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On the set of Visconti s Death in Venice

Sign up for Sight & Sound’s Weekly Film Bulletin and more News, reviews and archive features every Friday, and information about our latest magazine once a month. Email Sign up Dirk Bogarde calculated that he had reached his 243rd ‘look’ and the end of his tether. Almost. Working for Luchino Visconti on Thomas Mann’s Death in Venice was an experience, alternately exalting and exasperating. Visconti – Duke of Modrone and descendant of Charlemagne – is the absolute monarch, tyrant and charmer, hawk and dove. The camera and consequently Visconti seemed pleased with the “looks”, thought Bogarde, relieved. “Three months from now I shall know it has been marvellously worthwhile. But just at present it is too tender to contemplate. Like going to the dentist and having all your bridgework done in one go.”

Dandy du cinéma italien, flamboyant et tragique, qui est Luchino Visconti ?

Dandy du cinéma italien, flamboyant et tragique, qui est Luchino Visconti ?
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Kyle MacLachlan Has Some Opinions on Coffee and Wine

Kyle MacLachlan Has Some Opinions on Coffee and Wine Breaking eggs with the actor who plays Franklin D. Roosevelt in the upcoming Atlantic Crossing By John McDonald You know him from Portlandia, Sex and the City, and many others: Actor Kyle MacLachlan dishes with Tasting Table founder John McDonald on his favorite coffee, how he got into wine, what he likes to cook for his family, and his upcoming PBS project, Atlantic Crossing, on track to air in the spring. John McDonald: Does Kyle MacLachlan love a good cup of coffee, or is that just the Agent Cooper persona? If so, how do you take it?

L Œil de l INA : le carré blanc, ce clair objet du scandale, a soixante ans

L Œil de l INA : le carré blanc, ce clair objet du scandale, a soixante ans
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Costume drama: the most iconic style moments in film

This year marks 60 years since Holly Golightly stepped on to Fifth Avenue in Breakfast at Tiffany’s (1961) in her iconic LBD with its pearl back. It’s a two-hour treat and I always pull my chair closer to the screen for a better view of Hubert de Givenchy’s costumes, especially those awesome funnel-neck coats. I don’t even notice Grace Kelly’s voice anymore when watching High Society (1956). All I see are those achingly gorgeous costumes designed by MGM’s Helen Rose, who went on to design Kelly’s wedding dress. Favourite fashion moments are when Kelly slips out of a Grecian robe to reveal a white halterneck bathing suit and, later, when she dances with Frank Sinatra in swirling layers of embellished grey and pink chiffon, a dress which now lives in the Museum of Style Icons in Newbridge, Co Kildare.

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