#mandy slade

[curtwildseyeliner]

velvet goldmine (1998)

[aquascopex]

Quote I found in the oscar wilde section of a book of anecdotes. Literally the conversation between brian and mandy after they watch curt perform for the first time. TODD YOU GENIUS !

[srcepiksla]

secret fairy gift for @mangle-my-mind <3

the prompt was the berlin polycule or jack/curt/mandy being besties so i immediately thought of them having a sleepover.. one must imagine jack fairy happy and gossipping surrounded by people that love him

[ben-sisko]

Velvet Goldmine (1998) Directed by Todd Haynes

[shakinglikepilk]

I wish the velvet goldmine soundtrack was on spotify because its one of my favourite movie soundtracks. I listen to most of the songs that are on there but honestly for some songs I prefer the version in the movie😭

[glittersloth]

i love velvet goldmine and everything it’s given me (the inability to think about anything else)

[mangle-my-mind]

Todd Haynes on Mandy Slade

OM: How did you come to cast Toni Collette as Mandy? She doesn't strike me as an obvious choice for the role as it is written; her most famous part was in Muriel's Wedding where she played the podgy, Abba-obsessed ultra-hetero outcast.

TH: Mandy was the hardest part to cast in the film. It's a particularly demanding role due to the range Mandy has to display as she changes from the seventies to the eighties. This type of camp female character has basically vanished from our cultural landscape, as far as I can tell. The closest equivalent today is probably a Parker Posey-type character, but she's still quite different from the Liza Minnelli of Cabaret or the Angela Bowie of the glam era. Mandy has a theatrical, campy party girl persona that can be turned on and off at will, and owes a great deal to the gay male sensibility of the time. I think women around the world were liberated from all kinds of highly codified notions of femininity when people like Patti Smith entered the pop cultural arena. It had such a profound effect on women but girls today have no memory of that kind of camp femininity.

I saw so many strong actresses for Mandy, both in the US and the UK, and it was really tough to find the right one. We came close a few times, but it wasn't until I met Toni that it all clicked. I had no doubt about her acting ability, but the question was how to transform Toni Collette psychically, both for the camera and in her own self-regard into this very different, very confident, overly sexual creature. She really had to go off the cliff; I'm sure it was terrifying. And what you see in the film is such a transformation, such a complete commitment to the role that she almost becomes unrecognizable as Muriel in Muriel's Wedding. After a certain point, nothing was too scary for Toni. What you get with the character is what you get with the actress playing her - this range of changes and the effects of various cultures and various experiences on one extraordinary woman.

OM: Although the script informs you of Mandy being an American bisexual who reinvented herself, you get the sense of invention fully in the scene where she presents Brian with the divorce papers. She breaks down and you see the façade in a seventies context. It's a very moving moment and it's contrasted with Brian's coked-up emptiness. What did you discover in your research about the 'back-stage' women of the glam era?

TH: I guess Mandy's basic expression of real needs is made more vivid by that scene, but the beaten-down, hard-boiled Mandy of the eighties gives you the framework for that. She was definitely one of those people who was feeling and hurting and acting out at the same time. Often the casualties were the women of the male rock world. I really feel the film builds and develops complex sympathies for Mandy that you won't necessarily feel going in. The character is loosely inspired by aspects of Angela Bowie, and it's very easy to make fun of that kind of pop creature after the fact. But in all the books I read there was no argument on how fundamentally essential Angela Bowie was to the invention of Ziggy Stardust and to glam rock in general. She inspired risk-taking and flamboyance to a degree no one else can claim credit for. It wouldn't have happened without her.

Source - "Superstardust: Talking Glam with Todd Haynes", Oren Moverman.

Photo source

Emphases my own :)

[its-cripptid]

"Man is least himself when he talks in his own person... Give him a mask and he'll tell you the truth."

[gayalienwilde]

@theprinceofale real

[holy-loki]

the portrayal of love as a performance and a mirror of oneself in velvet goldmine (1998)

[emthejedichic]

Brian, quoting Oscar Wilde, talking about Curt: He has also ruined my life, so I can’t help loving him — it is the only thing to do.

Mandy, shouting from another room: You ruined your own life, you stupid bitch!

[ben-sisko]

Velvet Goldmine (1998) Directed by Todd Haynes

[didntyoubelieveinme]

happy mandy slade!!!!! love of my life

[shakinglikepilk]

its been ages since i last watched velvet goldmine i think i might start tweaking

[autumnsup]

This morning's head canon after my long-ass post yesterday about my latest shopping addiction: Mandy would totally wear Frédéric Malle Outrageous, and she was probably all over the original Halston fragrance when it first came out. Jack Fairy would accept gifts of Lanvin Arpège and Chanel No. 5 because of their associations with Marilyn, but deep down leans toward more opulent and floral scents from the 60s, like...Hermès Caleche? Or Givenchy L'interdit? Someone who knows luxury perfumes help me out here (I am but a novice).

[leaveharmony]