Misc Pcs

Isaac Mizrahi has a great site worth exploring. He's got webisodes (Watch Isaac), several blogs (including a video blog), and lots of links to his collections, inspirations, etc. He's just designed a very cute collection for Liz Claiborne too.
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Who is the young woman in the new Oasis video, Falling Down? (That's a link to the NY Mag embedded video. You can go to Myspace to see it, too.) She's fab. Looks a little like a blue-eyed Jewish Penelope Cruz at certain angles. Anyhow, I'd be surprised if her career didn't pick up after this - though she may already be famous in England, for all I know.
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Really, it's too risky for celebs to sing live?! I find this incredibly insulting to both performers and audiences. First of all, if I had the God-given talent to sing, I'd be much more afraid to screw up the lipsynching than to actually sing. Seems like you're adding on a whole unnecessary skill-set with lipsynching, no? I just don't understand why this has become acceptable practice. If the audience is willing to listen and then applaud your performance, shouldn't you give them something to legitimately applaud? It defeats the whole point of a performance and insults every performing artist who has gone before you on their own talent. Arrrgh.

Hollywood Star System

Images, an online film journal, has an interesting essay about the Hollywood star system (from 1910 - 1960) by Brian Gallagher.

It's a bit academic, but very readable - and you can sound all clever at your Oscar party.

Cate Blanchett in Vanity Fair

Cate Blanchett has another Vanity Fair cover coming out, and it's spectacular.

My friend told me earlier tonight that I should go see The Curious Case of Benjamin Button. She said it was very sad, which made me hesitate, but then she said that the sets and costumes for 1930s and '40s New York were breathtaking, and that Cate Blanchett is in a scene in a red dress that I must see - and that pretty much made up my mind.

I do intend to see Waltz with Bashir too, so maybe if I get any writing done tonight/tomorrow, I'll reward myself with both movies. Positive reinforcements all the way!

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In other news, it's a good thing that clementine season coincides with the chocolate holiday season, or my Ferrero Rocher diet would have resulted in scurvy already.

Faces: Rhinoplasty

My "in-between contracts" times are always much anticipated, as I look forward to writing thousands of words a day. My first week of current unemployment however, I watched six movies and checked 15 books out of the library. Nary a word written. I did, however, have puh-lenty of time to think.

Among my movie rentals was Cabaret, the classic 1972 film. It stars Liza Minelli as the now iconic Sally Bowles, and Joel Grey as the MC. I had heard that this was a star-making turn for Joel Grey (and a coveted role on Broadway) so I was looking forward to it. Grey is extremely talented and carries all his scenes effortlessly. He is so talented that eventually, I could almost stop seeing his nose job.

As I watched, there was a running commentary in my head about the irony. A film about life during the decline of the Weimar Republic and the rise of Nazism in Germany features an actor (nee Katz) who has cut off his nose and changed his name to succeed in showbiz.

In general, I hate nose jobs. As a Jew, this is enmeshed with my identity, with growing up, and with coming to terms with my nose. While not particularly large, it was still never a "button" or "perky" or "fine" or whatever other terms describe the schnozz en vogue. It has a slight but definite curve. It took time and and maturity for me to accept it as is - and also (not to be too melodramatic) to love it; to see it as not just my nose, but "this much mom's and that much dad's".

I looked up to women who "owned" their big noses: Rossy de Palma, Anjelica Huston, Paloma Picasso. (And people can criticize Sarah Jessica Parker and Bette Midler and Barbra Streisand all they want, but I'm telling you, these women would look dreadful with nose jobs.)

A poor rhinoplasty does more than take away a person's heritage; an obvious rhinoplasty (like any obvious plastic surgery) defeats the purpose of the surgery by drawing attention to the altered feature. It messes up the proportions of the face. The space between the nose and the lip, the ergotrid, often looks too long; the philtrum (the little divit under the nose) looks too deep or oddly angled, and the brow and chin seem too heavy, unbalanced by the smaller or too-small nose.

