Last week, in the inaugural edition of this column, I made clear my affection for pretty girls dressed as adventurous schoolboys. (More on this later on.) But while we are discussing the place of fashion in film, there are a few icons who may not suitably be ignored. Plus, I'm a sucker for a pretty dress. (Duh.)
Now, being the, um, rebel? that I totally am, I plan to wait until at least week three to discuss the inevitable subject at hand. However, this week's subject is not that far off.
It should be known that while I have seen some movies in my day, the number that I can claim made a deep, lasting impression on me is very, very small. Rear Window is one of those films. It's the story of a young, extremely dashing wheelchair-bound photographer who, in his boredom-induced idleness, discovers a scandal going down in the apartment directly across from him. It's sufficiently juicy and exciting and suspenseful, and thus, frankly, enough by my standards as it is. But it also happens to be by Alfred Hitchcock, who never failed to make anything he produced look simultaneously creepy and beautiful. And it stars both Grace Kelly and James Stewart, both of whom are practically too charming and attractive for words. I'm pretty sure, however, that this was the first Grace Kelly movie I ever saw -- and having been something of a tomboy, I remember being dumbfounded by the ... pure gorgeousness that the actress managed to exude without also being a total wet blanket. It doesn't hurt that the film has an intricately-woven and deeply satisfying plot (thank you, Hitchcock), or that all of the characters had both looks and substance, but I have to admit that this film presented the feminine aesthetic in such a strong, awesome way that it was impossible for me to resent on any level. That said, Grace Kelly's badass outfits are really only a fraction of a reason to watch Rear Window. You should rent it and do so immediately. In the meantime, you can check out the trailer here...
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