Entertainment
Saoirse Ronan's two new films are worlds apart. Their costumes? Not so much
No matter the century, Saoirse Ronan is going to dance. When the four-time Academy Award nominee moves to the music in her two films this season, the fabric of a blue-striped dress or a vintage silk black top with a rose print becomes one with the choreography. Despite being set more than 70 years apart, London nightlife scenes in the World War II drama “Blitz” and “The Outrun’s” 21st century tale of alcoholism and recovery each display a 1930s influence.
In “The Outrun,” adapted by director Nora Fingscheidt from Amy Liptrot’s 2016 memoir of the same name, Rona is a fictional version of the author. Charting a decade or so of Rona’s life, Ronan (who also produced the film) has around 80 costume changes, from carefree partying and the subsequent spiral in Hackney to practical outerwear after moving home to the remote Orkney Islands as part of her sobriety journey. In Steve McQueen’s big-budget “Blitz,” Ronan plays resilient single mother Rita, whose 9-year-old son, George, goes missing from an evacuation train to the countryside. Like many other Londoners, Rita kept up appearances during the war.
Here, costume designers Grace Snell and Jacqueline Durran discuss how the locations and turbulence in each story inform the vibrant looks.
For the first “Outrun” fitting, Snell arrived at Ronan’s home with five suitcases of options, including a garment steeped in personal history. “This silk vest I have had for as long as I can remember in my adult life. It was given to me by my auntie,” says Snell. “It was made by my nanny in the ’80s. They’d found a piece of fabric in a jumble sale together. It’s a 1930s piece of fabric.” Snell’s aunt wore it “during her Bananarama phase,” and in the late 2000s the costume designer partied in London nightclubs wearing the same rose top. Next up, Rona.
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1. The look costume designer Grace Snell created for the character’s sobriety journey in nature for “The Outrun.” (Apple) 2. Snell chose a vintage tank for Soairse Ronan’s partying days in “The Outrun.” (Apple)
Ahead of nature becoming a lifesaver back home on the Scottish island, florals hold significance in the city. Rona wears the ’30s silk tank when a dreamy summer day morphs into first kisses at a nightclub — before benders and breakups. “I think it was one of our first costumes that Saoirse and I were like, ‘This is it!’” Snell says. It was easy to envision its impact as “The Outrun’s” hair and makeup designer, Kat Morgan, had dyed Ronan’s hair a bold shade for the first fitting. “With the turquoise hair, I thought a monochromatic top would work brilliantly,” Snell says. In the dark nightclub, the top isn’t trying to pull focus: “It’s her face that is illuminated.”
A cozy black hoodie with a white unicorn (coincidentally, Scotland’s national animal) graphic “ties in with the myth and legend elements of the film,” appearing at low points in both locations. “You have a London wardrobe, an Orkney wardrobe, and then a crossover of a few bits that bounce around,” Snell says.
Snell pulled a coat from her father’s closet that Rona wears back home and the designer borrowed from Orkney residents: “Rona’s wellies were given to us by one of the women on the farm, and I bought her a new pair as a thank-you.” No need to walk around muddy fields for authenticity: “That’s real sheep poo.” “It was important to me that lots of the clothes were lived and worn in; clothes that people have experienced wearing in those environments,” adds Snell. Overalls, oversize knits and a faux fur hat that Snell sourced but didn’t end up using for the Tilda Swinton movie “The Eternal Daughter” are part of Rona’s contrasting rural aesthetic.
Like Rona, Rita experiences bliss on the dance floor in “Blitz.” For this pivotal, joyous moment with boyfriend Marcus (CJ Beckford), before prejudice and then war tear her family apart, Rita’s striped blue frock with a shorter hemline is typical of late ’20s-early ’30s trends: “We copied it from an original, and it was very fitted from the waist over the upper hip, and then it flared so it was good for dancing.”
Rita’s dedication to looking her best in the present, whether at work in the munitions factory or going on a night out wearing a leopard-print coat, is inspired by photographic evidence. “It was almost part of the war effort to keep the front up, to keep your appearance together as much as you could, to keep morale high,” says Durran. “Putting your best foot forward even though it’s the war.”
