#Trauner

[shaiatka]

self-proclaimed "unluckiest being alive" (and Trauner)

[gacougnol]

Alexandre Trauner

Belleville (rue Vilin) 1930s, Paris.

[sorrowdivine]

I designed my OC Zeti's Trainer Card 🖤💜

[davidhudson]

On the set of Hôtel du Nord (1938), directed by Marcel Carné (August 18, 1906 - October 31, 1996) with production design by Alexandre Trauner.

[twittercomfrnklin2001-blog]

Five Miles to Midnight

For a while in the middle of Anatole Litvak’s FIVE MILES TO MIDNIGHT (1962, TCM, DailyMotion), I wondered why the film had never turned up on Eddie Muller’s “Noir Alley.” Sure, it has a weak opening. We’re thrown into the middle of the disastrous marriage between Anthony Perkins and Sophia Loren with no context and, like her friend Jean-Pierre Aumont, are left wondering how the two ever wound up with each other. And at first, Perkins doesn’t seem all that comfortable in the role. He’s posturing instead of acting. Then he’s seemingly killed in an air crash, and with the plane’s descent the picture takes off. It’s a relief to be freed from the performance he’s been giving, and Loren looks smashing in her widow’s weeds. When he turns up again, having miraculous escaped the crash with a plan to get rich defrauding the flight insurance company, his performance falls into place. You can see the boyish charm that must have attracted her in the first place, and then you see that charm coalesce into something more neurotic and almost menacing. It all reeks of corruption, and Loren plays her predicament quite well as the normal person pulled into her role as Perkins’ accomplice. Henri Alekan’s black-and-white cinematography, Alexander Trauner’s art direction and Guy DeRoche’s costumes, particularly Loren’s black vinyl trench coat, come together to fit one of Muller’s definitions of film noir as the place where style meets suffering. Then it all goes kerflooey in the last act. I can’t go into specifics about what doesn’t work without creating spoilers so let’s just say that by the end you’re wondering how an earth mother like Loren could get sucked into all this — both her husband’s plot and the Peter Viertel-Hugh Wheeler script, which includes a rather unfortunate mad scene. After the debacle of DESIRE UNDER THE ELMS (1958), their first film together, I kept expecting Loren to turn to Perkins and say “This is another fine mess you’ve gotten us into.”

[fircmblcm]

18c (for Matthias Schoenaerts from your hoice of my guys)

m/m smut starters. ( 18C )

"I should ask the Director to have you on my team." Agent Paul Trauner from SHIELD had enough in his bag to pull that one. He just didn't do it because it was a big secret. And he didn't like to let others know his little obsession with Agent Fitz. But as he walked out of the bathroom, recently showered after their little rendezvous (it had been just the first round), and saw Leo laying there, cock lying against his abs, Paul brought up what was constantly on his mind. "The only trouble would be focusing on my assignments. With you flaunting that thing around." On the bed again, like a fucking hopeless addict, Paul got between the other agent's legs and got hold of the cock that had been inside of him just a few minutes ago. "Besides, I like missing you. It always makes me needier for when we meet."

[luckypluckychair]

The Apartment | 1960

Director: Billy Wilder

Production designer: Alexandre Trauner / Set decorator: Edward G. Boyle

[claradanjoux]

Aaron Trauner - OC Hogwart Legacy A proud Ravenclaw

[vibe-stash]

The Apartment (1960)

Director: Billy Wilder DOP: Joseph LaShelle Art Direction: Alexandre Trauner Set Decoration: Edward G. Boyle

[itsloriel]

Alexandre Trauner

via Photo Line

[shaiatka]

greetings from the bottom

[france-cinema]

Emile Savitry, Serge Reggiani se fait tatouer une tour Eiffel par Alexandre Trauner dans le film inachevé « La Fleur de l’âge » de Marcel Carné et Jacques Prévert, à Belle-Île, en 1947.

[everyone-is-queer]

Transgender flag color picked from Pokémon Trauner (Ultimate)

[davidhudson]

Anatole Litvak’s Five Miles to Midnight (1962). Production design by Alexandre Trauner (August 3, 1906 – December 5, 1993).

[byneddiedingo]

Lya Lys in L'Âge d'Or (Luis Buñuel, 1930)

Cast: Gaston Modot, Lya Lys, Caridad de Laberdesque, Max Ernst, Artigas, Lionel Salem, Germaine Noizet, Bonaventura Ibáñez. Screenplay: Luis Buñuel, Salvador Dalí, based on a novel by the Marquis de Sade. Cinematography: Albert Duverger. Production design: Alexandre Trauner. Film editing: Luis Buñuel. 

Salvador Dalí was a bit of a hack, more interested in making money off of the bourgeoises he affected to mock than in advancing his art. So it was inevitable that he and Luis Buñuel would part ways, especially after Dalï turned to the right, supporting Francisco Franco and embracing Catholicism. Although their collaboration produced two extraordinary films, the 1929 short Un Chien Andalou and the feature L'Âge d'Or, it was Buñuel's career that proved to be the more lasting in terms of critical respect. And if there's anything memorable about L'Âge d'Or, it's Buñuel's ability to bring the Surrealist aesthetic to life in semi-narrative fashion. The extent of Dalí's actual contribution to the film has always been somewhat in question, especially since one target of the film's satire is the Catholic Church, which Dalí never quite abandoned before returning to it enthusiastically. The movie is essentially a series of vignettes, starting with documentary-like section on scorpions, then tracing the efforts of a couple to consummate their love, always frustrated by conventional society and religion, and concluding with an episode derived from the Marquis de Sade's The 120 Days of Sodom, in which a group of people emerge from a castle where they have been participating in an orgy, led by a man who looks like Jesus. Bizarre images -- a cow in a bed, a woman sucking the toe of a marble statue, a cross decorated with the scalps of women, and so on -- punctuate the entire film, which is often unsettling and often very funny. The film's assault on the complacency of the bourgeoisie would become a constant in Buñuel's films, and the party scene clearly anticipates the experiences of the trapped partygoers in The Exterminating Angel (1962) and The Discreet Charm of the Bourgeoisie (1972). David Thomson has noted the similarity of the country house party in Jean Renoir's The Rules of the Game (1939), pointing out that the gamekeeper in Renoir's film is played by Gaston Modot, who is the male half of the central couple in L'Âge d'Or, but I think we can also see its influence in such French New Wave landmarks as Last Year at Marienbad (Alain Resnais, 1961) and La Notte (Michelangelo Antonioni, 1961).   

[hot-bip]

"Le Quai des brumes" Images numériques / Digital pictures ☁ ✏ 🖱 https://www.facebook.com/media/set?vanity=Philippe.Laurent.HOT.BIP&set=a.887845799242221

quaidesbrumes #marcelcarné #prévert #trauner