Thursday, September 27, 2012

Are you the murderer? Win tickets to PSYCHO LIVE

On Saturday 6th October, Film Fatale, Ireland’s most glamorous film event, will transport its audience back to the 1950s for a night of film, femme fatales, detectives, cocktails, vintage music, and perhaps even murder         
         
We'll be running a special competition on the night for tickets to the RTÉ Concert Orchestra's Hallowe’en screening of Alfred Hitchcock’s classic Psycho. As all the femme fatale's and detectives arrive they will be given an envelope assigning them a character, one will be the victim and one will be the murderer. The murderer will win a pair of tickets to Psycho and the victim will win a goodie bag of sweets , cocktails and popcorn.

The winner will check into the Bates Motel this Hallowe’en for the ultimate way to experience one of the greatest thrillers of all time! This cinematic masterpiece comes alive in a big-screen presentation accompanied by a live performance of Bernard Herrmann’s spine-tingling score. They will watch Psycho's Norman Bates, one of cinema’s most notorious psychopaths and experience the impact of the iconic shower scene on the big screen with the screeching violin music live underneath!


For more information on Psycho 



Are you the murderer? book your tickets to Sunset Boulevard here


Wednesday, September 26, 2012

Celebrate in style

Movie lovers, put on your glad rags and step back in time to a nostalgic Saturday night at the movies where you will immerse yourself in the world of your favourite classic films.

Whether it's your birthday, a work party or a celebration with friends Film Fatale would like to make your night extra special. We're taking table bookings for groups of 5 or more and baking birthday cakes.

Once you've pre-booked your tickets mail filmfataleevents@gmail.com and we'll organise your table, birthday cake and we can even put a message on the screen for you. There is also a group discount available for bookings of 10 or more tickets.**


*Subject to availability, your table will be held until 8.30pm only
** Group bookings can not be used in conjunction with early bird ticket offer


Monday, September 24, 2012

Sunset Boulevard, reviewed by legendary film critic Rober Ebert



Billy Wilder's "Sunset Boulevard'' is the portrait of a forgotten silent star, living in exile in her grotesque mansion, screening her old films, dreaming of a comeback. But it's also a love story, and the love keeps it from becoming simply a waxworks or a freak show. Gloria Swanson gives her greatest performance as the silent star Norma Desmond, with her grasping talons, her theatrical mannerisms, her grandiose delusions. William Holden tactfully inhabits the tricky role of the writer half her age, who allows himself to be kept by her. But the performance that holds the film together, that gives it emotional resonance and makes it real in spite of its gothic flamboyance, is by Erich von Stroheim, as Norma's faithful butler Max.

