival-of-an-old-girlfriend” phase of the love story, Sophie, John Kent’s old girlfriend, shows up. She’s a rich snob, so fortunately for us, that means a very full lynx collar on her coat. It receives all the attention it deserves as she plays the entire scene in it.

This phase of the romance doesn’t last long, but long enough for John to dump Sophie in her “bad outfit”. Personally, I find quite a bit to like in the big black fox trim on this gown.

The “big show” at the end starts with quite a few beauties. This is a an extremely youthful Lucile Ball, yes the I Love Lucy one, in a big feathery coat whose origins I can’t even guess on. Before she got a bit older, and a lot more annoying, Miss Ball was an amazing beauty during her film run in the 30’s.

A few more, including this long sliver fox cape that is, unfortunately, completely removed in order to show off the far less interesting gown underneath.

Finally the “climax” of the film and the film’s furs, this custom gown with one of the largest white fox wrap/collars in recorded history. My jaw dropped on seeing this for the first time. I’d argue this is one of the top 10 film furs of all time.

If it had been shown only briefly, perhaps the legend wouldn’t be quite so sweet, but this is a musical, and this is a musical number. This mammoth white fox gets the screen time it deserves, from close up to this perfect framing shot that provides the best vantage to drool over this beauty.

Gratuitous bonus shot, because if any fur deserves it, this one does.

Ending here would have been fine for all concerned, but what makes Roberta the film worthy this recognition is that it’s not quite over yet. Ginger arrives stage left in another sliver fox cape, this one with a wonderfully high collar and heavy, thick cuffs. Though it’s removed with a sad amount of haste, it’s still a lovely addition.

Finally, Irene Dunne appears in this rather modest outfit at the very end, as our two lovers work out their misunderstanding and proceed to live happily every after. Perhaps an example of “one fur too many”, as it’s not exactly the one I’d have chosen to close the film on.

This long list isn’t exhaustive of all the big furs seen in this film.  There’s a few extra gems in the full Roberta Gallery.  This is the new gallery, the old Roberta Gallery is from a while back and gives me a sense of how much I’ve improved at this.