Rebel without a Cause (1955)

Writing about 'the James Dean look' on movies like Badlands and Flyboys, I had to cover and show where this ideal image originates from. The popularity of James Dean was immense at the time and some say this was the reason for Warner Bros. to order director Nicholas Ray to re-shoot the movie in color. As originally the film was to be shot in black and white.

The rebellious character of Jim Stark seems of course to have been written for James Dean, who was known for his love of cars and any sorts of racing. However 'the James Dean look' has got nothing to do with cars, but is all about the indifferent, bored but cool expression on his face, his white tee combined with the iconic Lee 101 Riders jeans and the red Harrington jacket completes this look. Nicolas Ray did research on contemporary L.A. gangs for the characters in this movie and this resulted in lots of selvage jeans, probably most of them big E 501's, leather jackets and cowboy-style boots.

A River Runs Through It (1992)

Movies that cover the places in nature where human presence is not an everyday occurrence always get a hold of my attention. Whether it's 'Spring, Summer, Fall, Winter.. and Spring' from Korean's best Ki-duk Kim or the beautiful shots of nature Terrence Malick manages to capture in all of his oeuvre. Robert Redford chose the landscape around Missoula, Montana for a peaceful depiction of the story about two brothers sharing a passion for fly-fishing inherited from their father. I tried fishing with my brother when we were young in the urban environment we lived in and never really could understood the thrill about it. But when having these fly fishing rods and a fast-flowing river nearby I can imagine.

One of the best roles I know of from an innocent Brad Pitt presents some classic Americana outfits; out fishing with his suspenders khakis and Red Wing Irish Setters. And other old-fashioned wear from the American countryside like round collars on the flannel check shirts, an overload of hatstyles and the funnel used by the deaf to improve his hearing.

Big Fish (2003)

Writing about the marvelous precision and carefulness in the choice of setting, decor and costumes of Anderson made me think about another director with almost as much sense for these aspects of film: Tim Burton. Although with a slightly different approach since he loves fiction and injects the fantasy element to most of his works.

Big Fish takes place in the American countryside which provides much space for old American tradition and clothing. I really love the oil-waxed cotton duck (deriving from the Dutch 'katoen doek') jacket worn by the farmer, the canvas and leather rucksack (another Dutch derivation) that could have been a Filson, the 1966 Dodge Charger and of course the deck shoes which probably are my favorite type of footwear. Although I sometimes long to the time where people wore no shoes at all and enjoyed wobbling rocking chairs. As a child growing up in Cameroon I didn't wear shoes for most of the time and it gives you a certain kind of freedom. Another interesting item featured in the film is the money bag with the ziplock (where Anothersomething recently did a small article on). See for yourself.

Rushmore (1998)

Wes Anderson. Need I say more?

Okay, just a few words. Not Anderson's first feature-length film, although it is the first in which we really recognize his 'stilo'. Stilo was the term used by Truffaut and friends to indicate the mark a director left on his motion picture. Anderson was a distinct fan of the French new wave directors and that is sure to be seen in all of his works. He directs his movies almost as if they are theatrical plays. Costumes and decors are as important to him as dialogues and script. Still through the use of subtleties he creates movies which are full of drama, humor and compassion.

Rushmore, a story on friendship, love and ambition set against the backdrop of the American university tradition. A tradition of competition that opened up the door to the new elitist 'ivy style'. A style lately more and more popular resulting in the re-release of the Japanese classic Take Ivy and the British The Ivy Look. Anderson was long familiar with the ivy look. The button-down Oxford shirts worn by all the students, the turtleneck sweater under a tweed-jacket and the iconic harrington jacket. The classic chicano look, light-blue oxford shirt with only the top-button fastened and accompanied by all black sunglasses, is not ivy at all but it has just as much style. And note the giant headlight on Max's racebike.

ps. I had to select all these portraits of Bill Murray. He's the king of facial expressions without expression. Together with Anderson he's just it. Every single shirt matches his tie, or the other way around. Awesomeness.

Soleil Rouge (1971)

Still Stile is dedicated to style in cinema. It's focus is primary on men's style consisting of clothing and accessories like hats, ties, gloves, glasses and watches. To broaden this framework I will add to it other style attributes like cars, cigarettes, guns, facial expressions, movements and postures.

The discussion to whether style is subject to subjectivity will always continue, the same as there is on paintings and other art forms. For me the over-quoted quote by Coco Chanel: "Fashion fades, only style remains the same" is very pertinent. Although I think style is still very socially constructed and therefore interconnected with economic status and culture. So I think style can be divided in different ranges and it's my intent to cover them all. Ten still images from one feature-length film a week.

I will start off with a first series of still images captured from the 1971 western Soleil Rouge directed by Terence Young, famous for directing the first James Bond movie Dr. No. A feature-length film with a blend of American (Charles Bronson), French (Alain Delon) and Japanese actors. Western styles, Americana looks and of course the iconic Japanese actor Toshiro Mifune in his classical samurai outfit. Enjoy.