Captured on Film
It might sound strange, but sometimes I'll watch a fair to okay vintage film just for the exteriors and set details. For instance, I just rented the Disney comedy
The North Avenue Irregulars. While the film itself was a pleasant enough diversion with an "only in the '70s" cast, what really jazzed me were the outdoor location shots around Burbank. The movie's many scenes of people driving around town showcased the area's somewhat grimy late '70s streets with their dingy grocery stores, gas stations and crumbling buildings. The DVD format lets one appreciate that kind of stuff even more, God help me.
In another case, I just reviewed the new Fox Studio Classics DVD of The Best of Everything for Mindjack Film (the review will hopefully be up this week). About three women who work for a glamorous publishing company, this 1959 effort has a script so campy and dated it's a wonder the competent cast got through it without breaking out in giggles. Director Jean Negulesco seems to understand this, however, and so he makes up for that by lavishing most of his attention on the visuals—including several priceless location shots around late '50s New York City (in glorious widescreen no less). It's all so very chi-chi and elegant. Let's check it out, shall we?
The film's central trio of Diane Baker, Hope Lange and Suzy Parker receive an unwelcome visit from Dragon Lady boss Joan Crawford. The office clearly delineates the "haves" and "have nots": managers like Crawford get their own plushly appointed offices, while the underlings have their desks perfectly arranged in a large room. No cubicle walls, no privacy.
Ludwig Mies van der Rohe's recently completed Seagram Building serves as the office exterior. The camera lovingly pans up and down its imposing façade throughout the film. Best of Everything, indeed.
Suzy Parker walks in front of another of the city's fantastic International Style landmarks, the Lever House (designed by architectural firm Skidmore, Owings and Merrill in 1950-52). How convenient that it's located across the street from the Seagram Building.
Suzy Parker again, leaving an audition in the theatre district. The marquee advertises "A Party" with Betty Comden and Adolph Green. Very cool.
Diane Baker and Hope Lange cross the street in their working-class neighborhood. That sign in the distance says "STONEW"—could it be the Stonewall Inn, site of the famed 1969 gay liberation riots, in Greenwich Village?
This particular shot is a riot of (probably unintentional) product placement. From left to right, we have Seagram's, a Greyhound bus, billboards for Borden's milk and some sort of hot dog, and Coca-Cola. Did Miss Crawford know about that last one?
Robert Evans drops off Diane Baker in his snazzy convertible. I don't know where in NYC this is, but it's a lovely shot nonetheless.
Back to the office. On the Best DVD commentary, film historian Sylvia Stoddard says that the Seagram building's swanky Four Seasons restaurant was used for the film's coffee shop sequences (above). She's probably correct—that mural seems a wee bit too fabulous for a simple coffee shop interior.
This screen grab illustrates the office set's marvy Mondrian-inspired color scheme. Love those door colors.
Hope Lange gazes pensively through her employer's chic glass doors. Allright, I'm finished. Buy it here.
Posted by mhinrichs at May 30, 2005 04:11 PM
