1960s Film, Fashion in Film

TWO FOR THE ROAD (1967): A Few Thoughts + Fashion

By George, I finally did it: I watched Two for the Road. I’d been wanting to watch this movie for several years and for some reason never tracked down a copy of it to enjoy until now.


I had the chance to watch it back in 2013 when I visited Hollywood for the first time with my dad. We got tickets to a double-feature of this film and It Happened One Night (1934) at the Egyptian Theatre. Unfortunately, Two for the Road was screened after It Happened One Night, which didn’t begin – if I’m correct – until 7:00 or 7:30 that evening. My dad wasn’t keen on the idea of walking back down Hollywood Blvd near midnight to locate our rental car. Although I was bummed, I will admit that he had the right idea in getting back to our car much before that hour. Nevertheless, I saw no less than two people dressed as Spiderman running and jumping around the sidewalks and I was totally enamored by seeing It Happened One Night on the big screen.

But good things come to those who wait!


Directed by Stanley Donen, Two for the Road looks at a young couple’s twelve-year relationship – from their first meeting, to moments of bliss, to a strained and seemingly doomed marriage. Some moments in the film are terribly romantic, some are bittersweet, and some are downright heart-wrenching.

Audrey Hepburn and Albert Finney star as Mark and Joanna Wallace. The film begins in the “present day”, introducing the watcher to a miserable couple seemingly on the brink of divorce. They begin to reminisce about the different periods in their relationship. The unique quality of this film is in its storytelling manner; instead of telling it chronologically, it’s presented in a nonlinear sequence.

Hepburn and Finney share a red-hot chemistry and despite it being a bit difficult to follow, the story is compelling and engaging. I think this was the best acting I’ve seen from Hepburn in a film so far. She’s so genuine and nails her dramatic and lighthearted scenes.









As always, Ms. Hepburn is at the top of her game where fashion is concerned, proving to us that she can pretty much grace any outfit she wears. (Side note: Hubert de Givenchy collaborated with Audrey for a handful of her biggest films, but she was costumed by Mary Quant, Paco Rabanne, and several other designers in this one.)

The style of Audrey’s costuming in Two For the Road is much different than any of her previous films. Viewers are used to seeing her in elegant dresses, simplistic blouses, and long skirts. Along with her naturalistic performance, the wardrobe does wonders.

















On top of everything, this film’s soundtrack was scored by Henry Mancini, who scored three other Audrey Hepburn films: Breakfast at Tiffany’s (1961), Charade (1963), and Wait Until Dark, which was also released in ’67.  The theme of this film is absolutely beautiful.

Fashion in Film, musicals, Star Profiles

Esther Williams: Baby, It’s Cold Outside

“I was just a swimmer who got lucky.”

Christmas is over and the new year is here. So, you know what that means: Summer is right around the corner. Well, practically. What better way to celebrate than by talking about Esther Williams?

Esther Williams Posing in Ballerina Costume
Esther Williams is shown in the underwater ballet scene from [Million Dollar Mermaid] in this photograph. — Image by © Bettmann/CORBIS

Okay, so it took me twenty years to watch an Esther Williams film.

It took a girl who spent many hours of her childhood watching old musicals and classic romance films that long to watch one of those movies. How? Well, I don’t know. I just never really got around to watching her movies until just after she passed away in the summer of 2013.

Esther Williams
Esther Williams pictured in 1945 – in her early ’20s (photo by Silver Screen Collection/Getty Images) – courtesy of huffingtonpost.com

I remember sitting down one night right in front of the TV (I think I had actually just discovered Seven Brides for Seven Brothers that night. I watched it for the first time on an old VHS given to me. Edgy.)

“America’s Mermaid” passed away on June 6th of that year. TCM (Turner Classic Movies) was running a marathon of her swimming films as tribute to her life and legacy. I remember learning of her death on that June day. I first heard about it through social media, where I follow a lot of other film fans and often find the news first. It was shocking, but I realized that I hadn’t seen any of her films before. I knew, however, that she was a unique talent. I just didn’t know how unique.

