Archive for May, 2006

Sunday, May 28th, 2006

I dreamed I was whitening Julio Iglesias’ teeth.



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Saturday, May 27th, 2006

JE SUIS BIEN TROP GRANDE, TU ES RESTEE PETITE MAIS A MON AGE ON NE JOUE PLUS A LA POUPEE VOIS-TU BIEN SUR TU DEMANDES A GRANDIR BIEN VITE AU LIEU DE RESTER LA INUTILE LOIN DE MOI NE M’EN VEUX PAS



Saturday, May 27th, 2006

so delicious to be exhausted after a day’s hard work.



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Monday, May 22nd, 2006

ok. Up; then in, then down for a little while,
then up, then down again, then out.
ok. In; then inner, then up, then this-n-that,
then out, then back in.



Thursday, May 18th, 2006


Peggy Moffit says: “Fewer Emergencies” by Martin Crimp opens tonighty at Embros Theater..



Tuesday, May 16th, 2006


Guy Marchand is very brave.



Monday, May 15th, 2006


play opens wednesday/



Monday, May 8th, 2006


done.



Monday, May 1st, 2006

“My hair was short and Hitchcock wanted that perfect pulled-back hair. I already hated that gray suit and then having to go through putting on that wig with a false front made me feel so trapped inside this person who was desperately wanting to break out but was so caught up in the web of deception that she couldn’t. The fear of not being loved if she didn’t have on these clothes or wore her hair in a certain way, oh god, she had nothing left but to kill herself in the bell tower.”
Kim Novak



Monday, May 1st, 2006

Alfred Hitchcock was obsessed with women’s hair. It’s the ultimate symbol of women’s sexual power; a power that he found both irresistible and terrifying. Vertigo is essentially an examination of his own fascination with feminine appearance. The Hitchcock blondes almost always wore their hair in a compulsively arranged manner, suggesting his desire for perfection and control.

Hitchcock generally did not like loose hair on women. He seemed to find it vulgar rather than casually free. In his last real Hitchcock film, Marnie, the eponymous heroine, played by Tippi Hedren, lets her hair down in the opening scene when she in her slutty black-haired incarnation running away with the money, in the honeymoon cruise scene when is forced to perform her marital duties by Sean Connery, in the final scene with her ex-prostitute mother.
Loose morals? loose hair.

Hitchcock’s female stars —the blondes— are all about forehead. Usually coifed with styles swept back or up off the brow, the women’s faces, not their smartly dressed bodies, are the focus of attention. Most prominent, however, is the Tippi Hedren forehead, with a hairline so high as to be directly above the hinge of the jaw, her teased bangs curving up high before billowing back. Clearly, Hedren is meant to encourage a cerebral response, not animal lust; appreciation of her is best rarefied and spiritualised—her grand forehead should deflect any baser drive. Her hairdo reaches for the clouds, invites an airiness and clarity of manner. She is diminutive, with a very slender neck and a piquant tilt to her head; in The Birds, her chartreuse suit amongst the mellow colour scheme of grays, blues and homey yellows marks her as exotic, elegant but strange bird of paradise amongst the seagulls and swallows of Bodega Bay.

Yet she doesn’t strut or preen. Hedren has a sensible carriage; she wears her well-tailored suits as if she had been paid nicely to model them, and she’s pragmatic about the expectations she must fulfill while working in this capacity. She makes her way through the world with an economy of movement. Her bearing suggests that she knows just what’s appropriate, and can be relied upon not to give more or less. As the black-haired mystery woman in the opening of marnie, Hedren clutches her vivid yellow purse to her side; the purse is puckered suggestively and bulging with lubricious promise, yet, as the camera pulls out, Hedren’s backside isn’t seen to comply with such possibilities. It barely wiggles: this lady is no-nonsense: she travels with measured and determined steps down the platform.