The movie cuts close to the bone, drawing so directly from life that many of the silent stars at the movie's premiere recognized personal details. In no character, not even Norma, does it cut closer than with Max von Mayerling, a once-great silent director, now reduced to working as the butler of the woman he once directed--and was married to. There are unmistakable parallels with von Stroheim, who directed Swanson in "Queen Kelly'' (1928), whose credits included "Greed" and "The Merry Widow,'' but who directed only two sound films and was reduced to playing Nazi martinets and parodies of himself in other people's films.
In "Sunset Boulevard,'' Desmond screens one of her old silent classics for Joe Gillis, the young writer played by Holden. Max runs the projector. The scene is from ``Queen Kelly.'' For a moment Swanson and von Stroheim are simply playing themselves. Later, when Joe is moved into the big mansion, Max shows him to an ornate bedroom and explains, "It was the room of the husband.'' Max is talking about himself; he was the first of her three husbands, and loved her so much he was willing to return as a servant, feeding her illusions, forging her fan mail, fiercely devoted to her greatness.
In one of the greatest of all film performances, Swanson's Norma Desmond skates close to the edge of parody; Swanson takes enormous chances with theatrical sneers and swoops and posturings, holding Norma at the edge of madness for most of the picture, before letting her slip over. We might not take her seriously. That's where Max comes in. Because he believes, because he has devoted his life to her shrine, we believe. His love convinces us there must be something worth loving in Norma, and that in turn helps explain how Joe can accept her.
Norma of course is not a wrinkled crone. She is only 50 in the film, younger than stars such as Susan Sarandon and Catherine Deneuve. There is a scene during Norma's beauty makeover when a magnifying glass is held in front of her eyes, and we are startled by how smooth Swanson's skin is. Swanson in real life was a health nut who fled from the sun, which no doubt protected her skin (she was 53 when she made the film), but the point in "Sunset Boulevard'' is that she has aged not in the flesh but in the mind; she has become fixed at the moment of her greatness, and lives in the past.
Billy Wilder and his co-writer Charles Brackett knew the originals of the characters. What was unusual was how realistic Wilder dared to be. He used real names (Darryl Zanuck, Tyrone Power, Alan Ladd). He showed real people (Norma's bridge partners, cruelly called "the waxworks'' by Gillis, are the silent stars Buster Keaton, Anna Q. Nilsson and H.B. Warner). He drew from life (when Norma visits Cecil B. De Mille at Paramount, the director is making a real film, "Samson and Delilah,'' and calls Norma "little fellow,'' which is what he always called Swanson). When Max the butler tells Joe, "There were three young directors who showed promise in those days, D.W. Griffith, Cecil B. De Mille and Max von Mayerling,'' if you substituted von Stroheim for von Mayerling, it would be a fair reflection of von Stroheim's stature in the 1920s.
"Sunset Boulevard'' remains the best drama ever made about the movies because it sees through the illusions, even if Norma doesn't. When the silent star first greets the penniless writer inside her mansion, they have a classic exchange. ``You used to be big,'' he says. Norma responds with the great line, "I am big. It's the pictures that got small.'' Hardly anyone remembers Joe's next line: "I knew there was something wrong with them.''
The plot has supplied Joe with a lot of reasons to accept Norma's offer of a private screenwriting job. He's broke and behind on his rent, his car is about to be repossessed, and he doesn't want to go back to his job as a newspaperman in Dayton. He is also not entirely unwilling to prostitute himself; Holden projects subtle weakness and self-loathing into the role. He goes through the forms of saying he doesn't want Norma's gifts, but he takes them--the gold cigarette cases, the platinum watch, the suits, the shirts, the shoes. He claims to be surprised on New Year's Eve when she throws a party just for the two of them, but surely he has known from the first that she wants not only a writer, but a young man to reassure her that she is still attractive.
The thing about Norma is that life with her isn't all bad. She isn't boring. Her histrionics and dramaturgy are entertaining, and she has a charming side, as when she stages a pantomime for Joe, playing a Max Sennett bathing girl and then doing a passable version of Chaplin's Tramp. Joe is willing to be kept. The only thing the film lacks is more sympathy between Joe and Max, who have so much in common.
There is of course the young blond Paramount writer Betty (Nancy Olson), who Joe meets early in the picture. She's engaged to be married (to a young Jack Webb), but as Joe begins sneaking out of the mansion to collaborate on a screenplay with Betty, she falls in love with him. He's attracted, but pulls back, partly because he doesn't want her to discover the truth, but also because he likes the lifestyle with Norma. And ... maybe because, like Max, he has fallen under her spell? His dialogue is sharp-edged and can be cruel. (When she threatens suicide, he tells her, "Oh, wake up, Norma. You'd be killing yourself to an empty house. The audience left 20 years ago.'') But there's a certain pity, too. "Poor devil,'' he says, "still waving proudly to a parade which had long since passed her by.''
I have seen "Sunset Boulevard'' many times, and even analyzed it a shot at a time at the University of Virginia. But on this latest screening I was struck by its similarity with the 1964 Japanese drama "Woman in the Dunes." Both are about men who are trapped in the home, or lair, of a woman who simply will not let them out again. They struggle, they thrash a little, they look for the means of escape, but at some subterranean level they are content to be prisoners, and perhaps even enjoy it. Both women need a man to help them hold back the inexorable advance of the sands--in Norma's case, the sands of time.
Of all the great directors of Hollywood's golden age, has anybody made more films that are as fresh and entertaining to this day as Billy Wilder's? The credits are astonishing: ``Double Indemnity,'' ``Ace in the Hole,'' ``Some Like It Hot,'' ``The Apartment,'' ``The Lost Weekend,'' ``Stalag 17,'' ``Witness for the Prosecution,'' ``Sabrina.'' And who else can field two contenders among the greatest closing lines of all time? From ``Some Like It Hot'' there is ``Nobody's perfect.'' And from ``Sunset Boulevard,'' Norma Desmond's: ``There's nothing else. Just us, and the cameras, and those wonderful people out there in the dark. All right, Mr. De Mille, I'm ready for my closeup.''

