Cate Blanchett will start her jury president duties at the Venice International Film Festival this Wednesday September 2. The festival will be the first major international film event since the Covid-19 pandemic cancelled all events around the world. Fashion lovers are cautiously excited since there will be some sort of red carpet.
Blanchett has indicated in an interview with WWD magazine that she plans to exclusively re-wear looks from her closet throughout the festival. Yes, no new couture for Cate this year. It fits a socially distant event to be more responsible and promote sustainability. So we applaud the decision and suggest six looks we hope to see on Cate in the next 10 days.
Arriving at this list was arbitrary. Balnchett has wowed so many times that it’s futile to try to come with any rhyme or reason for my choices. It’s just a few that I love. There is one I did not choose whilst being my favorite because I’d like it to remain exclusive to that moment, the Carol premiere at Cannes.
Where / When : The Oscars, February 2011
Divisive at the time but now universally acknowledged as one of Cate’s most audacious red carpet moments. Everything about it is unusual. The pale lavender color spiked with yellow, the intricate embroidery, the pleats and the architectural breast piece. So avant garde, so Cate!
Where / When: SK-II event in Shanghai, September 2010
Designer: Christian Lacroix
This is more obscure yet remains one of my faves ever. A glowing burgundy gown embellished with shimmering gold sequins. We have previously waxed poetic about it on the pod.
Where / When: The Oscars, February 2007
She wore this column Armani couture silver sheath the year she was nominated for Notes on Scandal. That was also the year she witnessed a moment we love from the telecast. You can see her front row clapping and whooping when The Aviator director, Martin Scorsese won his first Oscar after many nominations and decades of a wonderful career.
Where / When: Cannes Opening Night and premiere of Robin Hood, May 2011
Designer: Alexander McQueen
What a way to pay tribute to the recently deceased McQueen at the time. Cate wore this gorgeous black and white gown with the striking eagle print just 3 months after McQueen had passed.
Where / When: The Good German, LA premiere, December 2006
This cream and gold peekaboo dress is singular but rarely mentioned in any fashion retrospectives about Cate. Bring it back, let the people enjoy.
Where / When : The Oscars, February 2005
Designer : Valentino
Go big and re-wear something from one of your biggest career moments. That would be the bespoke Valentino that was specially designed for her to collect her first Academy Award. Cate and Valentino wanted to create a unique fashion moment, so he dressed no one else that year at the Oscars. This Yellow taffeta with the mauve sash was certainly a big wow and my favorite Oscar fashion from Cate.
I haven’t chosen anything from last year’s Venice or from her stint as jury president in Cannes 2018 because I wanted to go further back in time. However let us know in the comments what you want to see repeated from those festivals?
This week we discuss one of the most popular films Cate Blanchett has ever been in, yet oddly unrecognized as one of her signature parts. It’s The Curious Case of Benjamin Button (2008), directed by David Fincher and co-starring Brad Pitt.
Cate in love stories.. Why does no man seem worthy of her on screen?
Outside of LOTR is one of Cate’s biggest hits; a result of wide distribution and availability. Does it reflect her screen persona ie if this was someone’s intro to her or what they know her from?
The technology … the makeup.
It spins tall tales, not just Benjamin’s but also Mr Gateau. Does the filmmaking fit the style of tall tales?
Where does it stand in Fincher’s filmography. Why are his fans and the critical establishment unkind to it?
It’s Cate Blanchett pod but let’s talk Taraji too! A very warm performance as evidenced by the laugh after she says “some joy too.” But is this character a modern version of the Mammy archetype?
Stacked cast: Mahershala Ali, Tilda Swinton, young Elle Fanning, Julia Ormond, Jared Harris.
Which part of the story sags a bit? Perhaps the Tilda part? Not just her story but also the tugboat.
Awards wise the film was beloved yet oddly not Cate’s performance, why? Because she’s “the girl?” Because she was absent for long stretches of screen time? The old age makeup despite the expert “old” voice? Was the category just crowded?
“We are meeting in the middle.”
‘He gives me the willies, that is not for me” said by one of the sex workers.
Costumes we loved:
The red dress on the first date with Benjamin; memorable.
Her ensemble in the post show party when she ditches Benjamin for a fellow dancer.
Scenes we liked:
The short film about Daisy’s accident.
Older Daisy when Benjamin returns as a teenager.
What seemed off :
Is the storytelling too stately and classic for this odd little story? Does the tall tale crumble under the long Dr Zhivago- like epic treatment?
Film within context of Cate’s career:
Got her hollywood star of fame during the press for this film ie. bought for her by Paramount who released..introduced at the ceremony by Fincher and Kathleen Kennedy.
Came at the end of a very busy few years from 2004 to 2008 where Cate was very active in movies. It was the last film she made before taking a sabbatical for 6 years to run the Sydney Theater Company. In those years she didn’t completely abandon movies (Hanna, Robin Hood) but she wasn’t as active.
Film within the context of year it’s been released:
Awards: Nominated for 13 Oscars though not for Cate.
It was a commercial hit yet has strangely disappeared from cultural discourse except for being the one side eyed within Fincher’s filmography.
What reviews said of film / Cate:
“The movie, directed by David Fincher, will probably be a hit anyway, because the gimmick (adapted by Eric Roth from an F. Scott Fitzgerald story) is fun to play around with in your head, and because it’s liberating to watch makeup gradually come off an actor instead of getting thicker (and phonier). Fitzgerald spent the later years of his life haunted by the profligacy of his early ones; to reverse time and recover his youthful body and stamina but retain his aged wisdom must have been a blessed pipe dream. Fincher is no humanist (his most vivid film is the clammy, clinical Se7en), and he refrains from milking the material for sentiment—which means the movie isn’t mawkish, but it isn’t especially vivid either. The light is yellowish and diffuse, the backdrops—the clock, a factory wall, the side of a ship—oversize. It’s a gentle expressionism, redolent of death without rattling bones
Fitzgerald’s alter-ego finds his Zelda—called, aptly enough, Daisy—when she visits the convalescent home where his horrified father abandoned him. She grows up to be Cate Blanchett, whose face is uncannily ivory-smooth. When Daisy and Benjamin meet in the middle, both at the peak of their physical perfection, they’re like two Greek statues basking in each other’s radiance, albeit with dialogue that knocks them down a few pegs: “I was thinkin’ that nothing lasts, and what a shame that is.” As they move toward death, one in the direction of infancy and dirty diapers and the other toward old age and osteoporosis, The Curious Case of Benjamin Button attains a level of quiet grace. It’s too bad that I can barely remember the movie after only a week. Nothing lasts, indeed.’ – David Edelstein, NYMag.
“Their time as lovers is the film’s most ecstatic passage, to which Blanchett (who played Pitt’s wife, under more trying circumstances, in Babel) lends all her intelligent warmth – Richard Corliss, Time.
“But the movie’s emotional center of gravity — the character who struggles and changes and feels — is Daisy, played by Ms. Blanchett from impetuous ingénue to near ghost with an almost otherworldly mixture of hauteur and heat.”- AO Scott NYTimes.
“A curious case indeed: an extravagantly ambitious movie that’s easy to admire but a challenge to love.” – Lisa Schwarzbaum EW.
Cate in relation to these co-stars, director, costume designer:
Her only collaboration with Fincher who said about her, “I always say everyone was lucky enough to be in a Cate Blanchett movie.”
I want her and Pitt to work again together. Also made Babel together.