When film and fashion meet

Annie Hall (1977)

Standing in front of the orange background and telling a joke about two women characterizing the food at the resort Catskill as very bad and in very small portions, Alvy Singer, a character played by Woody Allen in the film Annie Hall, not only explained his attitude toward life, considering it miserable and unbearable, and yet expecting from it as much as possible, he also introduced us to one of the smartest and funniest love stories on the big screen

    Presented as a "neurotic romance" Annie Hall, in the year of the phenomenon known as the "Star Wars" and growing interest of Hollywood audience for expensive blockbusters, managed to win over critics and audience, and firmly establish the name of Woody Allen as an established film director. It will be the beginning of the film and television myth about New Yorkers and their particular attitude to emotional relationships, marriage and love. In fact, in 1977 Woody Allen portrayed the emotional life of a forty year old comedian from New York, who after two failed marriages meets Annie, with whom he starts an emotional relationship, followed by ups and downs. Seemingly nothing new. However, it will be an entirely new angle of presenting a relationship between two adults in the late 70's of last century in a world metropolis such as New York. As will be shown, and even three decades later, this subject will remain a constant inspiration to film and television directors, and emotional lives of New Yorkers will become a real social phenomenon, studied by fields other then cinematography. But, let’s go back to Woody’s Annie.

Woody and Annie in the history of the Oscar’s

It will be only the second film in the history of cinematography that will allow one man to be nominated in three main categories at the Academy Awards: for Best lead actor, Best director and Best original screenplay. Until then, only Orson Welles succeeded in it with the nominations for the film "Citizen Kane". Unlike Welles, who won the Oscar for best screenplay, Woody took home two gold statues, while he lost the nomination for the best actor to Richard Dreyfuss for his role in "The Goodbye Girl". Otherwise, the film won four Academy Awards including the one for Best Actress and Best Picture. This fact is particularly important if we consider uncharacteristic visual techniques that Woody used in directing, such as direct addressing to the audience, animated characters, frequent flashbacks, subtitles that follow the internal conversation of the characters and unexpected connections between the plot and the real life. His skillful playing with these techniques, without harming the quality of the film, was enough to put Woody on the list of leading directors. If we scratch deeper into the structure of Annie Hall, we see that the essence of this film is in its long, intelligent, witty, sarcastic and ironic monologues and dialogues that simply stretch through the entire film. Allen's characters are constantly in dialogues. They are talking while walking, while driving, while making love, while traveling, while having fun. However, the dialogues are far from being tedious or boring. Replicas are short proverbs that portray life, giving the viewer the ability to identify with the characters and the story that accompanies them.

Roger Ebert, one of the most celebrated American film critics, wrote about Annie Hall: "This movie contains more intelligent humor and cultural references than any other film awarded the Oscar for Best film".

The spontaneity in the movie is another feature that makes it remarkable. However, the paradox is in the fact that spontaneity was achieved in frames whose average length was up to 14.5 seconds. If we know that the average length of frames in the films made in 1977 was between 4 and 7 seconds, it is clear that the spontaneous atmosphere of the film is the result of the skillful director and talented cast. Regardless the length of the frame, the movie is quick and lively. Credits for this can be attributed to Ralph Rosenblum, who did a fantastic movie editing, having shortened the material of over two hours to 95 minutes, eliminating many of the scenes and cutting those which entered the final version. The version, that will push boundaries and set new ground in a romantic comedy genre. Direction and form which Annie set will be used as the tested recipe in many films such as "When Harry Met Sally" in 1989 and "Forget Paris" from 1995. If we had to describe Annie Hall with a single word, then it would be an adjective: fresh. The freshness in dialogues, humor, descriptions of relationships and emotional state of characters, social phenomena, the political situation and society in general, is so strong that we could easily place Alvy and Annie to New York from 2011, and none of their replicas would be meaningless.