Not only is Joel Grey's nose too small for his face, it is also dated. It looks like an old fashioned '80s-style nose job, when it seemed that the only nose template available was Michelle Pfeiffer's (which looks great on her, btw).

The new/old style nose was recently a blogosphere topic when NY Magazine's New New Face article came out. Jonathan Van Meter wrote of prominent plastic surgeon du jour, Dr. David Rosenberg:

"Rosenberg is also subtly shifting the shape of the New Nose... The nose on the New New Face is strong and architectural and straight. Neither flared nor pointed. More Greek than Roman.''

As many problems as I have with plastic surgery on principle, I am grateful that nose styles have changed. It's sad that most plastic surgeons seem to have very little artistic or esthetic sense, however, and that it all came too late for Joel Grey's daughter.

Joel Grey's daughter's name is Jennifer. You may remember Jennifer Grey from her star-making turn as "Baby" in 1987's Dirty Dancing. She had a nice career already in swing when she opted for a rhinoplasty. This notorious nose job resulted in a well-known name with a suddenly unrecognizable face. For an actress this was a disastrous turn and she could not get any work for years. I can't help but wonder how much influence was papa's nose? Did he make any "suggestions" for succeeding in the biz? Did she feel self-conscious that her nose didn't look like mom's or dad's?

When a parent alters him- or herself permanently, they are essentially saying to their child, "This part of me - and therefore, of you - is wrong". I always think that if I could afford permanent laser hair removal I would do it. But then I wonder what would happen if I had a daughter? What would I tell her when she hit puberty? "No, no, dear, hair is natural, it's normal, it's a healthy part of growing up. I just paid lots of money to remove mine forever, but you're beautiful"? It's not as if society won't bash her over the head with what's "attractive" and "desired" - is it really fair for mom to be part of the pressure?

Of course, one plastic surgeon came up with a partial solution. He wrote and self-published My Beautiful Mommy, a children's book to help kids deal with their mother's plastic surgery. This made the news and hit the blogosphere last April. Jezebel.com noted "It's unclear why the mother also chooses rhinoplasty, but she does tell her daughter that the nose will appear "different, my dear—prettier!". Sadly, the "pre-op" mom, illustrated Disney-style, is so unique and so much more interesting as a cartoon than the "post-op" mom. There is no value placed on "unique", though.

I enjoyed Cabaret - the direction, the songs, the performances. Michael York's acting even allowed me to forgive him Logan's Run. Best of all, though, is Liza Minelli's yet unaltered Sally Bowle's face; her giant eyes surround by quirky make-up and a unique coiff - a last hurrah before fascist brutality - and homogeniety - take over.

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Extra notes:
Diversity on the human genome here at Scientific American
Truly heinous Nazi children's story (note the Jewish nose details) here from the Univeristy of the West of England Genocide Documentation Centre.

Painting, Signed Print, Xerox, Ditto Sheet

Angelina Jolie at the 2004 Oscars in a white silk-satin halter Marc Bouwer dress.

Then Mila Kunis at the Max Payne premier. Look familiar?

But, wait, here's Ashley Tisdale - no hope in hell, but nice try.

Oh, hello, random wedding dress model.


*For those too young to know, more about ditto sheets here.

While Others Blog Political...

I blog Barbie!

How much you wanna bet that Christina Aguilera has had this Barbie on her shelf since 2004? Maybe Donatella gave it to her when she did the Versace campaign. (In that photo she wears the dress that the other Versace Barbie wears.)

Alice's Face: Part II

Tim Burton's Alice is a newcomer named Mia Wasikowska. She has an almost medieval or renaissance face - something about the placid eyes and nearly invisible eyebrows that reminds me of Boticelli's Primavera. She has, I think, a face people can project onto. It is somehow not self-defining.

