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talleyuh · 4 months

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girlmagic.

i invented a new media term: girlmagic, originally when i watched the virgin suicides, i couldn’t get over how the lisbon girls were shot. they were framed with flattering lighting and pretty music, which showed the way the boys viewed the lisbon girls. additionally when watching saltburn, i noticed felix was as also framed in a way that always complimented jacob elordi, there was music that played that added to his allure, which was oliver’s perspective and when we looked at felix through his eyes.

what girlmagic means is to be idolized, to never be truly be known, for your youth to be romanticized, to ultimately be objectified. to have your suffering be ignored, your cries for help fall on deaf ears, until and after your death. characters that are girlmagic are used as inspiration to their shitty protagonists that need inspiration and a reminder that beautiful things still exist. to be girlmagic (regardless of your gender), you’re only here to further the development of a man. we often look at characters as magical because romanticizing them is mistaken with loving them, though they are not the same. like even though mary lisbon survived, everyone acts like she died with her sisters because it’s easier to think of the lisbons as a distant memory. it’s easier to think that the lisbons’ mass suicide was a mystery and not something they might have caused or something they have to answer for, even their parents.

other examples of girlmagic:

psyche was the original girlmagic. she was idolized by everyone she knew for her beauty and wanted to die because she was never truly known until she met eros. she was a lucky one.

priscilla in baz lurhmann’s elvis movie (2022) was girlmagic. she was a spunky teen, but then tamed herself when it was time to become a wife, and seldom complained about his cheating until she left him when his drug addiction got out of control.

tyler durden in david fincher’s fight club (1999) is kind of girlmagic because of the manner in which the narrator idolizes him. tyler is always a mess, yes, but in an aesthetically pleasing manner that the narrator never achieves. even though he lives in an abandoned house with dirty water as his only way to clean himself, his hair is always perfectly spiked, his clothes are dirty but in the way designer brands try to rough up pieces that still cost thousands.

#girlmagic #cinema #saltburn #emerald fennell #priscilla presley #baz lurhman #tyler durden #david fincher #elvis 2022 #fight club

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presleybutlervsp · 3 days

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May 6, 1957

Elvis reported to the MGM studio.

He got Clark Gable’s dressing room and the rest of the week was spent with costume fittings, makeup tests and dance rehearsals for Jailhouse Rock.

#elvisaaronpresley #elvispresley #elvis #graceland #elvis history #elvishistory #tcb #elvis fans #elvis presley #elvis the pelvis #elvis music #elvis the king #50s elvis #judy tyler

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austinbutlermischief · 2 years

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Mary Tyler Moore and Elvis Presley in Change of Habit (1969)

#austin butler #Elvis Presley #mary tyler moore #change of habit #elvis movies #josdramafreegifs #josaustingifs #gif request #cinemaspast

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hooked-on-elvis · 3 months

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ELVIS interviewed during filming of 'Change of Habit'

— AMONG OTHER THINGS, YOU'LL LEARN ABOUT HOW ELVIS DID SOME IMPROVISATION IN HIS LINES FOR THE MOVIES AND HOW SELF CONSCIOUS HE WAS ABOUT HIS OWN FILMS

Filmed on location in the Los Angeles area and at Universal Studios during March and April 1969, Change of Habit was released in the United States on November 10, 1969.

Elvis Presley On Set: You Won’t ask Elvis Anything Too Deep?

Elvis talks, but he doesn't say much

BY WILLIAM OTTERBURN-HALL HOLLYWOOD – The notice outside the big grey double-doors was simple and to the point. SET CLOSED, ABSOLUTELY NO ADMITTANCE. You find notices like this outside a lot of film studios, and they tend to have a certain elasticity. This one, outside what looked like an aircraft hangar but was actually Stage D at Universal Studios, meant it. Inside, Elvis Presley was filming. And where Elvis goes, the barriers go up as if some sinister germ warfare experiment were being carried on within. Like a suckling infant, he is swathed and coddled against the realities of the world outside, as if he were made of rare porcelain rather than hewn from good old-fashioned Tennessee stock. But this day he was on show. I had been given the magic formula. The secret open-sesame known only by its brand name of “Colonel Parker’s Okay” had been handed me. The doors swung wide, and I was in. They say Colonel Parker is the man who built Elvis from the erotic gyrating days of the swiveling Pelvis through 14 long and fruitful summers to his present status, by pushing and pulling his protege through the tricky cross-currents of pop music taste. I wouldn’t know. I had asked to see him, this onetime Texas fairground barker, to thank him for the green light. But he was always somewhere else. In his office at Universal, over at Metro, down in Palm Springs, in Las Vegas to lay the trail for the next live show... always somewhere else. No matter. Who needed Colonel Parker when Elvis himself was alive and well and filming? The Publicity Man who escorted me as close as if he were handcuffed said proudly: “I’d like to work with him again, he’s so sweet and uncomplicated. I was surprised you got through – no one’s talked to him yet, you know. There must have been a good breeze blowing.” The good breeze continued to blow as far as the set. A mauve-walled pad with kitchen adjacent and a king-size bed visible through half-drawn yellow curtains. Elvis sat at a table, staring at his hands, while three mini-skirted girls, Mary Tyler Moore, Barbara McNair and Jane Elliott, scurried around with trays of food.