Sunday, September 9, 2012

Film Fatale presents: Sunset Boulevard

Murder, mystery and intrigue as Film Fatale presents the classic 1950s film noir Sunset Boulevard.

On Saturday 6th October, Film Fatale, Ireland’s most glamorous film event, will transport its audience back to the 1950s for a night of film, femme fatales, detectives, cocktails, vintage music, and perhaps even murder.


A screening of Billy Wilder’s Sunset Boulevard will be followed by a 1950s noir-themed party mirroring the style of the film with live performance from Miss Truly DiVine, who will be singing sultry soulful songs of the fifties, and Film Fatale’s resident DJs, The Andrews Sisters’ Brothers, who will be playing music from the era with a sexy noir twist.

The audience is invited to help set the scene by dressing up as femme fatales and detectives, in their vintage finest, paying homage to 1950s noir style or mirroring the characters from the film.

Sunset Boulevard, Wilder's classic noir, is both a stunning satire on Hollywood and dark brew of lust and larceny. It stars William Holden and Gloria Swanson as a struggling screenwriter and a long forgotten silent film star. Framed in flashback, William Holden’s Joe Gillis narrates the story of how he becomes forgotten film star Norma Desmond’s kept man, how she draws him into her fantasy world where she makes her triumphant return to the screen with him by her side and the events leading up to his own murder.

Sit back in the sumptuous surroundings of the Sugar Club, enjoy a classic signature cocktail designed especially for the night, have the Film Fatale usherettes serve you popcorn while watching one of the greatest film noirs unfold. Then dance the night away as detectives and femme fatales.

Doors 8pm, screening 8.30pm 
Tickets €15
Buy online


Film Noir after-party from 11pm
Tickets €5 on the door

Friday, September 7, 2012

Swingin with The Andrews Sisters' Brothers

Maestros of all retro-chic sounds, Film Fatale's resident DJs are your trustworthy vintage music selectors.
                    
The perfect chance to wear your summer dresses or shorts one last time, The Swingin With The Andrews Sisters' Brothers  summer party will kick off  after our screening of Sabrina at 11pm, with a live performance from retro maestros Jaime Nanci and The Blue Boys. Then The Andrews Sister's Brothers will be filling the dance floor with
 everything from charleston, swing, boogie-woogie, rock'n'roll , upbeat jazz classics and mambo to vintage-inspired modern treats.

Expect to Hear:







Put on your glad rags and join us for a night of, film, vintage music, cocktails and dancing.

Tickets to Sabrina are available at Entertainment.ie/tickets 

Can't make it to Film Fatale's screening of Sabrina, you can join us for Swingin with The Andrew Sisters' Brothers Summer party from 11pm. Door tax €5


Sabrina Review


With a continually growing vault of current films to get wrapped up in and keep up with, sometimes it’s the old “classics” that get forgotten. Like the books by Dickens and Melville that have yet to be devoured off my bookshelf, Billy Wilder’s Sabrina eluded me for many years. Why? I don’t know. Perhaps it was the unappealing look of the Harrison Ford-driven remake a decade ago. Maybe it’s the fact that I’m not drawn to romances in the first place so old-time romances get even more ignored. I could also argue my wife’s resistance for anything with Bogart or the blandness of the title. Whatever the reason, it’s taken me a long time to find a reason to catch the somewhat dark romance, which it unfortunate. Sure, it takes a familiar road, but there’s certainly enough bubbling under the surface to keep the heart of the film relevant and appealing more than a half-century later.

