Maléfices [Sorcery / Where the Truth Lies] (Henri Decoin, 1962)
Sep
10

Myriam Heller (Juliette Gréco) sharing a bed with Nyète, her cheetah. DP: Marcel Grignon.
Maléfices [Sorcery / Where the Truth Lies] (Henri Decoin, 1962)
Sep
10

Myriam Heller (Juliette Gréco) sharing a bed with Nyète, her cheetah. DP: Marcel Grignon.
И дойде денят [I doyde denyat / And the Day Came] (Georgi Djulgerov, 1973)
Sep
9
1944

Mustafa (Plamen Maslarov) running. DP: Radoslav Spassov.
Mélodie en sous-sol [Any Number Can Win] (Henri Verneuil, 1963)
Sep
6
Tue

Mario (Henri Virlojeux), bathhouse proprietor. A nearby wall calendar reads mardi, septembre 6. DP: Louis Page.
Corridor of Mirrors (Terence Young, 1948)
Sep
3

Mifanwy (Edana Romney) anachronistically smoking a cigarette. DP: André Thomas.
“These people have faith in me, and I have faith in their faith.”
Guide [The Guide] (Vijay Anand, 1965)
Aug
20
fasting

A scruffy looking Raju (Dev Anand) wearing the orange shawl of a holy man. DP: Fali Mistry.
Ramadan [on the ninth month of the Islamic calendar, not mid-August]: someone atones or fasts*
– Swami Ji
Due to a simple misunderstanding, a farmer mistakes tour guide Raju for a holy man. When drought hits the land, the village fool tells the townspeople that Raju, now known as Swami Ji, will fast for twelve days to bring the rain. During his reluctant fast, Raju undergoes a spiritual transformation.
* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.
“Is it the form of the clouds, or the tints of the sky, or the colours of the surrounding objects which are so changeable, which have troubled my thoughts as they passed before my eyes? Who can tell?” Le Horla [The Horla] (Jean-Daniel Pollet, 1966)
Aug
19
violet

The narrator enters a violet-blue room via a lavender-purple corridor (via). DP: Jean-Jacques Rochut.
Violet: a building or structure *
– Guy de Maupassant, Le Horla, 1887 (via)
Objects and rooms have distinct colours ranging from the deepest blues and violets to a pale lavender, a muted silver and shocks of yellow. The usage of colour in Le Horla is striking throughout and reminds me of how Van Gogh's paintings became increasingly colourful as his madness enveloped him.
* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.
“He moved over to the window: a smallish, frail figure, the meagreness of his body merely emphasized by the blue overalls which were the uniform of the party. His hair was very fair, his face naturally sanguine, his skin roughened by coarse soap and blunt razor blades and the cold of the winter that had just ended. “Nineteen Eighty-Four (Rudolph Cartier, 1954)
Aug
18
indigo

Winston Smith (Peter Cushing). We only see his frail looking back with the identifier KZ-6090, and his name SMITH W.
Indigo, in food or fashion*
– George Orwell, Nineteen Eighty-Four (1949) (via)
* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.
“The painter takes his time. He doesn't like her dress. He doesn't like her gloves. One day he asks her if she dares pose for him – all in pink. She dares! And the king, enraptured by her pose, offers her a palace!” Lola Montès (Max Ophüls, 1955)
Aug
14
Bavaria

The crowned royal mistress on display in glorious Eastmancolor (via). DP: Christian Matras.
Celebrating Oktoberfest [in September/October] and the Bavarian royals [rip]: a royal character or family*
– circus master
Maria Dolores Porriz y Montez, Countess von Landsfeld, Lola Montès for short, now a circus attraction, once the mistress to Ludwig I, King of Bavaria. While her fellow circus performers play Lola's former lovers, the ringmaster tells her story.
* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.
“Eh, i sogni a volte insegnano male, Dùnya, perché la verità intera non è mai in un solo sogno, la verità intera è in molti sogni.” Il fiore delle mille e una notte [Arabian Nights] (Pier Paolo Pasolini, 1974)
Aug
13
cerulean

The entrance of the Shah Mosque as seen in the film. The seven colours of the tile work are reflected in the extras' costumes. DP: Giuseppe Ruzzolini.
Cerulean, or blue: a building or structure*
One of the many exotic locations is the مسجد شاه, [Masjed-e Shah, or Shah Mosque] in Iran with its otherworldly blue and blue-adjacent tiles.
* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.
“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.” The Red Shoes (Michael Powell + Emeric Pressburger, 1948)
Aug
3
red

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*
– 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).
* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.