settima

drama

X​ [The Man with the X-Ray Eyes] (Roger Corman, 1963)

Aug

14

X (1963)

Dr. James Xavier (Ray Milland) performing his mind-reading trick. DP: Floyd Crosby.

“The city… as if it were unborn. Rising into the sky with fingers of metal, limbs without flesh, girders without stone. Signs hanging without support. Wires dipping and swaying without poles. A city unborn. Flesh dissolved in an acid of light. A city of the dead.”

– Dr. James Xavier

La carrière de Suzanne [Suzanne's Career] (Éric Rohmer, 1963)

Aug

13

thé

La carrière de Suzanne (1963)

A woman reaches for a silver teapot. We only see her hand. DP: Daniel Lacambre.

“I know. I know you. I know you very well.”

– Suzanne

Il fiore delle mille e una notte [Arabian Nights] (Pier Paolo Pasolini, 1974)

Aug

13

cerulean

Il fiore delle mille e una notte (1974)

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*

“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.”

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.

 

…und deine Liebe auch [And Your Love Too] (Frank Vogel, 1962)

Aug

13

1961

…und deine Liebe auch (1962)

Eva (Kati Székely). Someone offscreen lits her cigarette. DP: Günter Ost.

Three people must decide what to do on August 13, 1961, the day the Berlin Wall goes up.

 

Il deserto rosso [Red Desert] (Michelangelo Antonioni, 1964)

Aug

12

green

Il deserto rosso (1964)

Valerio (Valerio Bartoleschi) and his mother Giuliana (Monica Vitti) in an arid industrial landscape. Giuliana wears a brilliant green coat, its shade between pea and moss, depending on the drabness of her surroundings. DP: Carlo Di Palma.

Green, in food or fashion*

“She'd discovered a small beach far from town, with crystal-clear water and pink sand. She loved that spot. The colors of nature were so beautiful, and there was no noise. She'd leave only when the sun did too.”

– Giuliana

Antonioni's first film in colour beautifully utilises Vitti's brilliance – of her auburn hair, her porcelain teint, her vivid costumes (by Paola Carloni) – against the drab landscape.

 

The Lady from Shanghai (Orson Welles, 1947)

Aug

9

The Lady from Shanghai (1947)

Elsa Bannister (Rita Hayworth) and husband Arthur Bannister (Everett Sloane) in the dizzying modernist finale. DP: Charles Lawton Jr..

“You need more than luck in Shanghai.”

– Elsa Bannister

Domenica d'agosto [Sunday in August] (Luciano Emmer, 1950)

Aug

7

1949

Domenica d'agosto (1950)

A little boy runs down a Roman street. Superimposed a calendar page: SUNDAY AUGUST 7 S. GAETANO THE SUN RISES AT 5:15 SUNSET AT 19:42 – CRESCENT MOON. “S. Gaetano” refers to Saint Cajetan, who's feast day is on August 7. DPs: Leonida Barboni, Ubaldo Marelli & Domenico Scala.

Ovoce stromů rajských jíme [We Eat the Fruit of the Trees of Paradise] (Věra Chytilová, 1970)

Aug

6

orange

Ovoce stromů rajských jíme (1970)

Eva (Jitka Novákova) devouring oranges under a black umbrella (via). DP: Jaroslav Kučera.

Orange, food or fashion*

“Tell me the truth!”

– choir

An allegorical, psychedelic retelling of Genesis 3 and the Fall of Man

 

La baie des anges [Bay of Angels] (Jacques Demy, 1963)

Aug

6

mercredi

La baie des anges (1963)

The bank where Jean Fournier (Claude Mann) works. A wall calendar, slightly tilted, reads Août 6 Mercredi. DP: Jean Rabier.

“Life has its tricks. Its oddities.”

– Jackie Demaistre

地獄門 [Jigokumon / Gate of Hell] (Teinosuke Kinugasa, 1953)

Aug

4

orange

Jigokumon (1953)

The shrine's torii as seen in the film. Vermilion contains mercury, which not only acts as a preservative but is also believed to ward off evil. DP: Kōhei Sugiyama.

Orange: a building or structure*

“Today is the first day of a life of sacrifice.”

– Moritoo Endō

Partially filmed near the 厳島神社 (Itsukushima Shrine) with its striking vermilion torii.

 

Shot on Eastmancolor, relatively cheap and globally available, and influenced by Hollywood colour melodramas of the time, in particularly Rudolph Maté's Mississippi Gambler (1953) (source), and in its turn greatly influenced the implementation of colour in global cinema to come.

 

Jigokumon won two Academy Awards in 1955, for Best Costume Design and Best Foreign Language Film.