Audrey Hepburn stars in the titular role, the daughter of a chauffeur for the very wealthy and powerful Larrabee family. Growing up Sabrina was in love with David Larrabee (William Holden), the lady-loving playboy of the Larrabee family. Love might be understating it. It was more like an obsession – about as dark as a romantic comedy from the 1950s could show. After moving to Paris to attend cooking school and returning home to America, Sabrina is a changed woman. She’s more worldly, grown up and appealing to both David and his career-driven older brother Linus (Humphrey Bogart).
One could easily reduce Sabrina to its character-driven love-triangle plot and in many ways they’d be right. But the characters are so rich and the changes that they undergo so endearing that it’s difficult not to fall for the film. Like most any of Hepburn’s role, her elegance is on display in every scene, even when she’s stalking behind trees and trying to off herself in her father’s garage early in the film. Compared to today’s “ugly duckling” stories that have been made especially popular in teen comedies like She’s All That, Sabrina’s transformation in the film isn’t so visually dramatic. Yet, there’s a lot left to the viewer with her role. Wilder doesn’t dwell too much on her unstable side so it doesn’t necessarily draw a lot of attention to itself. Yet the implications are still there, so when Sabrina comes home it’s more her confidence and experience that is on display.
Each character in the film, both main and supporting, is distinct and entertaining, which goes a long way in my books. It makes each scene, no matter the level of dramatic importance, interesting. Wilder also blends just the right mix of romance, drama, comedy and witty dialogue into the story.
It might have been a long time coming for me, but I can now knock Sabrina off my “Classics Not Yet Seen List” and do so with a smile on my face and a lesson in strong characters in my mind.

Movie Views.CA

Thursday, September 6, 2012

Hmm Cocktails

The enchanting Sabrina is set in Long Island so what better way to quench your thirst than with a Long Island Ice Tea.  A terribly naughty combination of vodka, gin, rum, triple sec and sweets and sour topped with coke that will get you ready for the dance floor.
Or try the Long Island Breeze a delicious combination of vodka, cranberry and pineapple.

Refreshing summer cocktails for €5.

Tuesday, September 4, 2012

1950s Mens Fashion

Sabrina sees the handsome young William Holden and the older but but nonetheless charming Humphrey Bogard as the rich Larabee brothers who wear the finest 1950s suits to the finest 1950s parties.
Typical 1950s mens fashion involved dark blue, brown or charcoal suit
       
but at the weekend it was much more casual with suit jackets swopped for cardigans. 
50s clothing
In the summer men wore two-piece suits in seersucker or lightweight cotton to semi-formal occasions or the office. 
During play outdoors, men wore khaki trousers, short-sleeved light weight sweaters or short sleeved button downs. 
The straw fedora was a must-have accessory that provided protection against the sun as well as adding a cool, downtown feel to the outfit.












Sabrina Style Inspiration

A classic Cinderella story that still feels quite modern, Sabrina sees our heroine Audrey Hepburn in an assortment of rags to riches dresses. Starting out as a fresh faced young girl in simple clothes Sabrina comes back from Paris a well dressed woman.
Audrey Hepburn’s wardrobe in Sabrina was originally to be designed by Paramount Studios’  legendary costume designer  Edith Head but the young actress asked Director Billy Wilder  if she could wear “a real Paris dress” in the film. Wilders wife suggested Audrey go to Balenciaga but when the young star turned up, the couturier was too busy see her and sent her to his young friend, Hubert de Givenchy.  This became the start of Audrey's relationship with the up and coming fashion designer who was key to Audrey's fashion evolution. With a wardrobe designed by both  Edith Head and Hubert de Givenchy, Sabrina became one of the most fashionable films of the time and made Audrey a major fashion icon. 
From beautifully tailored Parisian ensembles to 50s swing dresses or casual capri pants Sabrina was always effortlessly chic.
In true Cinderella fashion Sabrina steals the show in a summery floral ball gown. 