“Blitz” is Durran’s fourth collaboration with Ronan across 17 years since they first worked together on “Atonement.” The nine-time Oscar nominee (Durran won for “Little Women” and “Anna Karenina”) observes that Ronan “has become one of our greatest movie stars,” and a showstopping “highly tailored, bold jacket” reflects the cultural status. Inspiration from adventurous late-’30s silhouettes makes Rita stand out at the train station in a sea of children ready to evacuate. “I think that’s part of movie storytelling, but I also was very conscious that I didn’t want it to be unbelievable, even though it looks like an extraordinarily big statement,” Durran says.
Costume designer Jacqueline Durran found not everything was drab during the Blitz, red was also “in the fashion ether at the time.”
(Parisa Taghizdeh/Apple)
Far from all Londoners falling back on dull neutrals, Durran found red was “in the fashion ether at the time”; makeup designer Naomi Donne also goes crimson for Rita’s lipstick. While the diagonal-striped jacket and skirt are custom-built, the contrasting red polka-dot blouse and shoes are vintage. Durran pushed the period-accurate look “a touch” but didn’t want to lean too glam with Rita’s headwear. “We did try some other more classic ’40s hats on,” she says. “Because we were already doing the red jacket, I wanted to play the hat down a bit.” Crochet provided the solution: “I went for a hat that felt like you could make at home.”
Using patterns from the era, “Lots of the headscarves in the factory were also crocheted.” These details show East End women “still express themselves” even in an expected uniform environment. The same applies whether on the bus, sheltering in a tube station or sorting through the rubble. “It was about London and the multiplicity of people and realities that are there,” Durran says. “I always felt that with Rita, or with any of the principals, you were just zooming in on one aspect of life in London at that moment, of which there were millions of versions.”
Depictions of the U.K. capital wildly differ in the Ronan double bill. Yet flashbacks highlight a sartorial connection within the cityscape Rita and Rona inhabit before one leaves the metropolis behind.
Movie Reviews
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Entertainment
Universal Music invests $80 million in Bollywood production company
Universal Music Group is investing $80 million for a stake in one of India’s biggest Bollywood production companies, Excel Entertainment Pvt.
Universal Music India, a division of Universal Music Group, will acquire a 30% equity interest in the Mumbai-based movie studio. In the deal, announced Monday, the companies will work together on forthcoming films, series, music and emerging formats.
While getting involved in India’s local film industry, Universal Music will also now receive global distribution rights for all future original soundtracks attached to projects produced or owned by Excel. There are also future plans for the companies to launch an Excel-linked music label that will allow UMG and Universal Music India artists to appear in various Excel titles.
The investment underscores the rapid growth in the Indian entertainment industry.
India is the 15th-largest recorded-music market globally.
Founded by producers Ritesh Sidhwani and Farhan Akhtar in 1999, Excel is responsible for making over 40 different films and scripted shows. Its most popular titles include “Dil Chahta Hai,” “Don” and “Talaash.” The company is currently valued at approximately $290 million.
“India’s entertainment landscape continues to grow from strength to strength, and this is the perfect moment to build meaningful global collaborations,” said Sidhwani and Akhtar in a joint statement. “Together, we aim to take culturally rooted stories to the world.”
Universal Music Group, with its corporate headquarters in the Netherlands and another office in Santa Monica, was founded in 1996. The music giant behind artists like Taylor Swift and Billie Eilish is valued at roughly $48 billion on the U.S. stock market, with shares selling around $25.80.
Movie Reviews
UNTIL DAWN Review
UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot of UNTIL DAWN puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.
Dominant Worldview and Other Worldview Content/Elements:
Strong humanist worldview that twists the concept of modern psychology into a supernatural hellscape with unexplained time loops and reoccurring nightmarish horror filled with excessive violence and gore, but with unexplained pagan supernatural elements (such as a storm circling a house, the appearance of more buildings, the time loop itself, and many more), the time loop perverts the laws of mortality and implies that the consequences of violence, murder, suicide, etc., don’t apply, the psychologist controlling the time loop discusses the situation with modern psychology in vague circles meant to confuse and disorient the nature of the reality in which the victims are trapped, religion or God is not explicitly discussed, but there’s an unexplained cross in front of a house that isn’t explained and a character references the belief that a possessed person cannot become possessed through contact but rather weakness of faith, and some occult content where one woman is a self-described psychic and is into “woo-woo” stuff as another character describes it, she tries to amplify her psychic abilities with help from the others by holding hands and meditation, and she often has strong feelings and seems to have a sense the others do not have, but no worship or symbols are shown, plus a girl dating a guy is said to have previously dated a girl as well as other men;
Foul Language:
At least 101 obscenities (including 62 “f” words), two strong profanities mentioning the name of Jesus, and four light profanities;
Violence:
Very severe violence and gratuitous blood and gore throughout including but not limited to dead bodies, monsters, scarred masked psychopath, stabbing, beating, and people spontaneously exploding;
Sex:
No sex shown, but a person puts on a VHS tape and a pornographic movie is heard playing briefly but not shown, and a woman is said to date a lot of people and one time dated another woman;
Nudity:
No nudity;
Alcohol Use:
No alcohol use;
Smoking and/or Drug Use and Abuse:
No smoking or drugs; and,
Miscellaneous Immorality:
A psychologist is a callous antagonist whose motives are relatively unknown beyond having a morbid curiosity that led to awful experiments and playing games with other people, he purposely keeps people trapped for no known reason other than his sick and twisted observations that end in gruesome murder and unnecessary torture.
