單單從Ninotchka的視角來欣賞這部電影，我個(gè)人還是很喜歡的。前期配合人物形象，穿搭雖然并不華麗，但是很有氣質(zhì)，大部分都是大地色和莫蘭迪色系的針織衫、襯衫、風(fēng)衣，可以參考借鑒喔~

后面思想松動(dòng)后，她嘗試了更加華麗的服飾，尤其是在房間里把黑絲襪換成透明的玻璃絲襪，穿上絲，綢蕾絲吊帶和蓬蓬的粉白紗裙，簡直驚艷極了。

而且Ninotchka是-個(gè)非常有想法、有獨(dú)立思考能力、又非常能干的女性。她會(huì)在領(lǐng)導(dǎo)有偏見的時(shí)候，不卑不亢地予以回應(yīng)，也會(huì)對一直接受的觀念進(jìn)行反思。

另外，飾演Ninotchka的賽德.查里斯(Cyd

Charisse)是科班出生，經(jīng)過專業(yè)的芭蕾舞訓(xùn)練,雖然身高不到1.6米，卻是出了名的好萊塢長腿美女。

所以強(qiáng)烈推薦所有女孩們看-下這部電影，不管是從審美氣質(zhì)提升還是衣品、穿搭、搭配，又或是到內(nèi)在修煉，相信都能給你帶來啟發(fā)喔~

Don’t let the sentimental factor fool you, SILK STOCKING, Rouben Mamoulian’s film adaption of the namesake 1955 stage musical, a reiteration of Ernst Lubitsch’s NINOTCHKA (1939), starring Astaire in his last musical role for MGM, at the age of 57, it is high time for this iconic hoofer to hang up his dancing shoes, is a clunky dud.

Viewed today, reunited with Cyd Charisse from Minnelli’s THE BAND WAGON (1953), Astaire’s American film producer Steve Canfield is too wizened to pass off as a romantic suitor to Charisse’s prim-faced, blunt-spoken but rigidly stunning Russian envoy Ninotchka Yoschenko. Steve’s courtship is cringeworthy and condescending, and the whole affair’s denigration and mockery of the Soviet Union’s “robotic” personality is simply offensive and mean-spirited, that is the awful reminder of Cold War dichotomy, which makes SILK STOCKING far more difficult to stomach than NINOTCHKA, but, yes, there is always a “but”, since it is a musical, why not throw its repulsive plot out of the window, and rejoice in the razzle-dazzle.

Fo’ shizzle the razzle-dazzle doesn’t disappoint, Charisse spellbinds us with an improbable transfiguration from a hardened collectivist to a girl succumbing to occidental decadence, i.e. getting togged up in gossamer gowns and other fineries, but her acting bent is nil. A glamorous fashion plate who is only enlivened when she moves, that reflects one major hindrance for a musical film, if it has a rather dramatic plot arc to bring off (here is Ninotchka’s proselytization), it scarcely works because of the jovial nature of the genre and the technique requirement of its players (who should be able to act and entertain, like Judy Garland), SILK STOCKINGS is guilty as charged.

A nimble-footed Astaire (his feet is the first thing we see) doesn’t really bring down the house until his final number "The Ritz Roll and Rock”, ended with a symbolic gesture of smashing his top hat, for audience then, it is a nostalgic capper. While the rest of the cast is composed of three buffoons (Peter Lorre sticking out like a sore thumb) and a simpleton Russian composer (Sonneveld), Janis Paige has a field day when she can steal the limelight from the ill-sorted leads, her all-out va-va-voom is just what the doctor has ordered.

Cole Porter’s show-tunes are in his usual frou-frou register and Mamoulian isn’t particularly enthused to show off his directorial virtuosity, as if getting wise the dawn of its own genre, for most of its duration, SILK STOCKINGS is conspicuously tame and self-consciously chipper, a relic to reminisce about rather than knock you socks off.

referential entries: Ernst Lubitsch’s NINOTCHKA (1939, 7.3/10); Vincente Minnelli’s THE BAND WAGON (1953, 7.9/10); Mamoulian’s QUEEN CHRISTINA (1933, 7.9/10).

Title: Silk Stockings

Year: 1957

Genre: Musical, Comedy, Romance

Country: USA

Language: English

Director: Rouben Mamoulian

Screenwriters: Leonard Gershe, Leonard Spigelgass

based on the book by George S. Kaufman, Leueen Macgrath and Abe Burrows

Music: Conrad Salinger

Cinematography: Robert J. Bronner

Editing: Harold F. Kress

Cast:

Fred Astaire

Cyd Charisse

Janis Paige

Peter Lorre

Jules Munshin

Joseph Buloff

Wim Sonneveld

George Tobias

Rating: 6.3/10