L-R: Mary Tyler Moore, Jane Elliott and Barbara McNair.

The film is about three nuns who pose as nurses to “identify with the people” in a Negro ghetto in New York. The title is Change of Habit (yes, it is) and stars Elvis as a medic who falls for one of the nuns. Elvis is wearing a paint-stained blue denim shirt and tight blue jeans. He looks relaxed and affable and rather meatier around the jaw-line than one remembers from previous films. Marriage (back in May 1967 to Priscilla Beaulieu) is obviously agreeing with him. His eyes have that smoky slow-burn of the old-time movie vamp. He seizes a guitar and strums a few chords. It’s the last week of shooting, and like the good days between exams and the end of term.

The atmosphere on the set is hip and loose, full of leather-clad youth and clever in-talk. The director is thin and intense, wears a check shirt and gym shoes, and is called Billy Graham, which is going to look interesting on the posters of a swinging nun. Elvis produces some dialogue. He is never likely to win an award as an actor, but he knows what the kids want and he gives it to them. The girls are talking about a party. The cameras turn. Elvis says: “You get a lot of people down here on a Saturday night, and all the old hates come out. Before you know it they’re bombed out of their skulls and you’ve got World War III on your hands.”

The scene is this one below. NO, it was not cut out during the editing of this movie.

Earth-quaking stuff. But this simple homespun philosophy is off-key. “Bombed out of their skulls” wasn’t in the script. And the director isn’t too happy about it. “It’s a good line,” says Elvis. “Okay, okay,” says Billy Graham. The line stays. Maybe it will come out in the cutting room, but it’s there for now. “The whole thing is downhill,” says a technician. “He don’t talk to anyone, except his own friends.” There is no sign of tension, but then Elvis has nothing to be tense about. He can go on churning out the same thing for another decade, and they’ll still queue to see it. If he’s over the top, as some unkindly souls occasionally try to make out, he doesn’t seem bothered. He is 34 . . . Raised in Memphis . . . Once a truck-driver, stumbled into records, took the world by storm as the original snake-hips . . . Now lives in cloistered seclusion in a colonial mansion near Nashville, with a Rolls, a solid gold Cadillac, a wife, a daughter (Lisa Marie, aged one) and several bodyguards for company . . . Has made 29 films, grossing 220 million dollars at the box office, and sold more than 200 million records.

Elvis Presley and director William A. Graham on the set of Change Of Habit (Universal 1969) between takes.

Elvis heads for his trailer in the far corner. A group of friends (known in some quarters as the Memphis Mafia) close around him like a football scrum after a loose ball. The code-word is given. I am beckoned over. The good breeze was still blowing. “You won’t probe too deep, will you?” The Publicity Man asks anxiously. “This is just an informal chat, that’s the deal. So keep it light and airy, okay?” Well . . . okay. I checked my notes. Does Elvis fly high on acid trips? Does he see himself as a prophet for the new generation? Does he think his style is too square? Does he have any sexual hang-ups? His marriage altered his attitude to life in any way? Does he kick his cat? Does he have a cat to kick? What are his views on pop, religion, hippies, demonstrators, Vietnam? Stuff like that. No, I wasn’t going to probe too deep. In the dressing room Elvis shakes hands in a firm grip. “This is Charlie, this is Doc.” Two small, burly men light leather jackets and open-neck shirts rise and shine briefly and subside again. The trailer feels a bit crowded.

Elvis Presley on the set of Change Of Habit (Universal 1969). Mary Tyler Moore, Elvis and director William A. Graham share a joke between takes.