One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town. This place of unimaginable horrors traps them all in a horrifying time loop where they will be murdered again and again.
UNTIL DAWN is nicely shot and paced well, with believable performances, but it has a strong humanist worldview overall with some occult elements is filled with gruesome violence, gore, lots of strong foul language, and a time loop that leads to an increasing amount of horrific murder and unacceptable immoral actions for survival.
The movie begins with a woman named Melanie clawing her way through the dirt with an unknown monster chasing after her. Digging her way out, she looks up to a masked psychopath standing over her with a scythe. She begs him, “No! Please not again. I can’t!” He fatally stabs her without a thought. It cuts to the main title, and an hourglass is shown with a ticking clock sound and unsettling music.
Cut to a group pf people in a red car driving up a winding mountain, an obvious nod to THE SHINING. It’s been one year after Clover’s sister Melanie vanished without a trace. The group consists of Max, Nina, Megan, Abe, and Clover. Shortly after their mother died, Melanie had decided to start a new life in New York. Clover decided to stay, which created tension between the sisters before Melanie left.
Clover and her friends are looking for more information about her disappearance. Their last stop is the last place she was seen in a video message taken in front of a middle-of-nowhere gas station. Megan, a proclaimed psychic, wants to join hands outside and see if they can feel any mystical energy regarding Melanie. Their attempt is cut short when an RV blares its horn and almost hits them, scaring them all.
Clover goes inside the gas station for a cup of coffee while the others talk outside. Clover asks the man behind the register if he worked here last year. After confirming he’s been working there for years, she shows him a picture of Melanie from the video. He asks if she was missing and clarifies saying that Clover is not the first to come asking. When she asks if many people around here go missing, he says people “get in trouble” in Glore Valley. As their only lead, the group decides to go there and stick together.
Nervously driving to the valley in an increasingly dangerous storm, the group begins to question what they are doing. Suddenly the storm stops but is still raging behind them. They park in front of a house with a “Welcome Center” sign, with the storm circling around the area but leaving the house dry. Confused, they get out of the car and look around. Nina decides to see if there’s anyone inside so they can come up with a plan. Everyone goes in except Clover, who walks up to the strange rain wall.
Inside the house, they find a dated and dusty interior. The power and water don’t work, and they conclude that they are the first people to come there in years. There is a strange hourglass with a skull on the wall. Checking the guest book, Nina finds Melanie’s name signed multiple times, with increasingly shaky handwriting. In another room, Abe finds many missing posters with faces on a bulletin board and finds poster with Melanie’s face.
Outside, Clover thinks she sees a person in the rain. She also hears Melanie’s voice and runs after it. Concerned, Max calls after her and he pulls her back in. As Nina signs the guestbook, the sun suddenly sets and the clock starts ticking.
Inside the house now with the hourglass turned over, they try to understand what’s happening. The car is out in the rain now with someone revving the engine threateningly. Some of them go to the dark basement, where the lights don’t work. There is an eerie sense of dread as Abe goes to check out a noise, and Nina finds a scarred and masked psychopath standing in a room as the top half of Abe’s body falls to the ground.
Hearing the commotion upstairs, the others go to see what happened and Max spots the killer. They run to hide, and the apparently invincible psychopath horrifically stabs each of them as they try to fight back. The sand in the hourglass runs back, as each character returns to where they were when Nina originally signed the book (she now signs it a second time). They remember what had just taken place, and how they were all murdered. Clearly stuck in this time loop escape room situation, they will now have to figure out how to escape this terrifying hellscape as the situations get worse with every loop.
UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.
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