I saw the photo of her from the back first and noticed that Burton had gone, again, with the curled blonde locks that he used for both Christina Ricci in Sleepy Hollow and Jayne Wisener in Sweeney Todd. When I saw the photo of her front, I got a non-impression. I can imagine that the casting department really didn't know "what they were looking for till they saw it". She's not cute, not beautiful, not ugly, not striking, not exactly pretty, but certainly not hard on the eyes - not this, not that - so what does her face say? What does it say to you?

I got the same impression, by the way, upon seeing the casting of Lyra from the film of The Golden Compass.

Maybe casting directors are afraid to "pin down" a face for a fictional character that might disappoint the book's fans, so they play it safe with faces that are somewhat on the mild side?

This is what drew my mind back to Istvan Szabo's comments on faces.

Perhaps Wasikowska, when projected on the screen, captivates in a way I can not yet anticipate. I admit I've never seen her act, so perhaps she fully becomes Alice. (Although, Alice, I will also admit, does not have much "depth"- she is essentialy a self-involved, curious, and precocious child.)

I don't know what Tim Burton's vision for Alice is: Wasikowska is 18, while Alice Liddell, the real Alice the book was written for, was 10 at the time it was written.

It will also be interesting to see who Burton casts as the Duchess and as the Red Queen.

Alice in Wonderland is scheduled for release in 2010 so you have time to read the book if you haven't yet. Here's a little bit more of it for you:

'I couldn't afford to learn it.' said the Mock Turtle with a sigh. 'I only took the regular course.'

'What was that?' inquired Alice.

'Reeling and Writhing, of course, to begin with,' the Mock Turtle replied; 'and then the different branches of Arithmetic—Ambition, Distraction, Uglification, and Derision.'

'I never heard of "Uglification,"' Alice ventured to say. 'What is it?'

The Gryphon lifted up both its paws in surprise. 'What! Never heard of uglifying!' it exclaimed. 'You know what to beautify is, I suppose?'

'Yes,' said Alice doubtfully: 'it means—to—make—anything—prettier.'

'Well, then,' the Gryphon went on, 'if you don't know what to uglify is, you ARE a simpleton.'

Alice did not feel encouraged to ask any more questions about it, so she turned to the Mock Turtle, and said 'What else had you to learn?'

Alice's Face: Part I

Around 2004 I went to see a film by Istvan Szabo at Cinematheque and he spoke at the screening. He said something about how certain faces - not necessarily beautiful faces - captivate viewers when they are shown on screen. I'm paraphrasing from memory, but I think he wondered whether certain faces contained a universal appeal or if they had something that allowed a great number of people to project an emotion (or an ideal or a familiarity, or one's self) onto them.

I was surfing around IMDb and I discovered that Tim Burton is directing a live-action /CG 3D Alice in Wonderland.

I had mixed reactions. While I like Tim Burton's work a lot, I'm not convinced that Alice in Wonderland has ever succeeded in its transposition to the screen. Perhaps I'm a purist and can't let go of the original Tenniel illustrations. (I do not even think that any of the contemporary illustrators for Alice have done a memorable job.) Possibly, because I read The Annotated Alice, in which Martin Gardner delves into the mathematics and Victorian references behind the text. Mostly, I believe, because the joy of the book is not in the story, but in the telling of it - in the wordplay. How do you get this in a film:

"However, this bottle was NOT marked 'poison,' so Alice ventured to taste it, and finding it very nice, (it had, in fact, a sort of mixed flavour of cherry-tart, custard, pine-apple, roast turkey, toffee, and hot buttered toast,) she very soon finished it off."


I'm sure that Burton's Mad Tea Party will be sublime - especially as Johnny Depp will play the Mad Hatter - but there's something a bit predictable about it all. Tenniel's illustrations will come to life... with STRIPES! While Alice's Adventures in Wonderland can be quite dark, I wonder if Burton's "darkness" is the right...tone?

I started out talking about faces, didn't I?

So here's...