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high noon lee van cleefwhen did lee van cleef die

high noon lee van cleefwhen did lee van cleef die,The Trios final confrontation in the cemetery. A great scene combined with Ennio Morricones masterful music.

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Lee Van Cleef (Dan Mowry) shares a drink with The Rifleman (Chuck Connors)This was their first scene together. Although, Van Cleef stood over six feet

tall, at nearly 66, Connors towers above him. Van Cleef would go on

to appear in a total of 4 RIFLEMAN episodes.....Mr. Billespie.

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Bonanza - The Blood Line, Full Length Episode, Lee Van Cleef

Season 2, Episode 15

When the son of a man who Ben killed in self-defense arrives in town, he hires a professional gunman to get revenge. Lee Van Cleef guest stars. Watch classic movies and TV shows on

how tall is lee van cleef

louis vuitton services.van cleef and arpels locationsvan cleef zipper necklace,how tall is lee van cleefNext »One of the features that newss always run at the end of every year is a list of notable people who have died since the previous Jan. 1. These lists usually appear with the deaths mentioned in chronological order, beginning with the January deaths. Thus, the death of Lee Van Cleef-who died last Saturday in Oxnard, Calif.-will appear toward the very end of the 1989 lists. If it appears at all, that is; many editors may not consider Van Cleef a ``major`` celebrity.

Which is a story in itself. Lee Van Cleef, who was 64 when he died, had a long career as a villain in movies-mostly Westerns and cowboy movies. Almost without exception, Van Cleef was cast as a bad guy. And he was very convincing as a bad guy; movie audiences looked at him, and they were scared of him and they hated him and they wanted the hero to kill him.

He was a bad guy in some of the Clint Eastwood ``spaghetti Westerns,``

and he was a bad guy in some low-budget films, but the movie that established him as a bad guy was one of the best movies ever made-``High Noon,`` the 1952 Western that won the Academy Award for its star, Gary Cooper.

In ``High Noon,`` Cooper was cast as the heroic marshal of a town called Hadleyville. On his wedding day, he learns that Frank Miller, a killer he put in prison, is coming back to town on the noon train. Three members of the Miller gang-including the bad guy played by Lee Van Cleef-are in Hadleyville to wait for Miller. The Gary Cooper character could leave-but he doesn`t. He stays to ce down the Miller gang. All four of the Miller gang die.

``High Noon`` was perhaps the pinnacle of Cooper`s career-the movie that established him as the ultimate cinema symbol of decency and honor. In a way, ``High Noon`` may have been the pinnacle of Lee Van Cleef`s career, too. You watch that movie and you see Van Cleef-with his sinister ce-and you can`t wait for Gary Cooper to put him away. If Van Cleef`s assignment was to make movie audiences despise him, he did a wonderful job of it.

And now that he`s dead, perhaps it is worth spending a moment or two thinking about why he was chosen for that particular assignment. Certainly his path through life had been conventional enough: He was born in New Jersey, he served in the U.S. Navy, he worked as a rmer, a gas station attendant, a painter and an accountant before going into acting. People who knew him say that he was a pretty nice guy.

But Gary Cooper was cast as the heroic marshal, and his performance in that role still has the power to bring tears to people`s eyes. Lee Van Cleef was cast as Jack Colby, one of the fearsome desperadoes in the Miller gang.

Why the casting? In an interview 20 years ago, Van Cleef said he believed it was because of his nose. Lee Van Cleef`s nose was often described as a

``predator`s nose,`` and his ce was often described as ``malevolent`` and

``wicked`` and ``hawklike.``

``I didn`t speak a word in `High Noon`,`` Van Cleef said in the interview-a ct that may be surprising to people who think they recall every detail of the movie. His portrayal of the villainous Jack Colby was so memorable that it is hard to conceive that he did it without speaking.

Van Cleef said that when ``High Noon`` was being cast he was offered a more glamorous role in the movie-``providing I would have my nose fixed.``

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Christies Lon­don, June 5, 2013: A PAIR OF ART DECO ONYX, NATURAL PEARL AND DIAMOND EAR PENDANTS Of taper­ing form, the grad­u­ated row of old-cut cush­ion shaped dia­monds within a cal­i­br onyx and dia­mond point bor­der sus­pend­ing a three pearl tas­sel ter­mi­na­tion, circa 1925, 7.8cm long, post fittings

Christies Lon­don June 5, 2013: AN ART DECO EMERALD AND DIAMOND PENDAN Of lozenge form, the pav-set bril­liant and baguette-cut dia­mond panel pierced with a geo­met­ric design and fur­ther set with five cabo­chon emer­ald high­lights, to the diamond-set pen­dant loop, circa 1930, French marks for plat­inum and gold, 60.2cm long, brooch and pen­dant fit­tings detachable

