Holly. 18. English. I love books, I enjoy jazz, cycling, film noir and Alice Glass is my wife. Egyptology.

"Mrs. Robinson, you're trying to seduce me. Aren't you?"

Léa Seydoux by Jason Kim

Roger Ebert On Great Movies » The Red Shoes

“Shearer, who was 21 when she was cast, was at the time with the Sadlers’ Wells Company. She didn’t take movies seriously, waited a year before agreeing to star in The Red Shoes, went back to the ballet, and possibly never knew how good she was in the movie. ‘I never knew what a natural was before,’ Powell told the studio owner J. Arthur Rank. ‘Now I do. It’s Moira Shearer.’
No film had ever interrupted its story for an extended ballet sequence before The Red Shoes, although its success made that a fashion, and An American In Paris and Singin’ In the Rain, among others, have extended ballet sequences. None ever looked as fantastical as the one in The Red Shoes, where the physical stage is seamlessly transformed into a surreal space. The cinematographer Jack Cardiff manipulated camera speed to make the dancers seem to linger at the tops of their jumps.
After Vicky and Julian are married and Lermontov fires them, he asks her to dance one more time. She can return to London with Julian, or leave him and continue her career. Why does she abandon these choices at the height of her youth and beauty? The answer of course is that she is powerless, once she puts on the red shoes. Lermontov has made a bargain with Vicky: ‘I will make you the greatest dancer the world has ever known.’ But he warns her: ‘A dancer who relies upon the doubtful comforts of human love will never be a great dancer.’ Like the Satan of classical legend, he is enraged when he wins her soul only to lose it again. He demands obedience above all else.” [x]

Johanna Söderberg.First Aid Kit.April, 2012.

Howlin’ Wolf with his Teisco with the built-in amp
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Jean Seberg, guitar