                                             















Audrey Hepburn style inspiration

Unlike curvacious actress's of her time that opted for a loud, sexy, glamour, Audrey Hepburn kept it simple, she loved clean lines and clothes the emphasized her tall and slim physique.
Hepburn wore clothes better than any actress ever has; it was an essential element in her persona. The breakfast at Tiffany’s sunglasses are still worn by thousands of women around the globe, and the black sleeveless shift dress will never go out of fashion. "My look is attainable," she told the interviewer Barbara Walters in 1989. "Women can look like Audrey Hepburn by flipping out their hair, buying the large glasses and the little sleeveless dresses." Her look might be attainable but her grace definitely is not.

Audrey Hepburn’s style legacy continues to thrive as women of today look for the perfect black dress, wear leggings and ballet shoes under their skirt. She wore those shoes because she was comfortable with them and didn’t want to appear anything other than the size that she was. She’s definitely one of the stars who is regularly referred back to because the style she launched has lasted. The impulse is visible in Marc Jacobs's flats, Michael Kors's cigarette-cut pants and almost all designers presenting their take on the black shift dress.

Over the years, Hepburn wore a range of clothes from several designers including Givenchy to Ralph Lauren and brands like Guess. But the brilliant thing about it all was that because of her consistency with classy garments people remember her with one look and that is what is the most desirable today.

A fashion goddess as some call her introduced the fashion style that was comfortable and elegant at the same time. During the era when the little white dress worn by Marilyn Monroe was popular too, Audrey’s style of dressing was more wearable, and not only during that time. Even up till now most women look for pieces of clothing that are comfortable, classy and elegant.

A fashion goddess, timeless, the most beautiful woman in the world; these are some of the names people of today call her. However, one thing we all need to learn from her is that following cyclical trends is not always the way to be stylish or fashionable. The reason Audrey is still a fashion icon is because she stayed true to what suited her best and most importantly, thought of beauty as not only skin-deep.


Audrey's Key Looks



The Little Black Dress
Audrey Hepburn was the little black dress, as she made it famous on the big screen.Women from all over the world use this little closet staple for gala's, black tie events, weddings and more, paying homage to Audrey's unique sense of style. Simplicity is the key for this look. Put bold jewelry with it, and you can't go wrong. 

Capri Pants
She made them famous in movies like Sabrina and Funny Face and today women still find them as a wardrobe staple. Whatever color you choose, you'll look oh-so Audrey. She loved ballet flats and wore them with everything - dresses, pants, Capri pants, etc. Do the same and you'll find that being chic and simple is easier than ever. 
Button-down Men's Shirts
She pulled this look off beautifully. Audrey Hepburn loved feminine clothes; however, she knew how to pull off the men's inspired look flawlessly as well. After her movie Roman Holiday (which catapulted her to fame), women everywhere were copying her short haircut, full skirts, cinched waists and men's inspired button-down shirts. 


Other Key Outfits 


 Style is a Magic Wand Blog

Monday, September 3, 2012

Audrey Hepburn Makeup

Makeup maestro Kate O’Reilly shows us how to channel our inner Audrey Hepburn by painting her onto our face.


Audrey Hepburn is an icon of effortless chic. She has none of the glossy red lips or frosted white eyeshadow of more obvious 50’s bombshells like Marilyn Monroe or Jane Mansfeild. Audrey’s is a more understated glamour. Here is the best way to achieve her look. 


  1. Skin should be natural and glowing. Not too shimmery, not too matte. Try Chanel Vitaluminere foundation in a shade that matches your skin tone exactly.
  2. Give cheeks a flushed glow with a soft pink cream blush. Try Bobbi Brown Blushed Rose.
  3. Highlight undereye circles with makeup artists favorite; Givency Mister Bright.
  4. Finish your glowing skin with a light wash of powder such as Laura Mercier Finishing Powder.
  5. Define brows in a strong arch using eyeshadow or pencil.
  6. Apply a matte slate grey eyeshadow along your lash line and blend upwards. Don’t go higher than your sockets.
  7. For a night time Audrey Hepburn  look, add some black liquid liner. Go for an angular flick that exagerates your lashes.
  8. False lahes will give that extra umph. Eyelure have redesigned their Girl’s Aloud range  and Cheryl’s new style is just perfect!
  9. Throughout the film, Audrey appears in a variety of cherry red and pillar box red  coloured lipsticks. Try the Mac lipstick Lady Bug as it is sheer and easy to wear.