The above quoted words were the ones used by F. Scott Fitzger­ald, who wrote The Great Gatsby, to define a flap­per. Orig­i­nally flap­per meant a fledg­ling in the nest attempt­ing to fly and was a throw­away label for an awk­ward young girl just get­ting her social graces on. Baz Luhrmanns the­atri­cal ver­sion of the novel pre­miered May 1, 2013 and sud­denly every­one is think­ing Art Deco jew­els. Tifnys cin­e­matic con­tri­bu­tion to the movie was heavy handed, highly com­mer­cial, and loaded down Carey Mulligans Daisy in jew­els that made her appear more satiric than screen siren. Per­haps that was the point. Arent the pro­tag­o­nists in Fitzgeralds novel as much car­i­ca­tures as they are glit­ter­ing alloys of per­son­al­ity and social sta­tus? It has been said that West Egg was inspired by Kings Point (Great Neck), New York. I was born and raised in Great Neck, and it was a com­mu­nity point of pride that Fitzger­ald lived briefly in our sub­ur­ban ham­let. In Gatsby, the author describes the areas mil­iar topog­ra­phy, It was a mat­ter of chance that I should have rented a house in one of the strangest com­mu­ni­ties in North Amer­ica. It was on that slen­der riotous island which extends itself due east of New York and where there are, among other nat­ural curiosi­ties, two unusual for­ma­tions of land. Twenty miles from the city a pair of enor­mous eggs, iden­ti­cal in con­tour and sep­a­rated only by a cour­tesy bay, jut out into the most domes­ti­cated body of salt water in the West­ern hemi­sphere, the great wet barn­yard of Long Island Sound. They are not per­fect ovals like egg in the Colum­bus story, they are both crushed flat at the con­tact end but their phys­i­cal resem­blance must be a source of per­pet­ual won­der to the gulls that fly over­head. To the wind­less a more inter­est­ing phe­nom­e­non is their dis­sim­i­lar­ity in every par­tic­u­lar except shape and size.

Christies Lon­don June 5, 2013: A PAIR OF NATURAL PEARL AND DIAMOND EAR CLIPS Each designed as a large circular-cut diamond-set scroll with pierced line detail­ing and a sin­gle nat­ural bou­ton pearl accent, mea­sur­ing approx­i­mately 14.00 and 14.10mm respec­tively, 4.5cm long Accom­pa­nied by a report from The Gem Pearl Lab­o­ra­tory, Lon­don, stat­ing these pearls are nat­ural, saltwater.

The jew­els of the Art Deco period reflected sta­tus as much as it embraced world cul­ture and sh­ion. Designs in jew­elry incor­po­rated Egypt­ian, African, Indian, Native Amer­i­can, and Asian influ­ences. Ele­ments of artis­tic move­ments like Cubism and Mod­ernism can also be found in brooches, bracelets, rings, and neck­laces. The idea of func­tional, mod­ern cloth­ing was intro­duced. No more tor­tur­ous hour­glass corsets the womens rights move­ments saw to that. Then there was the dis­play of leg: the first expo­sure of a lower limb in cen­turies. Much of what a flap­per wore was in response to the times in which she lived. After World War I and the loss of so many men, women werent wait­ing around for a suitor to come call­ing as they had in decades past. Young women sought free­dom from the con­ven­tions that were no longer rel­e­vant to their lives, and well, took a few more lib­er­ties too. The fem­i­nine curves and inno­cence of the Gib­son Girl gave way to the lithe Gar­conne, a boy­ish, lin­ear sil­hou­ette with a flat­tened bust­line. These waist­less dresses paired nat­u­rally with long chains, known as a sautoir, and pen­dant ear­rings. And when she moved, every­thing went swish.

Christies Lon­don June 5, 2013: A NATURAL PEARL NECKLACE The sin­gle row of sixty nine grad­u­ated nat­ural pearls mea­sur­ing approx­i­mately 9.94.9mm, to the millegrain-set old-cut dia­mond three stone clasp, mounted in plat­inum and gold, circa 1920, 50.5cm long Accom­pa­nied by a report from The Gem Pearl Lab­o­ra­tory, Lon­don, stat­ing these pearls are nat­ural, saltwater.

PUNK: CHAOS TO COUTURE, METROPOLITAN MUSEUM OF ART

These ladies made me smile, par­tic­u­larly the one in the mid­dle. Her pants took her a half an hour to get on and you should have seen them! Leather and shoe laces tied from waist to ankle. When I admired them by the coffee/tea ser­vice, she actu­ally stopped to tell me about them. What a DIVINE woman! She had it all going on. At the end of the open­ing remarks, she posed, along with her friends, for the pho­togs and I couldnt resist tak­ing a snap of the three of them myself. Im sure some­one will tell me who she was even­tu­ally, and I will die of embar­rass­ment for not know­ing but more thrilled for hav­ing the where­withal to stop and pay her the com­pli­ment she so deserved. When I grow up, I want to be just like her. Watch­ing these ladies makes you think that style and life are meant to be enjoyed much longer than we com­monly believe. Who gives a rats pos­te­rior if some­one else doesnt agree. They can shift their gaze any­where else.