Diane Keaton and “Annie Hall look”

It is supported by the fact that the appearance of Diane Keaton as the main protagonist in the film caused quite a fashion revolution. "I like what you’re wearing", said Alvy at the first meeting with Annie, and he will not be the only one to think that. Masculine, layered look inspired by the ‘30s fashion, with deep wide-leg pants, large shirts paired with ties and men's vests, with a touch of bohemian style in the form of long skirts and coats worn with a scarf or sash, and large glasses. All of it produced a recognizable "Annie Hall look", which will be an inspiration for decades to both the female part of the film audience and fashion industry giants. It is interesting that Diane, for the most part of the film, is wearing her own clothes or costumes, which inspired by her stile, were created by Ralph Lauren and costume designer Ruth Marley. This will be mainly vintage men's tailored clothing adjusted to Keaton’s figure, or designs from Ralph Lauren's man collection. By adding details such as large glasses or long scarves, Diane added a necessary dose of femininity to her character. The fact is that the layered and baggy costumes would look, at least funny, on any other actress, but the attitude and self-confidence of Keaton made “the Annie ​look” elegant, chic and even sexy. Diane Keaton's fashion geniality, according to Woody Allen, will be the most responsible for characteristic recognizable character of his heroine. Annie Hall look will be present for a decade and a half, and it is back in fashion in the last couple of seasons. Yet it is paradoxical that in addition to the fashion influences of the film, it wasn’t nominated for the best costume at the Academy Awards. For years legends like Ralph Lauren, Stella McCartney and Marc Jacobs were inspired by men’s clothes in creating collections for women. The collections for autumn / winter 2011/2012 exude a masculine look with feminine details that will make a woman look more confident, resolute and strong. British designer Paul Smith for next season suggests androgynous look with a feel of London and Parisian chic, which, along with pants, blazers and shirts with a masculine cut and tie as a detail, reminds us of Annie Hall New York look from 1977. Another designer, this time a female, that comes from the United Kingdom, Margaret Howel, in her latest collection, presents boyish cuts in the form of large jackets and coats, tight trousers, shirts with vests, but with a little more feminine details such as sash and waist belts that put the accent on the waist. There are also men's hats with wide brim, like the one Annie wears at the first meeting with Alvy. The Italian duo behind the brand D & G are also flirting with androgen look in their latest collection. Everything is there: men's blazer, white shirt, vest, tie, hat and "Oxford" shoes. As Stefano and Domenico mixed the extreme "boyish" look with models that reflect the distinctive D & G sex appeal, we can say that one of the most famous fashion duos was inspired by male-female fashion contrast, the one that celebrated Woody’s heroine. Playing with the already mentioned contrast did not pass the collections of the brands like Chanel, the Iseberg, the Anterprima's, Chloe, Celine, LAMB.
 

This time, a summary will be reduced to a single word: forever. Themes, humor, acting that make "Annie" are simply eternal, just like the fashion stile of the main character. If you decide to play with the Annie Hall look this season, we can only say: Do it! As for the film, it is easy reading that can not be missed. And that’s it, without any further options or alternatives.

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KAD SE SRETNU FILM I MODA  Eni Hol (1977)

Stojeći ispred narandžaste pozadine i pričajući vic o dve žene koje komentarišu hranu u odmaralištu Katskil kao jako loše i male porcije, Alvi Singer (Alvy Singer), lik kojeg tumači Vudi Alen (Woody Alen) u filmu Eni Hol (Annie Hall), ne samo da nam je objasnio svoj odnos prema životu, koji smatra mizernim i nepodnošljivim, a od kojeg opet želi što više, već nas je uveo u jednu od najintelektualnijih i najduhovitijih ljubavnih priča viđenih na filmskom platnu

    Predstavljena kao „neurotična romansa“ Eni Hol, je u godini nastanka fenomena zvanog „Rat zvezda“ i rastuće pomame holivudske publike za skupim blokbasterima, uspela da osvoji kritiku i publiku, i čvrsto utemelji ime Vudija Alena u red priznatih rediteljskih velikana. Biće to začetak filmskog i televizijskog mita o Njujorčanima i njihovom specifičnom odnosu prema emotivnim vezama, braku i ljubavi. Naime, Vudi Alen će se te 1977. godine osvrnuti na emotivni život četrdesetogodišnjeg komičara iz Njujorka, koji nakon dva propala braka sreće Eni, sa kojom započinje emotivnu vezu, praćenu usponima i padovima. Naizgled ništa novo. Međutim, biće to jedan posve novi ugao sagledavanja odnosa dvoje odraslih ljudi s kraja sedamdesetih godina prošlog veka u svetskoj metropoli kakva je Njujork. Kako će se pokazati i tri decenije kasnije, ova tema ostaće nepresušna inspiracija kako filmskim tako i televizijskim rediteljima, a emotivni život Njujorčana postaće pravi socijalni fenomen, izučavan i van granica kinematografije. No, vratimo se Vudijevoj Eni.

