Moulin Rouge

During production, one of Selznick's primary issues with the footage coming in from De Sica and cinematographer G.R. Aldo had to do with the way Jones was photographed.

In one of his many infamous memos, the producer complained about the, quote, "'distortion of Jennifer's face and figure into a monstrosity because of what I regarded and still regard as the almost irrational insistence upon giving superior consideration to the photography of buildings.'" To that end, Selznick hired Oswald Morris, who had recently shot John Huston's stunning Moulin Rouge for the sole purpose of shooting glamorous insert shots of his wife.

As Selznick's biographer David Thompson put it, the Italians were not trained in glamour and De Sica did not favor closeups.

Jennifer, David complained, was looking terrible and unlike her real self.

In her book, she did kind of give the aura, the aura? Yeah, the vibe that like she wasn't stoked about it, but she understood that the workers had to do what they had to do.

But beyond her atelier, she maintained her status as a couture mastermind and she was even commissioned to create costumes for the character Zsa Zsa Gabor in the 1953 film Moulin Rouge, of which I have not seen, but I am in my film watching era, so maybe I'll put it on my list.

Throughout the life of Elsa Schiaparelli, she found herself with a number of business opportunities.

While it's impossible to name them all, we can certainly highlight the my favorite ones and the most influential ones.

The fashion presentations were made to feel like a dream, showing gowns of living flowers and moth-covered masks, holograms of ghostly models.

Dior featured a collection of bright blood-red hearts on bracelets and necklaces.

Saint Laurent's short film presentation French Water is a surrealist presentation in itself.

The concept of surrealism is a designer asking us to see reality from a different perspective.

Ivanhoe, uh, Moloon Rouge, Rouge?

Moulin Rouge.

Moulin Rouge.

[laughs]

Moulin Rouge.

And John Wayne and Maureen O'Hara in The Quiet Man.

Yeah.

We can talk about those later, I am sure.

But for the movies that did lose out for the Best Picture title in competition here, we have High Noon, Ivanhoe, Moulin Rouge, and The Quiet Man.

So four big films here.

losing out to The Greatest Show on Earth.

And, you know, for good measure on the film side, but, you know, mirrored with some controversy, unfortunately.

And that's why we're talking about it as a loser and not the winner that I think might have been or should have been in more contention.

Other than that, Moulin Rouge heard about.

It's a John Huston classic.