Gallery View, Zan­dra Rhodes designs, Met­ro­pol­i­tan Museum of Art, PUNK: CHAOS TO COUTURE

The exhibit was fun, funny, ironic, don­nish, and ven­eral (not nec­es­sar­ily in the STD way, see the dic­tio­nary). The clothes are y exposed flesh is every­where and in the case of one dress, Im not sure you can really define it as cloth­ing. The entire front of the dress is miss­ing and a diaphanous yet com­pletely trans­par­ent tex­tile drapes the back of the body. One woman asked, earnestly, if they ran out of time to dress the man­nequin. Other pieces where held together with the global sym­bol of punk: a safety pin. Accord­ing to one one wall text, the safety pin was used as a way to keep your bum inside your pants when they got a hole in them. I wrote the book on pins and brooches and the idea of using one in the 20

cen­tury, instead of nee­dle and thread or a tai­lor, never pre­sented itself. So sim­ple a solu­tion. PUNK, the exhi­bi­tion, is eru­di­tion at its finest. And actu­ally, I do mean this, because this is a brave show to mount and in a way that makes very clear sense of what would oth­er­wise appear as hel­lions with a rub­bish fetish. They even recre­ated the mens restroom at CBGB, com­plete with grime, grim light­ing, and dirty com­modes in need of noth­ing short of sand­blast­ing. I wont pub­lish the image pro­vided by the Met, you can use your own imagination.

As for jew­elry, there wasnt any, except to say that I was taken with the way metal spikes, safety pins, and bolts were used in a con­ven­tion­ally orna­men­tal way on cloth­ing. Tra­di­tional jew­elry ele­ments like pearls and rhine­stones were used to cre­ate an inven­tive vest/jacket, and bro­ken plates were strung together to make a vest yet hung like a neck­lace on the body. Pierc­ings were not a part of the exhibit, per se, although obvi­ously they were and have become pretty main­stream (unusual appli­ca­tions notwith­stand­ing). Not much jew­elry in the gift shop either, inter­est­ingly, and what was there was pri­mar­ily of the afore­men­tioned safety pin vari­ety. Tem­po­rary hair dye in bold col­ors was also on offer (seventy-two year old designer Zan­dra Rhodes was there with a fuch­sia bob gotta love it), so was the cat­a­log which was nicely put together.

The Sex Pistols

Accord­ing to the New York Times Eric Wil­son, the open­ing of the Mets Cos­tume Institutes new show, PUNK: CHAOS TO COUTURE, has Mon­day nights gala atten­dees won­der­ing what to wear. Im only going to the press pre­view for the exhibit so my vin­tage Norma Kamali silk black and white shirt dress should pass muster. My son and his girl­friend will be attend­ing the party Mon­day night. Hip­sters dont sweat this stuff. They sim­ply wear their brand of insou­ciance, oh, and some pretty cool duds too, although at the time of writ­ing the jury is still out on exactly what. It wont be punk inspired, of that Im sure. As Eric Wil­son noted, its an exhibit open­ing, not a cos­tume party.

Alexan­der McQueen/Shaun Leane

Any­way, just thought Id offer up my take on how punk res­onates now in jew­elry. Wikipedia said punk was a response to the Beat Gen­er­a­tion, anar­chism, disco, heavy metal, pro­gres­sive and arena rock. It also said that the Sex Pis­tols were viewed as Dick­en­sian and Garage rock was the first form of punk rock. Vivi­enne West­wood took part, but hasnt she always been the rebel belle? Ah, his­tory as seen in the rear view, seems to need neat lit­tle cat­e­gories with which to pigeon­hole Pop Cul­ture. Punk was an amal­gam of influ­ences that still res­onate, except that we now exam­ine and refine it (or com­mer­cial­ize it) via xray-sensitive acu­ity instead of respond­ing to raw instinct.

Lena Dun­ham

What cap­tures our imag­i­na­tion when it comes to the style of women who have writ­ten, bril­liantly, and at the same time show lit­tle evi­dence of affec­ta­tion as their me rises to the sur­ce of our col­lec­tive con­scious­ness? Jew­elry style is telling in so many ways. Ive stated here before that wear­ing a neck­lace or a pair of ear­rings is utterly optional it is a choice that rests squarely on our whims, our taste, our momen­tary sat­is­c­tion, or dis­sat­is­c­tion, with the world. What wear­ing jew­elry says about us or doesnt say, at least openly is up to us. I came across an image of Lena Dun­ham at the Time 100 Party and then I Googled images of her in other pub­lic venues and I couldnt help but admire her self-possessed ease.