As I began to discover her films, I learned that both of my Grandmas were really familiar with her films. I guess that’s not surprising, as she was huge in the 1940s and ’50s. My Grandma Riggs was an especially big fan of Esther’s. She’s told me about the wonderful memories she has of going to the local movie theater to watch her musicals. I hope I’m lucky enough to watch at least one Esther Williams musical on the big screen someday. I can’t imagine how vibrant they must look full-scale.

The first Esther movie I watched was Million Dollar Mermaid (1952). I watched and I was entranced by everything Esther. She was this magical, beautiful mermaid…but in human form. No fins, no tail, but a mermaid in every other possible way.

Here’s one of her musical/synchronized swimming numbers from the film – choreographed by the one and only Busby Berkeley:


And can we talk about her film fashion for a moment? She wore the most beautiful bathing suits in her movies and her non-bathing attire was always gorgeous, too.

Image result for esther williams swimsuit movies
(courtesy of nytimes.com)

Although the plots in a typical Esther Williams movie are not filled with much complexity, their escapist plots -and, of course, the water ballets- are really what drew people in to to watch her. The idea of movies built around synchronized swimming may sound really cheesy to anyone not familiar with her films. But they were marvelous. MGM made each of her swimming numbers extravagant. (Side note: did MGM ever not do extravagant in the ’40s and ’50s?)

Oh, and how can I forget about the romantic plots/subplots? Esther Williams’s musicals were always filled with romance. She was often paired with dreamboats Van Johnson (check out Thrill of a Romance if you’re in the mood for a cute movie), Ricardo Montalbán (my personal pick is Neptune’s Daughter), and Howard Keel.

Esther was still active in her later years, despite suffering from a stroke in 2007. Among other achievements, a swimming pool company named itself after her, she created her own line of bathing suits (over at esther-williams.com, a number of bathing suits inspired by Esther are still being sold), and she appeared at the 1984 Olympics as a synchronized swimming commentator.

Today, many people remember her as one of the most effervescent stars of her time. The world really loved her.


There will never be another Esther Williams.

(courtesy of paytonangelle1.tumblr.com)


Star Profiles

Movie Icon: Ann-Margret

Opening note: The 1963 film Bye Bye Birdie is unashamedly one of my favorite musicals, so I thought I’d come back to my blog by dedicating a post to its starlet Ann-Margret and the impression she made on audiences, especially in the 1960s. This also gives me a chance to work with two subjects that are very dear to me: film history and fashion. I’ll highlight her performance in the aforementioned film and look at her iconic style and screen presence.

Courtesy of doctormacro.com
Courtesy of doctormacro.com


Ann-Margret, often known in history as Elvis’ #1 leading lady and ’60s sex symbol, was born Ann-Margret Olsson in Sweden on April 28, 1941. When she was young her family moved to the United States near Chicago after World War II and lived in the funeral parlor that her mother Anna worked in as a receptionist. As a girl Ann-Margret took up dancing and she was a natural, thriving at her lessons. By the time she was a teenager she had been appearing in various talent contests and by the age of sixteen she got to showcase her musical talent on the national television show “The Amateur Hour” in 1957.

In college, Ann-Margret teamed up with three men to form a jazz band called the Suttletones. She completed her freshman year but afterward moved to the West coast with her band members to seek out musical success. This meant performing in cabaret clubs in cities like Las Vegas and Reno, Nevada.

Her big break came in 1960. It happened one night in the lounge of the Dunes Hotel in Vegas. Legendary comedian George Burns spotted her performing and was taken with her. He asked her to perform for his Christmas show at the Sahara Hotel for $100 a night. By the next year she dropped her last name, got a recording contract and began her career in show business, starting with the film Pocketful of Miracles (1961) and then the not-so-successful 1962 remake of Rodgers and Hammerstein’s State Fair.

