With a tumultuous background of waves crashing against a rocky coast, a descriptive statement from Sigmund Freud on the meaning of libido scrolls down the screen. Part of the Austrian psychoanalyst’s quotation defines libido as “the energy, regarded as a quantitative magnitude… of those instincts which have to do with all that may be comprised under the word ‘love.’” But the film that follows is not about love but rather the perversion of it starting with an opening sequence in which a child witnesses the aftermath of his father’s violent S&M session with a female companion, an incident that scars him for life. Continue reading
When you’re a film actor, it’s easy to understand how one can obsess over some less than perfect facial or physical feature that is going to be magnified by the camera on the big screen. But in most cases these fears are usually unfounded and not even something the average moviegoer would notice or care about. Claudette Colbert and Jean Arthur both insisted on being shot from the left side for profiles; Colbert called the right side of her face “the dark side of the moon.” Fred Astaire used movement and positioning to distract people from what he felt were his unusually large hands and Bing Crosby dealt with his increasing baldness by wearing hats at all times (he refused to wear toupees). Orson Welles’ insecurity over the size of his nose, however, is probably the most baffling of the actor hangups I’ve read about.
*This is a slightly revised version of my post that originally appeared on TCM’s Movie Morlocks blog Continue reading