The Perfect Moment

Self-Portrait, Robert Mapplethorpe, 1980

 

James Franco photographed by Mariano Vivanco, 2012

 

Self-Portrait, Robert Mapplethorpe, 1983

 

James Franco, also by Mariano Vivanco, 2012

 

In 2012 it was announced that funding had been received by The Tribeca Film Institute for Ondi Timoner‘s Robert Mapplethorpe biopic. At that same time, it was also confirmed that James Franco would star as Robert Mapplethorpe.

While we hadn’t heard much on the film since then, some photos were released that showcase Franco channeling the famous photographer. Also, it’s been revealed that the film is under the working title The Perfect Moment, the same title as Mapplethorpe’s 1989 traveling exhibition.

 

The photos were done by GQ Germany and they feature Franco pulling some of Mapplethorpe’s iconic poses. The film was expected to get underway later 2012

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The War of Vaslav Nijinsky

Portrait of Vaslav Nijinsky, by Jacques-Émile Blanche, 1910

 

“…Then, I said to myself:

“HISTORY IS HUMAN NATURE—;

TO SAY I AM GUILTY

IS TO ACCEPT IMPLICATION

IN THE HUMAN RACE. . .”

—Now, for months and months,
I have found

ANOTHER MAN in me—;

HE is NOT me—; I

am afraid of him …”

Frank Bidart

 

The Sacrifice, released in 1983, received widespread praise. Central to the volume is a thirty-page work titled The War of Vaslav Nijinsky, As with most of his poetry, The War of Vaslav Nijinsky went through a series of revisions as Bidart experimented with language and punctuation. “The Nijinsky poem was a nightmare,” he remarked in his interview. “There is a passage early in it that I got stuck on, and didn’t solve for two years.” David Lehman praised Bidart’s technique of alternating portions of the dancer’s monologue with prose sections on Nijinsky’s life. According to Lehman, “the result combines a documentary effect with an intensity rare in contemporary poetry.”

Bidart’s poem consists almost entirely of a first-person confession by Nijinsky; it takes place after the break with Diaghilev, during the height of war in Europe. We are privy to the dancer’s ideas and musings about, among other things, the second section of The Rite of Spring, called The Sacrifice. Nijinsky’s inner rantings are clearly schizophrenic. He imagines himself the sacrificial victim of the corrupt world that is putting itself through the bloodbath of World War I. The dance is an act of expiation. (The fact that The Rite of Spring was originally the conception of a perfectly sane Stravinsky is glossed over by Bidart.) The Rite of Spring, then, will be an ode to the planet’s renewal after the war, which Nijinsky sees himself as having been chosen by God to enact. But Nijinsky’s (and Stravinsky’s) version will not be the traditional spring ode of birds, trees, and light. It will be the tumultuous, violent, modernist ode to spring, full of blood and death and suffering, for spring involves the death of the old as much as the birth of the new.

 

 

Frank Bidart (born on May 27, 1939) is a native of California and considered a career in acting or directing when he was young.In 1957, he began to study at the University of California at Riverside, where he was introduced to writers such as T.S. Eliot and Ezra Pound and started to look at poetry as a career path. He then went on to Harvard, where he was a student and friend of Robert Lowell and Elizabeth Bishop. He began studying with Lowell and Reuben Brower in 1962. He has been teaching English at Wellesley College since 1972, and has taught at nearby Brandeis University.

He lives in Cambridge, Massachusetts, and he is openly gay. currently maintains a strong working relationship with actor and fellow poet James Franco, with whom he collaborated during the making of Franco’s short film Herbert White (2010), based on Bidart’s poem of the same name.

Covered Up in Pink

“Apart from the two side seams the dress was folded into shape rather like cardboard. Any other girl would have looked like she was wearing cardboard, but on-screen I swear you would have thought Marilyn had on a pale, thin piece of silk. Her body was so fabulous it still came through.”

William Travilla

 
 

Diamonds Are A Girl’s Best Friend number, from Gentlemen Prefer Blondes (Howard Hawks, 1953)

 
 

This wasn’t the dress designed for this scene. William Travilla had designed a breathtaking show girl costume with jewels sewn onto a black fish-net body stocking up to the breasts, then covered in nude fabric, embellished with a mass of diamonds, costing close to $4,000. It never got past the cutting room floor. It was rejected because it came out that Marilyn has posed nude for a calendar back in 1949 (the infamous Golden Dreams photographed by Tom Kelley), when Marilyn was desperate for money. And instead of riding on the revelation, Travilla was given strict instructions to cover Marilyn up.

 
 

 
 

It was rejected because it came out that Marilyn has posed nude for a calendar back in 1949 (the infamous Golden Dreams photographed by Tom Kelley), when Marilyn was desperate for money. And instead of riding on the revelation, Travilla was given strict instructions to cover Marilyn up.

 
 

 
 

The original concept for the new dress included black gloves and shoes, and no one is sure why they became pink, but Travilla redid his sketch to show pink gloves. When people see the actual dress they often remark that in real life is lighter than it appears in the movie. That is easily explained by the use of glorious Technicolor according to Travilla himself, not only did he have to design the dress, but he had to make sure he got the fabric right, as Technicolor would make it appear more vibrant on film.

This dress was made out of peau d’ange, a sort of silk satin. The aim was to show the outline of the body, but for the dress to move with the body and not crease – which was rather difficult when Marilyn was moving up and down the stairs. Eventually the silk satin was glued onto felt, with a black lining added to the back, to give it a stiffness.

 
 

Marilyn Monroe’s rendition of the song Diamonds Are a Girl’s Best Friend and her pink dress are considered iconic, and the performance has inspired homages by Madonna (Material Girl music video) , Geri Halliwell, Kylie Minogue,  Anna Nicole Smith, Christina Aguilera, and James Franco (Oscar 2011).