Another film where the bachelor pad plays a leading role. Directed by the legendary Michael Curtiz of Casablanca fame and starring Vaudville and stage star Frank Fay, this film is a Pre-Code bedroom farce set in Paris. Among the glamorous flappers in the film are the vivacious kewpie doll Joan Blondell, the femme fatale Louise Brooks, and the less-than-glamorous Laura LaPlante who plays the lead’s true love which is a real head scratcher for me. To see all 43 captured stills showcasing sets and costumes, click the link below.
The bachelor apartment is the real star of this film, not William Powell or Ginger Rogers. It’s interesting that stripes and plaids (refer to my past posts here and here) were generously used to decorate masculine quarters in many films from this era. Today’s male seems to prefer a more cavelike atmosphere populated with massive furniture upholstered exclusively in dark leather.
This film is a visual feast of details with the dining experience playing a major role. From the table settings to the multiple courses, Martin Scorsese has meticulously recreated the lavish displays of Old New York society in the late Victorian era. When comparing Edith Wharton’s text with the film’s visuals, I was unable to identify the porcelain, silver, and crystal. Perhaps someone out there, who has happened to stumble onto this blog, will be able to identify some of the pieces and leave a comment with clues to their identity. Otherwise just enjoy the visuals.
Throughout Martin Scorsese’s film, the Aesthetic Movement is beautifully represented, especially the interior spaces of one of the leading characters, countess Ellen Olenska, played by Michelle Pfeiffer. Perhaps you remember a previous post in which I discussed the Aesthetic Movement décor of Castle Hill Inn in Newport, Rhode Island.
This film is a very silly musical comedy starring Jeanette MacDonald and Maurice Chevalier. For me it’s the sets and costumes that are the prime attraction. I’ve seen this film several times and yet, when I rented it from Netflix to capture the following stills I had already forgotten the plot. And the same thing happened again when it came time to put this blog post together. So I hope you don’t mind if I don’t provide captions. It’s really not worth it. Just enjoy the eye candy.
Forbidden Hollywood at its best. This Pre-Code film follows Barbara Stanwyck as she climbs her way to the top one floor at a time. From her father’s speakeasy to the final scene’s lavish penthouse apartment, the interiors mirrored her own transformation. If you want to find out more about Baby Face go here, but I’m only interested in showing you the intriguing and telling interior spaces.
A film that opens with a valentine doily. A 1937 screwball comedy starring Irene Dunne and Cary Grant, The Awful Truth was one of the first, if not the first, of a series called “comedies of remarriage”, where separated or divorced couples rediscover that they are still in love with each other. In this film the interior sets are rich, varied, and will never disappoint.
This gem of a film, a 1932 pre-Code romantic comedy, was selected in 1991 for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant. Just the set décor alone makes this film a must see. The director, Ernst Lubitsch, felt this was one of his best, and the critics agreed. Because the film contains adult themes and sexual innuendo, after the Code went into effective enforcement, it was not approved for reissue and was not seen again until 1968. The film stars Miriam Hopkins, Kay Francis, and Herbert Marshall, and the wonderful Art Deco sets were designed by the head of Paramount’s art department, Hans Dreier. Hans would later win an Academy Award for Best Art Direction for Sunset Boulevard (1950). Click on the link below to view the wonderful sets.
Impressive sets for the Sun King as only Hollywood could imagine it. Repeat viewing of the film Vatel is one of my guilty pleasures. I’ve referred to it once before on my blog, but this time I would like to focus on the elaborate sets designed, as imagined by Hollywood, to entertain Louis XIV and win his favor during an historical event in 1671. I feel confident that nothing as elaborate as these sets in the film were ever created for those three days of revelry, but they are still fun to look at. The historical genius behind the festivities was François Vatel, who was the Master of Festivities and Pleasures in Louis de Bourbon, Prince of Condé’s household. You see, it was the Prince who desperately needed to win over the sun king, hoping for a commission as a general and an end to his financial struggles. Vatel was already renowned for having served Louis XIV’s superintendent Nicolas Fouquet in the splendid inauguration fête at the Château de Vaux-le-Vicomte ten years earlier, but that occasion lead to the unfortunate Fouquet’s downfall.
Shall We Dance from 1937 has some very stylized sets. Several scenes feature custom designed hotel rooms for each sex, which is common in Fred Astaire and Ginger Rogers films. I’m pretty sure that in reality, this never happened. Here’s a list of common design trends used for contemporary film interiors during the 1930s and 40s: padded and/or studded walls, curving walls, lots of built-ins, wall murals, bare-bulb sconces, heavy usage of fluorescent wall and overhead light fixtures. The following photos will show you what I’m referring to.