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Posts Tagged ‘Marilyn Monroe

“The most beautiful sight in a… theater is to walk down to the front, turn around, and look at the light from the screen reflected on the upturned faces of the members of the audience”*…

 

The magic lantern was basically a seventeenth-century slide projector: a light source (a candle), an image (a piece of painted glass), and a lens. It was an ever-evolving object, and revolutionized the way pictures were seen by an audience. It is often called a precursor to cinema, but it might better be characterized as an enabler that paved the way for film and gave rise to its own powerful visual culture. Many technical devices that explored projected imagery and the persistence of vision are sought, researched, and discussed by lantern aficionados…

The remarkable Ricky Jay [see here and here] remembers two departed friends, and ruminates on the lost art that paved the way for motion pictures even as it created a visual culture all its own: “Farewell to Two Masters of the Magic Lantern.”

* Gene Siskel, quoting Robert Ebert’s report of an observation by François Truffaut

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As we accede to awe, we might recall that it was on this date in 1959 that Some Like It Hot, starring Marilyn Monroe, Tony Curtis, and Jack Lemmon was released by United Artists.  Directed by Billy Wilder [see here], the film is widely considered the funniest comedy ever made (e.g., on the AFI’s list of 100 Greatest Films and the BBC’s poll of film critics around the world).

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Oh, and of course, it also featured Marilyn Monroe singing…

 

Written by (Roughly) Daily

March 29, 2018 at 1:01 am

“Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event”*…

 

Witness Hilde Scheller during the murder trial of Paul Krantz, Berlin, 1928

One of the founding figures of photojournalism, Erich Salomon pioneered the use of hidden cameras—the phrase “candid camera” was first applied to him. A 1924 Ermanox equipped with glass plates and a relatively fast shutter speed, concealed in bowler hats and briefcases—and, in one memorable occasion, in bagpipes—allowed him to take photographs in places where they were strictly prohibited: in the casinos at Monte Carlo or at criminal trials. With a camera hidden in a sling, Salomon was the first photographer to take pictures of the United States Supreme Court in session.

Salomon was best known for his photographs of diplomatic gatherings at the highest level. Employing various subterfuges, he followed three statesmen across Europe—Aristide Briand, Joseph Chamberlain, and Gustav Stresemann—as they fecklessly tried, over champagne and cigars, to preserve peace in Europe. When he couldn’t gain admission to the inner sanctum, Salomon photographed the hat-check man asleep under the ministers’ hats, or members of the diplomatic entourage. One particularly brilliant photograph, rife with irony, shows Maurice Privat, Pierre Laval’s astrologer, perched on a sofa under Rubens’ painting The Conclusion of Peace, consulting a star chart as he waits for his daily session with the prime minister. The most famous of Salomon’s cat-and-mouse photographs records the moment when Briand, who dubbed him “the king of the indiscreet,” recognizes him across the room and points a friendly accusatory finger at him, just as Salomon snaps the image…

French Prime Minister Aristide Briand pointing at the photographer, during the negotiations of the Seven-Power Conference, Paris, July 19, 1931

More at “The Unguarded Moment.”

* Henri Cartier-Bresson

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As we “smile,” we might recall that it was on this date in 1954 that the iconic sequence of Marilyn Monroe, laughing as her skirt is blown up by the blast from a subway vent, was shot, during the filming of Billy Wilder’s The Seven Year Itch.  One can imagine Salomon– or those he inspired (e.g., Cartier-Bresson, Eisenstadt, Walker) snapping at the same time…

Tom Ewell and Marilyn Monroe in The Seven Year Itch

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September 15, 2015 at 1:01 am

“It’s the pictures that got small”*…

 

What if Michael Bay– the director of the Transformers franchise, Armageddon, and a host of other explosive blockbusters– had directed Up ?

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* “Norma Desmond” (Gloria Swanson) in Billy Wilder’s Sunset Boulevard

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As we shield our eyes from lens flashes, we might recall that it was on this date in 1954 that the iconic sequence of Marilyn Monroe, laughing as her skirt is blown up by the blast from a subway vent, was shot, during the filming of Billy Wilder’s The Seven Year Itch.  One can only imagine how Michael Bay might have handled it…

Tom Ewell and Marilyn Monroe in The Seven Year Itch

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September 15, 2014 at 1:01 am

The Death of Distance…

With electricity we were wired into a new world, for electricity brought the radio, a “crystal set” and with enough ingenuity, one could tickle the crystal with a cat’s whisker and pick up anything.

– T.H. White

I love sports. Whenever I can, I always watch the Detroit Tigers on the radio.

Gerald R. Ford

It’s not true I had nothing on, I had the radio on.

Marilyn Monroe

 click image above, of here, to see full infographic, from the folks at Sonos

As we settle into our Love Shacks for Valentine’s Day, we might recall that it was on this date in 1977 that the B-52’s played their first gig (in their hometown, Athens, GA).  After their independently-produced “Rock Lobster” became a demi-hit, the band signed with Warner Bros., where their official bio read:

As a group we enjoy science facts, thrift shopping, tick jokes, fat fad diets, geometric exercising, and discovering the ‘essence from within.'” When taken together with the assertion that the band was “found in the Amazon River basin 40 years ago by Professor Agnes Potter and subsequently abandoned at Athens, Georgia.

Still together (though without Ricky Wilson, who died of AIDS in 1985), the B-52’s are widely credited with paving the way for what became “The Athens Scene”:  a collection of local bands that, over the next several years, broke big (e.g., Love Tractor) and bigger (REM).

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February 14, 2012 at 1:01 am

“Devise, wit; write, pen; for I am for whole volumes in folio”*…

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The ever-illuminating Jason Kottke dips into Statistical Reasoning for Everyday Life (Bennett, Briggs, and Triola; Addison Wesley Longman; Second Edition, 2002) for a measure of Shakespeare’s vocabulary.  Using a method recounted here, the authors concluded:

This means that in addition the 31,534 words that Shakespeare knew and used, there were approximately 35,000 words that he knew but didn’t use. Thus, we can estimate that Shakespeare knew approximately 66,534 words.

Linguist Richard Lederer observes (as cited in in this piece) that Shakespeare hadn’t begun to reach the bottom of the barrel:  there are currently over 600,000 entries in the Oxford English Dictionary (and in Shakespeare’s time things were especially fluid– as witnessed by the Bard’s own fevered invention of new words and phrases).

Still, Shakespeare’s facility is easier to appreciate in context when we recognize that the average English speaker has a vocabulary of (only) 10,000 to 20,000 words, and, as Lederer observes, actually uses only a fraction of that (the rest being recognition or recall vocabulary).

* Love’s Labour’s Lost I,ii

As we reach for our copies of Word Power, we might wish a glittering birthday to Anita Loos, who was born on this date in 1888. A writer from childhood, she sold a movie idea to D.W Griffiths at Biograph while she was still in her teens– and began a career through which she wrote plays, movies, stories/novels, magazine articles, and finally memoirs.

She’s probably best remembered for her 1925 novel Gentlemen Prefer Blondes.  Loos claimed to have written the spoof, which she started on a long train ride, as an entertainment for her friend H. L. Mencken (who reputedly had a fondness for Lorelei Lee-like blonds).  In any case, the book was an international bestseller, printed in 14 languages and in over 85 editions. It was a hit on Broadway in 1949, then adapted again into a movie musical in 1953– the Howard Hawks classic in which Marilyn Monroe reminds us that “Diamonds Are a Girl’s Best Friend.”

Loos with fellow writer (and sometime husband) John Emerson
by Edward Steichen for Vanity Fair, July 1928

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