“I Am Love”

23 Nov

DRAFT 7.3.10

-character revealed through clothes….Swinton’s character, Emma, wears upscale, tailored, matching ensembles w/gorgeously expensive and oh-so-Italian jewelry

-when breaks with past/tragedy/family the character is barefoot, slightly disheveled, shorter hair (lets lover cut it) wearing mismatched casual clothes (maid tried to pack regular clothes for her, she leaves them behind–this is symbolic of everything else leaving behind–pain of son’s death, blame and judgment of her family, joyless and monotonous existence)

-colors in film supersaturated in middle, becomes colorful with change of seasons and remains so until death/funeral/ending…lends heady air to opulent surroundings, things appear hyper-realistic but, also blurry/hazy … (?)

-sensuality of food–scene w/ prawns and literal stage spotlight on swinton–has quasi-sexual experience in restaurant eating food prepared by lover-to-be…is a revelation for character, brings up repressed memories of Russian youth, endears him to her and piques her interest in him as sexual being–not just friend of son’s–for first time

-significance of recurrence of color orange–chairs, clothes on swinton, hermes bag, etc.


-reminiscent of Tom Ford’s “A Single Man” — character(s) revealed & developed through surroundings, personal items, wardrobe…particularly Julianne Moore’s character, whose story arc is not developed as much through action or dialogue as it is through interiors and wardrobe (Firth’s character developed by both, Moore’s colorful wardrobe and home are foils to Firth’s monotone wardrobe, drab colored home, flat lighting)

-Swinton’s surroundings and the interiors–other than the indulgent and frequent bouts of entertaining–are less colorful, not entirely lacking in significance but more serving as clean palette against which her clothes, hair, jewelry, etc. appear more colorful

-other films where interiors and/or wardrobe function centrally in character development, plot and story arc … ?











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