Vudi i Eni u istoriji „Oskara“

Biće to ostvarenje koje će tek drugi put u istoriji omogućiti jednom čoveku da bude nominovan u tri glavne kategorije za nagradu filmske Akademije: kategoriju glavni glumac, najbolja režija, najbolji originalni scenario. Do tada, to je pošlo za rukom samo Orsonu Velsu (Orson Welles) za film „Građanin Kejn“ (Citizen Kane). Za razliku od Velsa koji je osvojio Oskara za najbolji scenario, Vudi je odneo kući dve zlatne statue, dok ga je u kategoriji najbolji glumac pobedio Ričard Drajfus (Richard Dreyfuss) za ulogu u filmu „The Goodbye Girl“. Inače, sam film je dobio četiri Oskara, među kojima i onaj za najbolju žensku ulogu, ali i za najbolji film. Ova činjenica posebno dobija na značaju ako uzmemo u obzir nekarakteristične vizulene tehnike kojima se Vudi koristio tokom režiranja, poput direktnog obraćanja publici, animiranih likova, čestih flešbekova, titlova koji prate unutrašnji govor likova i iznenadnih povezivanja radnje filma sa realnim životom. Umešnost kojom se poigravao navedenim tehnikama, ne škodeći kvalitetu filma, bila je dovoljna za uvrštavanje Vudijevog imena među ozbiljne rediteljske stvaraoce. Ako zagrebemo dublje u strukturu Eni Hol, videćemo da je suština ovog ostvarenja u dugim, inteligentnim, duhovitim, sarkastičnim i ironičnim monolozima i dijalozima, koji jednostavno ne prestaju tokom čitavog filma. Alenovi likovi su konstanto u dijalogu. Pričaju dok šetaju, dok se voze, dok vode ljubav, dok putuju, dok se zabavljaju. Međutim, dijalozi su daleko od zamornih ili dosadnih. Replike su kratke mudrosti koje odslikavaju život, dajući gledaocu mogućnost da se identifikuje sa likovima i poistoveti sa pričom koja ih prati.

Jedan od najslavnijih američkih filmskih kritičara Rodžer Ebert (Roger Ebert) napisaće o Eni Hol: „Ovaj film sadrži više inteligentnog humora i kulturnih referenci nego ijedan drugi nagrađen Oskarom u kategoriji najbolji film“.

Spontanost kojom film odiše je još jedna od karakteristika koja ovo ostvarenje čini upečatljivim. Međutim, paradoksalna je činjenica da je spontanost postignuta u kadrovima čija je prosečna dužina bila i do 14,5 sekundi. Ako znamo da je prosečna dužina kadrova filmova snimljenih u 1977. godini bila između 4 i 7 sekundi, jasno je da je spontana atmosfera filma posledica vešte rediteljske palice i talenta glumačke ekipe.  Bez obzira na dužinu kadra, film je brz i živ. Zasluge za to se mogu pripisati Ralfu Rosenblumu (Ralph Rosneblum), koji je fantastično editovao film, skrativši materijal od preko dva sata na tek 95 minuta, eliminisavši mnoge scene i isekavši one koje su ušle u krajnju verziju koja će pomeriti granice i postaviti nove temelje žanra romantična komedija. Pravac i forma koju je Eni postavila biće upotrebljavani kao oproban recept u mnogim naslovima pomenutog žanra, poput „Kad je Hari sreo Sali“ iz 1989. i „Zaboravi Pariz“ iz 1995. godine. Ako bismo morali jednim epitetom opisati Eni Hol, onda bi to bio pridev - svež. Svežina kojom odišu dijalozi, humor, opisi emotivnih odnosa i stanja likova, socijalnih fenomena, političke situacije i društva generalno, toliko je jaka da bismo bez problema mogli da smestimo Alvija i Eni u Njujork iz 2011. godine, a da nijedna njihova replika ne bi bila besmislena.

