Vivien Leigh

Vivien Leigh: Public Faces, Private Lives, Treasurer’s House, York, until 20 December 2015

The original costumes standing proud in the historic hall © National Trust / North News Agency

The original costumes standing proud in the historic hall
© National Trust / North News Agency

Vivien Leigh was theatrical royalty in Britain before going to Hollywood to undertake the role of Scarlett O’Hara in Gone With The Wind – the role with which she is most closely associated along with her later incarnation of Blanche Dubois in A Streetcar Named Desire.

Keith Lodwick, Curator, Department of Theatre and Performance, Victoria and Albert Museum, London finishing the hang in the Streetcar Named Desire room © National Trust / North News Agency

Keith Lodwick, Curator, Department of Theatre and Performance, Victoria and Albert Museum, London finishing the hang in the Streetcar Named Desire room
© National Trust / North News Agency

She is the subject of this exhibition, organised by the V&A, in the historic setting of Treasurer’s House in York, the former home of early 20th century businessman Frank Green, who had a passion for the arts, especially theatre.  Although there has been a small touring exhibition this is the first major display of objects from Vivien Leigh’s personal collection since her private archive of more than 10,000 items was acquired from her family in 2013 by the Victoria & Albert Museum.

Keith Lodwick, Curator, Department of Theatre and Performance, Victoria and Albert Museum, London checking out the names in the guest book of from the Olivier home © National Trust / North News Agency

Keith Lodwick, Curator, Department of Theatre and Performance, Victoria and Albert Museum, London checking out the names in the guest book of from the Olivier home
© National Trust / North News Agency

Her romance with Laurence Olivier scandalised society even though they later married and she became Lady Olivier when Sir Laurence was knighted. Lettters written to Leigh by luminaries such as Sir Winston Churchill, Bette Davis, Tennessee Williams, The Queen Mother and a young Judi Dench at the beginning of her own career can be seen alongside love letters written by Leigh to Olivier

Keith Lodwick, Curator, Department of Theatre and Performance, Victoria and Albert Museum, London getting into the frame with one of the stereoscopic images in the slide show room © National Trust / North News Agency

Keith Lodwick, Curator, Department of Theatre and Performance, Victoria and Albert Museum, London getting into the frame with one of the stereoscopic images in the slide show room
© National Trust / North News Agency

As well as the Becoming Scarlett section there are other dresses she wore, annotated scripts and a number of stereoscopic colour photographs which give us a unique glimpse into her world – some are part of a 3D slide show. The exhibition is a thrilling reminder of a wonderful, if complex, actress whose contribution to twentieth century theatre and film remains undimmed.

 

Visit the website for opening days and times. www.nationaltrust.org.uk/treasurershouse or telephone 01904 624247.

An Icon Portrayed

Once again I have asked John Kirkwood to contribute to my blog:

 

Audrey Hepburn: Portraits of an Icon, National Portrait Gallery, London, until 18th October 2015

Audrey Hepburn by Antony Beauchamp, 1955 Copyright: Reserved

Audrey Hepburn by Antony Beauchamp, 1955
Copyright: Reserved

For admirers of Audrey Hepburn (and who isn’t?) this exhibition is a real treat featuring as it does many rarely seen images as well as classics we have all come to know.

Dance recital photograph by Manon van Suchtelen, 1942 Copyright: Reserved

Dance recital photograph by Manon van Suchtelen, 1942
Copyright: Reserved

It takes us from Audrey’s early years as a dancer at Ciro’s night club, which by strange coincidence was located on the very spot in Orange Street which now houses the Gallery’s Heinz Archive and Study Room, through her film career right up to her inspiring work for UNICEF.

Audrey Hepburn on location in Africa for The Nuns Story by Leo Fuchs, 1958 Copyright: Leo Fuchs

Audrey Hepburn on location in Africa for The Nuns Story by Leo Fuchs, 1958
Copyright: Leo Fuchs

I am sure that she would have been amazed and indeed puzzled by becoming a modern icon and wonder what all the fuss was about as she was one of the very  few film stars about whom you could say ‘what you see is what you get’.