She wears small(-ish) dia­mond ear­rings with her cute crop. I like the low key luxe look she sports at these events. Fine but not too flashy. A neck­lace acts like punc­tu­a­tion to the end of her iron­i­cally un-A-list per­sona. Writer Georges Sand pos­sessed a sim­i­lar style even with her jew­elry a defin­i­tive and strong look that wasnt any­where near as mas­cu­line as was her pen name. In 1862, Sands play, Le Pav (The Paving Stone) was per­formed and it was Sand who forced open doors that were pre­vi­ously and peren­ni­ally shut to women. She sported mens cloth­ing in pub­lic, jus­ti­fy­ing her style by say­ing that mens cloth­ing was less expen­sive and longer last­ing than womens (arguably true today), and smoked in pub­lic too (another scan­dalous taboo). Yet her jew­elry was fem­i­nine: pen­dant ear­rings, a bold, jewel head­piece, a sen­su­ous neck­lace that slipped down the cen­ter of her chest.

Lena Dun­ham

LD, who could count her­self as scion of Sands lit­er­ary descent, wears what she likes, unless its for a sh­ion shoot and even then you cant help but notice the young woman before the clothes or the acces­sories. Why? Because the ear­rings, neck­lace, or bracelet becomes her rather than the other way around. This is how jew­elry was worn by women who have become icons such as Jacque­line Kennedy Onais­sis, Babe Paley, Coco Chanel, et al. Paving stones lead the way, some are new and bright, oth­ers pati­nated by the steps of oth­ers that fol­lowed. All that advice you read in mag­a­zines and online? Toss it. No jewel will look bet­ter on you than what you bring to it.

Buc­cel­lati Bracelet

Can there be an apothegm about gold, an expres­sion or say­ing that defines it in the prover­bial nut­shell? No. And Ive come to the con­clu­sion there never will be a com­plete state­ment made about the metal that trans­formed men into Sun Kings, women into icons, and peb­bles into vast wealth. That says alot about what the weight (pun intended) of gold has had on our econ­omy. Midas was merely fic­tion; real­ity has been much more dra­matic. Last Fri­day, I was invited to attend the Gold con­fer­ence that some of you may have pre­vi­ously read about in an ear­lier post. The sub­jects dis­cussed by those whose knowl­edge of yel­low metal was var­ied, if not always on point: Buc­cel­lati sent the lovely Lucrezia Buc­cel­lati to talk about its newest sil­ver line of jew­elry and how it has related to the hand­crafted gold tra­di­tions for which this ven­er­a­ble m­ily firm is so well known. Jack Ogden, jew­elry indus­try ana­lyst and noted his­to­rian, spoke about golds cul­tural power. Oth­ers dis­cussed the newest tech­nolo­gies in CAD CAM design even for those who do not use computer-aided design it was kind of amaz­ing to see whats devel­op­ing in jew­elry man­u­c­ture. At the end of the day, InStyles Mar­ian Fasel inter­viewed jew­elry designer Waris Ahluwalia, known sim­ply as Waris. Its s­ci­nat­ing to observe the full spec­trum of the jew­elry design world: from a four-hour computer-aided ring to forty-hour hand­crafted, multi-enameled brooch (Waris said that he believes in slow jew­elry and shuns electronics).

A panel dis­cus­sion con­sist­ing of design­ers Rebecca Koven, Irene Neuwirth, Kara Ross, and high jew­elry house rep­re­sen­ta­tives Nico­las Luchsinger (Van Cleef Arpels), and Larry Pet­tinelli (Patek Philippe) talked about the pos­si­ble chal­lenges of employ­ing gold due to fluc­tu­at­ing and sky­rock­et­ing mar­ket prices. For what its worth Neuwirth said it didnt affect her busi­ness, Koven said this was ulti­mately a pos­i­tive influ­ence on her design aes­thetic, Luchsinger acknowl­edged the chal­lenge and then shrugged as if to say there isnt much to do about it VCA takes these things into account, and Pet­tinelli said the gold con­tent of their watches mat­tered mostly to his entry-level clien­tele. Later, scholar and author, Ben­jamin Zucker dis­cussed how to iden­tify the age of a jewel by the way the gold is worked or alloyed. I found the the jux­ta­po­si­tion of these lec­tures a lit­tle ironic, at one point Ross said that she started design­ing hand­bags and cos­tume jew­elry because the price of gold became too costly for her busi­ness (she also men­tioned she will be launch­ing a new, fine jew­elry col­lec­tion next month), and an hour later Lisa Koenigs­berg com­mented that Ben­jamin Zucker sug­gested that she start col­lect­ing con­tem­po­rary pieces. Gold has this kind of power over us it defines a busi­ness plan, or not, it engen­ders col­lec­tors, or not, but more inter­est­ingly, it expands our cre­ativ­ity whether we use it in ways intended, or not.

