The Metropolitan Museum of Modern Art in Manhattan is currently showing an exhibit called “China Through the Looking Glass,” which runs until September 7, 2015. It takes up space on three floors (including the Anna Wintour Costume Center) and offers dozens of outfits and costumes by famous designers based on Chinese motifs and inspirations, along with other art objects (vases, sculptures, installations) and other commercial objects (e.g., perfumes).
What grabbed my attention most were the various screens in the galleries on which were projected film clips from famous Chinese, Hong Kong and Hollywood films. I counted a total of 24 films represented, most of them well-known, with only one completely new to me. They were grouped by eight chosen themes. Six of the themes ran montages of three to five films each on continuous loops, while two themes stuck to one film each. The screens showing these film clips accompanied display cases featuring costumes or art objects related to the theme.
This post is my contribution to the My Favorite Classic Movie Blogathon in support of the first National Classic Movie Day. The home page for the blogathon can be found here:
Since a couple of the favorites I would have picked were already taken by other bloggers (e.g. THE BEST YEARS OF OUR LIVES and CASABLANCA), I opted for PORTRAIT OF JENNIE (1948), which I saw for the first time as an adult and quickly became a favorite after a TV viewing and a big-screen viewing. I wrote a piece about it after the big-screen showing, which took place 24 years ago yesterday, and, since the piece has never been published, I decided to use it as my entry in this Blogathon. The emphasis is on the film’s use of New York City locations and how they contribute to the romantic and otherworldly aura of the film. Without further ado, here is the original essay:
Recently, a song was played on the radio entitled “Merry Go ’Round,” by up-and-coming country singer Kacey Musgraves, and it reminded me of the kinds of songs that used to be featured on movie soundtracks in my youth. In these films, there was usually a sequence where the song played over a piece of action as a character is traveling or making stops or having a lovers’ rendezvous and the lyrics usually commented on the action, either directly or obliquely. The songs that came to mind right away were the following: “Everybody’s Talkin’” performed by Nilsson in MIDNIGHT COWBOY (1969), “Come Saturday Morning,” performed by the Sandpipers in THE STERILE CUCKOO (1969), and “I Got a Name,” performed by Jim Croce in THE LAST AMERICAN HERO (1973).