![]() Everything is possible, from unobstructed wide-angle views to mesmerizing close-ups to a voyeuristic tour through backstage. Because there are no spectators-save for Von Teese herself with opera glasses, seen watching her friends’ acts from a house seat, in between her own stylized stripteases in a birdcage and champagne coupe-the camera has free rein. This is hardly a static, dropped-camera recording of a theater show. “What does it feel like if you get to walk around the stage? What does it feel like to be so close you can see all the details?” Von Teese says by phone from Paris, explaining how she and director Quinn Wilson, together with production by Driift, approached the unconventional filming for this multi-performer event. Then, as if to signal the curtain: Pop! goes the balloon. Is this God? Is this man? Should I someday make an appointment with this man? All the while, as she tosses a wingspan-size, pearly white balloon in the air, Von Teese remains coolly in control: aware of, but not catering to, the audience on the other side of the screen. (With a birthday this week, she is now an ageless 49.) Her physique invites wonder. Von Teese moves like satin through air, giving the impression of a time warp to another era-while also raising the question about her own mortal coil. Off comes a capelet, followed by a jeweled bra, revealing a daintier number underneath. As a mist rises slowly over an enormous bronze clamshell, the striptease artist holds court in a two-piece armature of Swarovski crystals, languidly swaying to a tune called “Sleepy Lagoon.” The camera swoops low near the bivalve’s bottom edge, taking in a balletic leg extension bathed in amber light. That is how Dita Von Teese first takes the stage in Night of the Teese, her immersive filmed showcase that streams for three days beginning October 1. It’s a scene out of Botticelli’s Birth of Venus-if the goddess in the shell were supplanted by a 1940s screen star as interpreted by a present-day burlesque queen.
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