, Notes on History,

Taf­fin tour­ma­line brooch. Pho­tog­ra­phy image by David Behl. Styling by Lori Ettlinger Gross. Page 140 of Brooches: Time­less Adorn­ment by Lori Ettlinger Gross. Riz­zoli 2008

Print page 115 SEAMAN SCHEPPS A Unique Suite of Cit­rine Jew­elry, 1945 Com­pris­ing a flex­i­ble snake motif bracelet, set with a grad­u­ated line of oval-cut cit­rines, a grad­u­ated strand neck­lace com­posed of twenty-six oval-cut cit­rines, a pair of brooches com­posed of multi-color cit­rines with snake head and foli­ate motifs, a ring and two pairs or earclips designed as a foli­ate clus­ter of vari-cut cit­rines en suite, mounted in 14K yel­low gold, bracelet length 7 1/2 inches, neck­lace length 17 inches, earclips length 1 5/8 and 3/4 inches, ring size 8. Signed Sea­man Schepps on brooches, with a fit­ted orig­i­nal box

What I find the most s­ci­nat­ing about vin­tage jew­elry is the way some pieces rep­re­sent the aes­thetic of the arti­san or house who cre­ated them and yet remain an emblem of the era in which they were made. When this del­i­cate equa­tion is care­fully con­fig­ured, the result can be time­less, in addi­tion to beau­ti­ful. Cartier did this with their peren­ni­ally appeal­ing Art Deco and PANTHRE designs, Van Cleef Arpels 50s rose-diamond Bal­le­rina brooches, or more recently, their effort­less luxe Per­le col­lec­tion, or Bul­gari in the 1980s: bold strokes of gold scrim­maged with Seahawks-sized shoul­der pads. As any­one who watches Project Run­way knows, work­ing within a given chal­lenge (or trend) while also main­tain­ing ones own cre­ative point of view isnt easy. Find­ing just the right com­mer­cial bal­ance that is in equal mea­sure mem­o­rable, cov­etable, and years later, col­lectible? That takes a cer­tain amount of genius.

On April 24, 2013, Phillips will be auc­tion­ing an unusual suite of circa 1945 Sea­man Schepps cit­rine jew­elry. The use of semi-precious cit­rine at that time was com­mon since large pre­cious gem­stones were scarce. Other stones such as amethyst and aqua­ma­rine were also employed lib­er­ally as they were avail­able in gen­er­ous carat weights. The suite above includes a snake form bracelet that is bril­liant. The oth­ers pieces in the suite are b­u­lous too, still the bracelet, and per­haps the snake form brooches too, Sea­man Schepps-erize this clas­sic col­lec­tion of 1940s jew­els. Schepps was known for his irrev­er­ent use of gem­stones he didnt really care about carats as much as the over­all com­po­si­tion. He was one of the first show­man jew­elry design­ers oth­ers of his ilk were Tony Duquette, Ver­dura, and his for­mer employer, Paul Flato.

, Jewel-Chic, Notes on History, Realities,

Sale of Gina Lol­lo­b­rigida Jew­els at Sothe­bys Geneva

Sothebys Geneva will auc­tion off the jew­els of this mous actress-artist-activist on May 14, 2013. Much of what Ms. Lol­lo­b­rigida owned was clas­sic in style, in much the same way as Eliz­a­beth Taylors jew­elry, sev­eral items of which were also pur­chased from Bul­gari. The 1950s-60s items for sale include nat­ural pearl and dia­mond ear­rings, a 19.03-carat dia­mond soli­taire, a dia­mond neck­lace that can also be worn as a bracelet (and a tiara, as she is pho­tographed above), and suite of impres­sive emer­ald jew­els. You may have heard about the renowned jew­elry house in the news of late, this month, the Ital­ian author­i­ties seized Bul­gari assets in a tax probe. Bul­gari was bought in 2011 by lux­ury group LVMH Moet Hen­nessy Louis Vuit­ton SA.

Gina Lol­lo­b­rigida Sale of Jew­els at Sothe­bys Geneva

Impor­tant: These are the last days to buy tick­ets to attend Ini­tia­tives In Art Cultures Gold Con­fer­ence. If you love jew­elry, this sym­po­sium is one that shouldnt be missed! Ill be there, so be sure to say hi!

LoveGolds LWren Scott gold tattoo

Fab­u­lous video about how gold influ­enced designer LWren Scotts newest col­lec­tion includ­ing gold tat­toos on the mod­els which were bril­liant. Scott also wears lovely antique jew­elry in the piece. Her POV is both ele­vated and acces­si­ble, if only her clothes were too. Still, they would be worth fore­go­ing a bauble or three. Loved what she said about her designs, that they are well crafted and the kind of thing a woman could wear again, and again. Mod­ern yet prac­ti­cal and with­out pre­tense. Superb clothes, acces­sories, and ideas. View it here.

Lan­vin Fall 2013

Review­ing the images of jew­elry on the Paris run­ways in the last week left me feel­ing that so many design­ers are sim­ply too con­tented with their own iconog­ra­phy. The ones who stood apart in styling their run­ways made bolder state­ments, yet all the while under­scor­ing the clothes and their houses aes­thetic. The jew­elry at Chanel gave frame­work to the tweeds and knits, how­ever they were pri­mar­ily made from the houses trade­mark leather and chain. So the woman is now the per­son­i­fi­ca­tion of the bag she cov­ets. Gives new mean­ing to the expres­sion, old bag, doesnt it? Even if the clothes were great, and of course they were, the over­ar­ch­ing mes­sage isnt flattering.

