I’ve always been a cinema addicted since I was a teenager: I love going to the cinema (especially alone [1]) and I adore watching some of my favourite movies again and again. This is the case of Alice by Woody Allen, a film released on December 25th, 1990, quite an unusual Christmas film, but fascinating nonetheless. Alice is part of the top three of my favourite Allen movies, along with Another Woman and Crimes and Misdemeanours. I’ve always been intrigued by the sharp world of contrasts it introduces and by the many similarities it has with Alice in Wonderland by Lewis Carroll (the name of the protagonist – and the title – is not coincidental).
Alice Tate (Mia Farrow) is the epitome of the Upper East Side princess: she’s married to a very wealthy and handsome man (who betrays her); she’s got two adorable children; she spends her days shopping at luxury stores and getting expensive haircuts and beauty treatments. Despite this apparently perfect life, she’s unhappy: she feels passion and dedication are missing in her life, and she’s tortured by an annoying backache she doesn’t know how to heal. Two encounters – one with Joe (Joe Mantegna), a saxophonist she meets at her children’s posh school; the other with Dr. Yang (Keye Luke), a Chinese doctor who gives her “magic” herbs - completely change her life. She’s stronger than what she looks like and is eventually able to turn her life around thanks to no one but herself.
In most of the movie she spends her rich life (the metamorphosis happens in the very end of the movie, reported by her former friends as a piece of gossip) and wears expensive clothes: she sports outfits in primary colours – white, black and red – symbolizing a world of inner contrasts (she would like to betray her husband with Joe, but her Christian upbringing makes her feel guilty), with a fiery touch of that passion she is longing for. She usually wears cardigans or sweaters with below-the-knee pencil skirts or plaid skirts, but the recurring details of her style are a long mink coat, velvet headbands and Chanel bags. I’ve always been obsessed by her Chanel obsession: these bags are the ultimate detail of her look. They speak of refinement, luxury, a prim-and-proper attitude to fashion which her sister Dorothy (Blythe Danner) considers shallow.
Here she is in one of the opening scenes, while doing shopping at the Krizia boutique in Fifth Avenue. One of her first appearances on screen presents her social persona, contrasting – in style, at least - with her private one. She’s wearing her trademark long mink coat, low-heeled shoes, her trusty black velvet headband (totally reminiscent of the ones that Hillary Clinton sported in the early 90s) and a quilted bag on a chain, a Chanel bag. She sports two different styles in the movie, but there are more Chanel sightings to take note of.
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