Elvis talks. He speaks slowly and carefully, and puts a lot of space between his words. “The film? Uh, well . . . it’s a change of pace for me, yeah. It’s more serious than my usual movies, but it don’t mean I’m aiming for a big dramatic acting scene, no sir. The way I’m headed, I want to try something different now, but not too different. I did this film because the script was good, and I guess I know by now what the public goes for." “Most of the scripts that come my way are all the same. They’ve all got a load of songs in them, but I just did a Western called 'Charro', which hasn’t any songs ‘cepting the title tune. It did have a couple of nude scenes, but they’ve been cut. Anyhow, can you imagine a dramatic Western where the hero breaks out into song all the time?” He has said plenty, and now he leaps to his feet, hands flashing to imaginary holsters, and sings in a deep drawl: “Go for your guns . . . you’ve got ’til sundown to get outa town . . . ” It could be the start of a promising sketch. The others follow suit, singing, clowning, all on their feet. If this is the Memphis Mafia, they’re a friendly bunch.

Elvis on set of 'Change of Habit' (Universal 1969) talking to fans.

Elvis sits down, and everyone stops singing. He eyes himself in the dressing room mirror. “I don’t plan too far ahead, but I’m real busy for a while now. I’ve got a date in Vegas, and maybe another film after that. Then I’m going to try to get to Europe, because I’ve always promised I would and I’ve got some good, faithful fans over there.” Slow-talking Elvis may be. But he certainly isn’t the slow-witted hick from the backwoods his detractors make out. If he is, then he’s a better actor than they give him credit for. Get through to him, and you find a pleasant, honest, not-too-articulate hometown boy who has been protected for his own good from the hysterical periphery of his present world. The party was warming up. Elvis cracked a gag. Charlie cracked a gag. There was a call from the door. Elvis was wanted, and the good breeze was still blowing as he made for the set, one hand on my shoulder. Charlie and Doc were all smiles.

Elvis and his manager, Colonel Parker, on set of 'Change of Habit' (Universal 1969).

“Okay?” said the P.M. “You did real fine.” "Well . . . not quite." I said. "This Colonel Parker, would he be around for a word later?" Elvis stopped in his tracks. The P.M. went a whiter shade of pale, and whispered something to a friend. The friend nodded in sympathy. “I must tell you about an experience I had like that once,” he said, eyeing me as if I’d just crawled out of the woodwork. Elvis said: “I think he’s in Palm Springs. I’m not sure...” He hurried off. The P.M. said: “Don’t let’s push our luck any more. We never trouble him for too long a time. You should be very happy. You had more than anyone’s had in years.” Somewhere along the line, unaccountably, the good breeze had dropped. This story is from the July 12th, 1969 issue of Rolling Stone.

Source: www.rollingstone.com

#elvis presley #elvis movies #change of habit #mary tyler moore #barbara mcnair #jane elliott #1969 #60s movies #1969 movies #elvis articles #elvis interview #rolling stone magazine #vintage articles #vintage magazine

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deke-rivers-1957 · 3 months

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Glenn Tyler's Rank

Disclaimer: For my tier list I’m basing this off of a one on one fight with no weapons and no outside interference. If a character has to rely on a weapon they’re ranked lower. If a character has to fight more than one person at a time, I’d look at it on a case by case basis. Age, size and general background are factors that will be taken into consideration. Since a lot of those details are going to be up to interpretation as these are characters and not real people, feel free to share your own thoughts.

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Wild in the Country seems to take place in "contemporary" 1960/1961. Glenn is a young man who goes from job to job because he keeps getting in trouble with the law. Glenn's age seems to differ based on the source so I'll say he's at most 25 years old.

Glenn's fights are interesting in that we only get 2 fight scenes. I don't count him getting aggressive with Cliff earlier in the movie and him pushing Uncle Rolfe as fights.

The fight that started everything occurs between Glenn and his own brother. We don't know how old his brother is, but we can assume they're about the same age. While Glenn does beat him, the one drawback is that his brother was drunk. Alcohol can totally change how a person fights so we have no idea if his brother was at his 100%. But since he still won without needing a weapon, that boosts his case.

I'm not sure what to think when it comes to this fight. Cliff did strike first but given what we find out about his health in the movie, it's hard to tell if he's a strong opponent. Glenn did technically win and killed Cliff. The problem's that Cliff's health was not as good as originally believed. I don't think that would give Glenn that many "points" in strength of opponent.

Glenn does have promise as a fighter. The problem's that he's a hot head and benefits from opponents that are impaired. He is scrappy but I really doubt his skill if he was to face an opponent around his age that's able to fight at their full strength.

Because of his lack of professional experience and having two wins, I'm putting Glenn in B tier. He might be able to win a street fight, but I don't see him winning against a professional fighter.

Tagging: Thank you @xanatenshi and @arrolyn1114 for your input on Glenn's rank.

AN: Expect the announcement for my next film review on February 1st.

#elvis fandom #elvis presley #glenn tyler #wild in the country #kung fu elvis tidbit #elvis film #elvis tier list

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