Chanel Fall 2013

Lan­vin con­tin­ues to be s­ci­nated by mounds of chains mixed with creepy crawlies pinned to shoul­der and bust lines. A new addi­tion of moody pro­nounce­ments, such as the word cool spelled out in scripted metal was scat­tered around mod­els necks and slashed across knuck­les. The col­lec­tion of cloth­ing was beau­ti­ful but the heavy handed styling of the jew­elry was a dis­trac­tion. Ive often found Mr. Elbazs choices cur­rent, enter­tain­ing, and even trend­set­ting, but this past weeks run­way seemed to say noth­ing more than what has been said in the past. I found myself think­ing, Again? once too often.

Alexan­der McQueen Fall 2013

Find­ing new state­ments on the run­ways wasnt alto­gether dif­fi­cult since the weird, fun, and tac­itly cool pieces spoke for them­selves. Marc Jacobs at Louis Vuit­ton gave us the neck­lace of dead fowl, Christo­pher Kane showed how big sculp­ture can work as a cuff, Sarah Bur­ton at McQueen cre­ated the ring-finger glove (what was the ref­er­ence for this, Id love to know) and the caged crown (shaped like a Faberge egg). Crowns and tiaras are state­ments that res­onated with houses like Dolce Gab­bana and Lan­vin. There is noth­ing more icono­graphic than a crown/tiara. Not sure we really need a golden halo to tell us that what we are look­ing at is regal or even spe­cial when the focus should be about the mod­ern woman liv­ing in con­tem­po­rary times. Show­ing mod­ern lux­ury on the run­way is inspir­ing, pageantry today is gild­ing a lily that is already in full bloom. Weve already seen this remark­able work of naturewhat else you got?

Dolce Gab­bana Fall 2013

P.S.

Speak­ing of golden moments, Ini­tia­tives in Art and Cul­ture is host­ing an amaz­ing con­fer­ence about gold this April. Dont miss it. .

, Notes on History, Realities, The Basics, Next

Lori Ettlinger Gross is an author, style writer, and jew­elry his­to­rian. Prior to her writ­ing and speak­ing career, she was a prac­tic­ing attor­ney in the field of arts law. Loris edu­ca­tion in period jew­elry began at C.W. Post Col­lege of Long Island Uni­ver­sity where she enrolled in an antiques and art appraisal pro­gram and later spe­cial­ized in the study of antique and estate jew­elry. Upon com­ple­tion of her course­work, Lori interned for two years under the guid­ance of her instruc­tor, Edith Weber, owner of the epony­mous Madi­son Avenue firm, Edith Weber Asso­ciates.

It was as the Estate Jew­elry Edi­tor for The Rapa­port Dia­mond Report, that Lori began her writ­ing career. Dur­ing this six year tenure, her free­lance work also appeared in The New York Times, Elle1

Listen to Lori talk about jewelry at the 2009 Academy Awards Martha Stewart Radio Morning Living Sirius 112/XM 157

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High

High Noon (1952)SYNOPSIS

Marshal Will Kane (Gary Cooper) is looking forward to his honeymoon with his new bride Amy (Grace Kelly). But as he and his wife prepare to leave town, Kane is informed that Frank Miller (Ian MacDonald), his former nemesis, is out of jail and on the way to Hadleyville for a showdown with him. Not one to back down from a confrontation, Kane decides to postpone his honeymoon and ce the murderous outlaw and his gang. However, as the lone sheriff attempts to enlist some of the townspeople to help him, he quickly discovers that no one is willing to risk their life beside him. As the minutes tick away toward the final showdown, Kane prepares to meet his te alone.

Producer: Stanley Kramer, Carl Foreman

Director: Fred Zinnemann

Screenplay: Carl Foreman, based on the story The Tin Star by John W. Cunningham

Cinematography: Floyd Crosby

Editing: Elmo Williams

Music: Dimitri Tiomkin

Art Direction: Ben Hayne

Cast: Gary Cooper (Marshal Will Kane), Grace Kelly (Amy Kane), Thomas Mitchell (Jonas Henderson), Lloyd Bridges (Harvey Pell), Katy Jurado (Helen Ramirez), Otto Kruger (Judge Percy Mettrick), Lon Chaney, Jr. (Martin Howe), Harry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Lee Van Cleef (Jack Colby), Sheb Wooley (Ben Miller).

BW-85m. Closed captioning.