Costume test for Sabrina, Paramount Pictures, 1953 Copyright: Reserved

Costume test for Sabrina, Paramount Pictures, 1953
Copyright: Reserved

Not long before her death she appeared at the Barbican reading from the diary of Anne Frank to music composed by Michael Tilson Thomas. A truly magical night but afterwards she was telling everyone how she had been shaking with nerves.  This from one of the biggest stars in the world!

Audrey Hepburn dressed in Givenchy with sunglasses by Oliver Goldsmith by Douglas Kirkland, 1966 Copyright: Iconic Images/Douglas Kirkland

Audrey Hepburn dressed in Givenchy with sunglasses by Oliver Goldsmith by Douglas Kirkland, 1966
Copyright: Iconic Images/Douglas Kirkland

Film star, fashion icon, humanitarian and loving mother, all aspects are covered in this truly wonderful exhibition devoted to one of the best-loved actresses of all time.

 

 

npg.org.uk/hepburn

New Wave

Raymond Cauchetier’s New Wave: A Book Review and an Exhibition

 

This exhibition celebrates not only the 95th birthday of Raymond Cauchetier but also the publication of a new monograph on his work as the on-set photographer on the films of the New Wave. I have asked John Kirkwood, who studied Truffaut for his University thesis, to review both the book and the exhibition.

new wave

Raymond Cauchetier’s New Wave

Raymond Cauchetier, Foreword by Philippe Garner,

Edited by James Hyman

ISBN: 9781851497911

Publisher: ACC Editions

Size: 300 mm x 240 mm

Pages: 240

Illustrations: 160 b&w

Hardback

£40.00

 

From1959 to 1968 Raymond Cauchetier was the on-set photographer for some of the key films of the New Wave movement which swept through French cinema in the late fifties and early sixties and whose influence is still felt in world cinema today.

 

Dispensing with studio sets, these young filmmakers took their cameras onto the streets and into real locations. Jean Seberg and Jean-Paul Belmondo actually wandered down the Champs-Elysees in Godard’s A Bout De Souffle; Jeanne Moreau and Jules et Jim ran across a real bridge and cycled through real countryside and not a back-projected one.

 

Cauchetier has caught some of the most memorable images of what was a very exciting era of change.

 

________________

 

Raymond Cauchetier’s New Wave, James Hyman Photography, 16 Savile Row, London W1, until 15th August 2015

Jeanne Moreau, Henri Serre and Oskar Werner in Truffaut's Jules et Jim (Charenton-le-Pont).  Copyright Raymond Cauchetier, Courtesty James Hyman Gallery

Jeanne Moreau, Henri Serre and Oskar Werner in Truffaut’s Jules et Jim (Charenton-le-Pont).
Copyright Raymond Cauchetier, Courtesty James Hyman Gallery

This wonderful exhibition features a selection of images which capture a very special time and place in world cinema. Jean-Paul Belmondo and Jean Seberg stroll down the Champs-Elysees; Anouk Aimée vamps as Lola; Francois Truffaut and Francoise Dorleac seem to be amicably enjoying themselves (they were); Jeanne Moreau laughs with Truffaut.

Francoise Dorleac and Francois Truffaut shooting La Peau Douce (Rambouillet).  Copyright Raymond Cauchetier, Courtesty James Hyman Gallery

Francoise Dorleac and Francois Truffaut shooting La Peau Douce (Rambouillet).
Copyright Raymond Cauchetier, Courtesty James Hyman Gallery

Cauchetier was a very lucky man and I would love to have swapped places with him! He said at the opening of this exhibition that he had no plan in mind when he was on set that he was just taking pictures. Little did he know that many of them would become some of the most iconic images of twentieth-century cinema even becoming as famous as the films themselves.

Anouk Aimee in Jacques Demy's Lola (Nantes) (1)  Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Anouk Aimee in Jacques Demy’s Lola (Nantes) (1)
Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Francois Truffaut, Jules et Jim, 1961.  Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Francois Truffaut, Jules et Jim, 1961.
Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Jean-Paul Belmondo and Jean Seberg in a still from Godard's from A Bout de Souffle (2)  Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

Jean-Paul Belmondo and Jean Seberg in Godard’s A Bout de Souffle (2)
Copyright Raymond Cauchetier, courtesy James Hyman Gallery, London

 

http://www.jameshymangallery.com