Here’s one of her screen tests from 1961 which won the executives over at 20th Century Fox and earned her a 7-year contract. Take note of her energetic jazzy style:

Ann-Margret, as mentioned earlier, was known onscreen as a sex symbol and was brushed off by some as just that. (In real life, she is actually more shy and laid-back than her usual screen persona.) It would truly be difficult for anyone to deny that she had a unique quality in her performance style: a mix of sweet, sultry, and sassy; and she was undeniably charismatic.

In Bye Bye Birdie (1963), she got to show off her singing and dancing talents along with an all-star cast, including Janet Leigh, Dick Van Dyke, a young and adorable Bobby Rydell, and the hilarious Paul Lynde. The story may have been extremely silly and a bit far-fetched, but I think the role of over-the-top but endearing fangirl Kim McAfee was well-fit for her. She was wonderful. By now, just about everyone knows the opening to the film: Ann-Margret singing the title song, running on a treadmill-like contraption off screen, singing, almost shrilly, to the love of her life, rock star Conrad Birdie–heavily inspired by Elvis Presley. I was going to post the video but A) I’m including several videos and a handful of photos so it’d probably be an overload and B) I realize not everyone loves the song (many people find it to be very annoying; I am not among that crowd…I love it.) If you’re a fan of fluffy, silly musicals and you haven’t seen Bye Bye Birdie I really do recommend watching it. It’s two hours of pure fun.

"Bye Bye Birdie" (1963) (courtesy of doctormacro.com)
“Bye Bye Birdie” (1963)
(courtesy of doctormacro.com)

Another notable screen role was with Elvis in the 1964 musical Viva Las Vegas. They proved to be a great screen team with sizzling chemistry–which is said to have carried off-screen for a short time. Many believe Ann-Margret and Elvis were meant to be together in real life, but their affair never led to anything further. They remained dear friends until Elvis’ death in 1977.

She met Roger Smith, who was in the television show 77 Sunset Strip and they were married in 1967. He also became her manager and led her on to more dramatic and serious acting roles. They’ve been married for forty-seven years. Pretty cool.

Like I mentioned at the beginning, Ann-Margret had a great sense of fashion in the 1960s and ’70s. A natural brunette, her hair was eventually dyed red when her career took off. Her sense of fashion seemed to especially be influenced by her onscreen personality: vivacious and playfully sensual.

*Click on individual photos to view full-sized*

In 1966 (courtesy of doctormacro.com)
1966 (courtesy of doctormacro.com)
In 1966, for "Murderer's Row". Working the bangs/pigtails look. (courtesy of doctormacro.com)
In 1966, for “Murderer’s Row”. Working the bangs/pigtails look.
(courtesy of doctormacro.com)
Courtesy of doctormacro.com
courtesy doctormacro.com
Courtesy of doctormacro.com
Courtesy of doctormacro.com


Her career has spanned for decades. From films to albums to live shows, Ann-Margret’s legacy lives on. There’s so much more that I could say about her and in the future I’d love to continue writing about her…and maybe one day show her films to crowds of people. For now, I hope I’ve done her justice. From what I’ve heard, she seems to be one of the kindest most down-to-earth actresses out there–not to mention completely adorable. If I could meet any movie star of my choice, she’d be at the top of my list. I keep thinking I’m going to write her a letter someday. I think I’ll do that soon. Here’s to you, Ann-Margret. Keep on dancin’ on.


With Elvis on set of "Viva Las Vegas" (1964) Courtesy of doctormacro.com
With Elvis on set of “Viva Las Vegas” (1964)
Courtesy of doctormacro.com
Courtsey of doctormacro.com
With Roger Smith (courtsey of doctormacro.com)


For "State Fair", 1962 (courtesy of doctormacro.com)
“State Fair”, 1962
(courtesy of doctormacro.com)
1960s  (courtesy of doctormacro.com)
(courtesy of doctormacro.com)