Why High Noon is Essential

Among the many themes inherent in the Western genre, the division between civilization and lawlessness has always been a major issue. Usually, a representative from civilized society (a sheriff, a rancher, an army officer) is called upon to battle the forces of lawlessness, whether they are outlaws, greedy landowners, or Indians. The outcome usually results in a return to normalcy for the community with the antagonists vanquished and the hero riding off into the sunset, his mission accomplished. Alan Ladds mysterious title character in Shane (1953), directed by George Stevens, is a classic example of the archetypal Western hero, one who upholds and protects the morality and laws of a civilized community against those who threaten its existence in the vast Western landscape.

But in High Noon, we are presented with something quite different. On the suce, Hadleyville is a long-established community with a vibrant commerce, an active church, and a history of stable law enforcement. But beneath the cade of respectability are major flaws in the infrastructure. The town, which was once terrorized by Frank Miller, is now ced with his return from prison (his death sentence was commuted to life but he was paroled early for good behavior). Yet, except for the marshal, the townspeople seem unconcerned about the effect this will have on their community. They refuse to get involved, take a stand or rally to the side of the man who is responsible for their safe and comfortable existence. Even the marshals good friend, William Fuller (Harry Morgan), hides inside his house with his wife and refuses to come to the door when Kane pays a visit. As the couple watch the marshal walk away, Fuller stands next to his ashamed wife and asks her if she would rather have him alive or dead in the street. Yet, his cowardice is not unusual; the entire town is reluctant to defend their freedom against an obvious threat to it. This issue of moral responsibility is what makes High Noon unique among Westerns and raises the question, is civilization really worth fighting for?

In his biography, Its a Mad, Mad, Mad, Mad World: A Life in Hollywood, Stanley Kramer had this to say about High Noon: From the start, many of the people around me felt I was bent on a bootless project. I hired Gary Cooper to play the marshal because he was still a star, even though he was no longer at the height of his popularity. I thought he would give the picture the stature and attention it needed. It is, after all, a difficult story to define. Its a story filled with tense anticipation but very little action. Since all those who read it thought of it as a Western, they expected to see guns blazing and horses galloping everywhere. In our minds, though, it wasnt an action picture. We didnt even think of it as a Western.

Director Fred Zinnemann also voiced his own opinions about High Noon in his biography, A Life in the Movies: The story seems to mean different things to different people. (Some speculate that it is an allegory on the Korean War!) Kramer, who had worked closely with (Carl) Foreman on the script, said it was about a town that died because no one there had the guts to defend it. Somehow this seemed to be an incomplete explanation. Foreman saw it as an allegory on his own experience of political persecution in the McCarthy era. With due respect I felt this to be a narrow point of view. First of all I saw it simply as a great movie yarn, full of enormously interesting people. I vaguely sensed deeper meanings in it; but only later did it dawn on me that this was not a regular Western myth....To me it was the story of a man who must make a decision according to his conscience. His town - symbol of a democracy gone soft - ces a horrendous threat to its peoples way of life....It is a story that still happens everywhere, every day....The entire action was designed by Foreman and Kramer to take place in the exact screening time of the film - less than ninety minutes.

High Noon proved to be a huge critical and popular success when released and garnered seven Oscar nominations including Best Picture prior to the 1953 Academy Awards® ceremony that year (It won statues for Gary Cooper (Best Actor), Best Film Editing, Best Music Score and Best Song (Do Not Forsake Me, Oh My Darlin), which was performed in the film by Tex Ritter; it also became a hit for Western balladeer Frankie Laine). Kramer noted in his previously mentioned biography that High Noons defeat in the Oscar® race by Cecil B. DeMilles circus picture, The Greatest Show on Earth, had to be largely political, and Im not referring to the unspoken old-boy politics of Hollywoods inner circle. I still believe High Noon was the best picture of 1952, but the political climate of the nation and the right-wing campaigns after High Noon had enough effect to relegate it to an also-ran status. Popular as it was, it could not overcome the climate in which it was released. Carl Foreman, who wrote it, had by then taken off for England under a cloud of accusations as a result of his political beliefs. Between the time he turned in the script and the time the Academy voted, we all learned that he had been a member of the Communist Party, but anyone who has seen the picture knows that he put no Communist propaganda into the story. If he had tried to do so, I would have taken it out.

By Scott McGee &e proceeded to write in a number of scenes mirroring the witch-hunt, and attacking Americas (and Hollywoods) reluctance to stand up to HUACs bullying tactics. Much that was in the script seemed comparable to what was happening, he said. Friends had dropped him; people would turn away when they saw him in the street. My associates were afraid for themselves - I dont blame them - and tried to get me off the film, unsuccessfully. They went to Gary Cooper and he refused (to go along with them). Fred Zinnemann was very staunch and very loyal, and so was our backer, Bruce Church. There are scenes in the film that are taken from life. The scene in the church is a distillation of meetings I had with partners, associates and lawyers. And theres the scene with the man who offers to help and comes back with his gun and asks, Where are the others? And Cooper says, There are no others. I became the Cooper character, said Foreman. High Noons producer, Stanley Kramer, joined Cooper and Zinnemann in approving what Foreman was up to. Once the news leaked around town, however, John Wayne and Hedda Hopper were among the first to launch public attacks on Foreman, Hopper urging that he never be hired again. Fearing for his production company, Kramer publicly dissociated himself from the writer, causing a rift between the two men that would last into the 1980s.