Dajan Kiton i „Eni Hol izgled“

Tome ide u prilog i činjenica da je pojava Dajan Kiton (Diane Keaton) u ulozi glavne protagonistkinje filma izazvala pravu modnu revoluciju. „Sviđa mi se to što si obukla“ reći će Alvi pri prvom susretu sa Eni, i neće biti jedini koji će to pomisliti. Muškobanjasti, slojeviti izgled inspirisan modom tridesetih, u kojem su preovladavale duboke pantalone širokih nogavica, velike muške košulje uparene sa kravatama i muškim prslucima, uz dašak boho stila u vidu dugačkih suknji i kaputa nošenih uz šal ili ešarpu i velike naočare, proizveo je propoznatljivi „Annie Hall look“, koji će decenijima biti inspiracija kako ženskom delu publike filma tako i velikanima modne industrije. Zanimljivo je da će Dajan u najvećem delu filma nositi svoju garderobu, ili pak kostime, koje su, inspirisani njenim stilom, kreirali Ralf Loren (Ralph Loren) i kostimografkinja Rut Marli (Ruth Morely). To će uglavnom biti vintidž muška garderoba prilagođena figuri Kitonove, ili pak dizajni Ralf Lorena iz njegovih kolekcija za muškarce. Dodavajući detalje poput velikih naočara ili dugačkih šalova, Dajan bi dodavala i neophodnu dozu ženstvenosti svom liku. Činjenica je da bi slojeviti i šljampavi kostimi, na nekom drugoj glumici, u najmanju ruku, izgledali smešno, ali stav i samopuzdanje kojom je odisla Kitonova, učinili su da Eni izgleda elegantno, šik, pa čak i seksi. Modna genijalnost Dajane Kiton biće, po rečima samog Vudija Alena, najzaslužnija za preopoznatljiv lik njegove junakinje. „Eni Hol izgled“ biće aktuelan punih deceniju i po, ne bi li se i poslednjih sezona vratio na velika vrata. Ipak paradoksalno je da je pored svog modnog uticaja koji je film ostvario, nominacija filmske Akademije za najbolji kostim izostala. Godinama unazad velikani poput Ralfa Lorena, Stele Mekartni i Marka Džejkobsa, koristili su se muškom garderobom kao inspiracijom za ženske kolekcije. Sezona jesen/zima 2011/2012 odiše muškobanjastim izgledom ukombinovanim sa ženstvenim detaljima, koji će ženu u narednoj sezoni učiniti samopouzdanom, odlučnom i jakom. Britanski dizajner Pol Smit (Paul Smith) za sledeću sezonu predlaže androgeni izgled, začinjen londonskim šmekom i pariskim šikom, koji uz pantalone, blejzere i košulje muškog kroja i uz kravatu kao detalj, neodoljivo podseća na njujorški izgled Eni Hol iz 1977. godine. Još jedno dizajnersko ime, ovoga puta žensko, koje nam dolazi iz Ujedinjenog Kraljestva, Margaret Hovel (Margaret Howel), u svojoj najnovijoj kolekciji, predstavlja nam modele muškobanjastih krojeva, u vidu širokih blejzera i kaputa, cigaret pantalona, košulja kombinovanih uz prsluke, ali sa nešto ženstvenijim detaljima poput ešarpi i pojaseva koji naglašavaju struk. Tu su i muški šeširi širokog oboda, poput onog koji Eni nosi prilikom prvog susreta sa Alvijem. Italijanski duo koji stoji iza brenda D&G, u svojoj najnovijoj kolekciji, se takođe poigrava androgenim izgledom. Sve je tu: muški blejzer, bela košulja, prsluk, kravata, šešir i „oksford“ cipele. Kako su Stefano i Domeniko ekstremno „boyish“ izgled ukombinovali sa modelima koji odišu prepoznatljivim D&G seksipilom, može se reći da je jedan od najpoznatijih modnih dueta bio inspirisan muško-ženskim modnim kontrastom, upravo onim koji je Vudijevu junakinju učino stilski večnom. Poigravanje već pomenutim kontrastom nije zaobišlo ni kolekcije iza kojih stoje brendovi Chanel, Iceberg, Anterprima, Chloe, Celine, L.A.M.B.

Ovoga puta rezime ćemo svesti na jednu jedinu reč: večno. Teme, humor, gluma koje čine „Eni“ su jednostavno večne, baš kao i modni stil naslovne junakinje. Ako rešite da se ove sezone poigrate sa Eni Hol izgledom, mi vam samo možemo reći: učinite to! A što se tiče filma, on je jednostavno štivo koje se ne sme propustiti. I tu je tačka, bez daljih opcija ili alternativa.

Autor: Branislava Antović