settima

Bookadaptation

The Red Shoes (Michael Powell + Emeric Pressburger, 1948)

Aug

3

red

The Red Shoes (1948)

A ballerina's lower body in focus. She wears a long tulle off-white dress, slightly sheer, with her white stockings showing through slightly. Part of her right lower arm is visible, the hand clutched, a turquoise bracelet on the wrist. What stands out most are her ruby red ballet shoes that appear to move away from her. The backdrop is a dull, washed out carpet. DP: Jack Cardiff.

Red: best use of red in food or fashion*

“She looked at the red shoes, for she thought there was no harm in looking. She put them on, for she thought there was no harm in that either. But then she went to the ball and began dancing. When she tried to turn to the right, the shoes turned to the left. When she wanted to dance up the ballroom, her shoes danced down. They danced down the stairs, into the street, and out through the gate of the town. Dance she did, and dance she must, straight into the dark woods.”

– Hans Christian Andersen, De røde Skoe (1845, tranl. Jean Hersholt, 1949), via

Another one of The Archers' #Technicolor extravaganzas. This time, not to wow the worn-down post-war black-and-white audience, but as an an active storytelling instrument.

 

Built around Hans Christian Andersen's haunting tale De røde Skoe (1845).

 

Sommaren med Monika [Summer with Monika] (Ingmar Bergman, 1953)

Jul

27

Sommaren med Monika (1953)

Monika (Harriet Andersson) and Harry (Lars Ekborg) rest in each other's arms. DP: Gunnar Fischer, still photography by Louis Huch.

Someone naps or sleeps*

“I guess we like each other a lot, huh?”

– Monika Eriksson

簪​ [Kanzashi / Ornamental Hairpin] (Hiroshi Shimizu, 1941)

Jul

24

relaxation

簪 (1941)

Men relaxing at a roten-buro, an outdoor onsen. DP: Suketarō Inokai.

Someone goes to a spa, beach, or retreat*

“There’s something almost poetic about finding a hairpin in the bath. It’s like the sole of my foot has been pierced by poetry.”

– Nanmura, via

Relaxing at an onsen, a young man steps on the titular kanzashi. Now injured with too much time on his hands, he and his fellow nosy patrons start speculating about its owner. Then a telegram announces her arrival.

 

L'argent [Money] (Robert Bresson, 1983)

Jul

22

L'argent (1983)

A man at an ATM holds on to a Visa credit card with tweezers. DPs: Pasqualino De Santis & Emmanuel Machuel.

Everything's expensive: someone is a at bank or ATM*

 

L'ingorgo [Traffic Jam] (Luigi Comencini, 1979)

Jul

12

L'ingorgo (1979)

Two middle-aged men in a car, each very much enjoying a small meal. We see them through the windshield with behind them numerous other cars stuck in traffic. DP: Ennio Guarnieri.

 

Popiół i diament [Ashes and Diamonds] (Andrzej Wajda, 1958)

Jun

27

National Sunglasses Day

Popiół i diament (1958)

Maciek Chelmicki (Zbigniew Cybulski) wearing his sunglasses in a dark, almost German Expressionist space, embellished with meandros. DP: Jerzy Wójcik.

[The best] sunglasses in film for National Sunglasses Day (USA)

– Why do you always wear those dark glasses?

– A souvenir of unrequited love for my homeland.

According to IMDb, the sale of sunglasses in Poland went through the roof after this film was released and Cybulski became his country's very own James Dean.

Il vangelo secondo Matteo [The Gospel According to Matthew] (Pier Paolo Pasolini, 1964)

Jun

22

National Kissing Day

Il vangelo secondo Matteo (1964)

Judas (Otello Sestili) kisses Jesus (Enrique Irazoqui) in intimate closeup. DP: Tonino Delli Colli.

A [favourite] movie kiss for National Kissing Day (USA*), not to be confused with International Kissing Day aka World Kiss Day which falls on July 6.

“I don’t have the inhibitions that a practicing Catholic would in that I’m not paralysed by the sacredness of the text, nor do I have the inhibitions of a lapsed Catholic who would view approaching the story of Jesus as compromising his Marxist beliefs, of sinking back into conformity.”

– PPP, via

An neorealist, straightforward adaptation of the Gospel of Matthew, populated by non-actors (“Jesus” is a 19-year Catalan trade unionist picked for his resemblance to El Greco's Christ), intellectuals, and anachronistic characters based on biblical art through the ages.

 

According to said Gospel, apostle Judas kissed prophet Jesus to signal to the police who of the 13 men present was the one to arrest.

 

Interestingly, the word Matthew chose to describe the kiss is καταφιλέω, the same word used by philosopher Plutarch to describe the kiss between Alexander the Great and his eunuch Bagoas

 

* no one wants to kiss you anymore, America

Ascenseur pour l'échafaud [Elevator to the Gallows] (Louis Malle, 1958)

Jun

18

International Panic Day

Ascenseur pour l'échafaud (1958)

M Tavernier (Maurice Ronet) seated in an elevator, calmly smoking. Around him several items speak of less calm moments. DP: Henri Decaë.

A character in panic mode on International Panic Day

“Have you seen Mr Tavernier tonight?”

Julien Tavernier has a plan about how to run off with his boss' wife. There's just this one snag. No time to panic, c'est cool c'est cool.

Morte a Venezia [Death in Venice] (Luchino Visconti, 1971)

Jun

11

Say HI Day

Morte a Venezia (1971)

Von Aschenbach (Dirk Bogarde) and Tadzio (Björn Andrésen). DP: Pasqualino De Santis.

Characters say or wave hello on Say HI Day

 

A sickly composer meets and becomes infatuated with a boy during his stay in Venice.

O Menino e o Vento [The Boy and the Wind] (Carlos Hugo Christensen, 1967)

Jun

8

National Best Friends Day

O Menino e o Vento (1967)

The two friends in intimate embrace. DP: Antônio Gonçalves.

[Favourite] best friends in film for National Best Friends Day (USA)

“I'm going with this one.”

– Zeca de Curva, running into the storm

The close friendship between two young men raises suspicion when the younger of them disappears..