By Scott McGee &f the stark settings and the long shadows; of the screenwriter Carl Foremans psychological insight and his buildup of suspense. When the film came out, there were actually people who said it was a poem of force comparable to The Iliad. But its insights are primer sociology, and the demonstration of the towns cowardice is Q.E.D. Its a tight piece of work, though - well directed by Fred Zinnemann. - Pauline Kael, 5001 Nights at the Movies.

Perhaps the most outspoken critic of High Noon was John Wayne, the same actor who wondered why he was not offered the part when accepting the Best Actor Oscar® on Gary Coopers behalf. Wayne said years later of High Noon: Ill tell you about Carl Foreman and his rotten old High Noon. Everybody says it was a great picture because Gary Cooper and Grace Kelly were in it. Its the most un-American thing Ive seen in my whole life! The last thing in the picture is ol Coop putting the U.S. marshals badge under his foot and stepping on it. Ill never regret having helped run Foreman out of this country! (With all due respect to the Duke, his memory of the ending is inaccurate. At the climax of High Noon, Kane does indeed drop the badge in the dust, but he does not step on it.)

Director Howard Hawks did not think too highly of High Noon either. He made Rio Bravo (1959) as a response to the film that he dismissed as unrealistic: no competent marshal should require assistance from the townspeople.

AWARDS &ed Washington, lyrics). High Noon also received nominations for Best Picture, Best Director, and Best Screenplay.

High Noon won the New York Film Critics Award for Best Film and Best Direction. It also won the Writers Guild of America award for screenwriter Carl Foreman in 1953 as well as four Golden Globe awards including Best Picture and Best Actor (Cooper).

In 1989, High Noon was selected for preservation by the National Film Registry.

The city of Reno, Nevada, honored High Noon with their Silver Spurs award for the best Western of the year. Montgomery Clift stood in for Gary Cooper, while the master of ceremonies was some dude named Ronald Reagan.

Compiled by Scott McGee &anley Kramer, who had worked closely with Carl Foreman on the script, said it was about a town that died because no one there had the guts to defend it. Somehow this seemed to be an incomplete explanation. Foreman saw it as an allegory on his own experience of political pesecution in the McCarthy era. With due respect I felt this to be a narrow point of view. First of all I saw it simply as a great movie yarn, full of enormously interesting people. I vaguely sensed deeper meanings in it; but only later did it dawn on me that this was not a regular Western myth....To me it was the story of a man who must make a decision according to his conscience. His town - symbol of a democracy gone soft - ces a horrendous threat to its peoples way of life....It is a story that still happens everywhere, every day....The entire action was designed by Foreman and Kramer to take place in the exact screening time of the film - less than ninety minutes.

High Noon proved to be a huge critical and popular success when released and garnered seven Oscar nominations including Best Picture prior to the 1953 Academy Awards ceremony that year (It won statues for Gary Cooper (Best Actor), Best Film Editing, Best Music Score and Best Song (Do Not Forsake Me, Oh My Darlin), which was performed in the film by Tex Ritter (It also became a hit for Western balladeer Frankie Laine). Kramer noted in his biography, Its a Mad, Mad, Mad, Mad World: A Life in Hollywood, that High Noons defeat in the Oscar race by Cecil B. DeMilles circus picture, The Greatest Show on Earth, had to be largely political, and Im not referring to the unspoken old-boy politics of Hollywoods inner circle. I still believe High Noon was the best picture of 1952, but the political climate of the nation and the right-wing campaigns after High Noon had enough effect to relegate it to an also-ran status. Popular as it was, it could not overcome the climate in which it was released. Carl Foreman, who wrote it, had by then taken off for England under a cloud of accusations as a result of his political beliefs. Between the time he turned in the script and the time the Academy voted, we all learned that he had been a member of the Communist Party, but anyone who has seen the picture knows that he put no Communist propaganda into the story. If he had tried to do so, I would have taken it out.

Producer: Stanley Kramer, Carl Foreman

Director: Fred Zinnemann

Screenplay: Carl Foreman, based on the story The Tin Star by John W. Cunningham

Cinematography: Floyd Crosby

Editing: Elmo Williams

Music: Dimitri Tiomkin

Art Direction: Ben Hayne

Cast: Gary Cooper (Marshal Will Kane), Grace Kelly (Amy Kane), Thomas Mitchell (Jonas Henderson), Lloyd Bridges (Harvey Pell), Katy Jurado (Helen Ramirez), Otto Kruger (Judge Percy Mettrick), Lon Chaney, Jr. (Martin Howe), Harry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Lee Van Cleef (Jack Colby), Sheb Wooley (Ben Miller).

BW-85m. Closed captioning.

by Scott McGee

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