عربي English Türkçe اردو فارسى
Logo
Latest News
Entertainment

For Auction: Marilyn’s Clothes, Thor’s Hammer, Cap’s Shield

This combination photo shows Marilyn Monroe on the set of "Something's Got To Give," in Los Angeles in April 1962, left, and a custom-made pale pink silk blouse worn by Monroe in "Let’s Make Love." The items is one of many pieces of Hollywood memorabilia up for action July 15 through July 17 at Julien’s Auctions. (AP Photo, left, Julien's Auctions via AP)
This combination photo shows Marilyn Monroe on the set of "Something's Got To Give," in Los Angeles in April 1962, left, and a custom-made pale pink silk blouse worn by Monroe in "Let’s Make Love." The items is one of many pieces of Hollywood memorabilia up for action July 15 through July 17 at Julien’s Auctions. (AP Photo, left, Julien's Auctions via AP)
TT
TT

For Auction: Marilyn’s Clothes, Thor’s Hammer, Cap’s Shield

This combination photo shows Marilyn Monroe on the set of "Something's Got To Give," in Los Angeles in April 1962, left, and a custom-made pale pink silk blouse worn by Monroe in "Let’s Make Love." The items is one of many pieces of Hollywood memorabilia up for action July 15 through July 17 at Julien’s Auctions. (AP Photo, left, Julien's Auctions via AP)
This combination photo shows Marilyn Monroe on the set of "Something's Got To Give," in Los Angeles in April 1962, left, and a custom-made pale pink silk blouse worn by Monroe in "Let’s Make Love." The items is one of many pieces of Hollywood memorabilia up for action July 15 through July 17 at Julien’s Auctions. (AP Photo, left, Julien's Auctions via AP)

It may not be that Marilyn Monroe dress, but several gowns she donned for “Gentlemen Prefer Blondes” and “There’s No Business Like Show Business” are going up for auction this summer along with 1,400 other pieces of Hollywood history.

Over three days in July, Turner Classic Movies and Julien’s Auctions are teaming up to auction off items like Captain America’s shield from “Captain America: The First Avenger,” a two-piece Givenchy ensemble worn by Audrey Hepburn as Holly Golightly in “Breakfast at Tiffany’s” and Jules Winnfield’s “bad mother (expletive)″ wallet from “Pulp Fiction,” the organizations said Tuesday.

One of the six original Stormtrooper helmets from “Star Wars: A New Hope” is among the items being auctioned off. The helmet was used during the Tunisia shoot and later restored by Star Wars expert Gino Sabatino. A variety of props used in the Harry Potter films, like Draco Malfoy’s “Nimbus 2001” broomstick and Voldemort’s Elder Wand, are also up for bidding, as is the hammer used by Chris Hemsworth in “Thor: The Dark World.”

There will be special collections from the estates of James Garner, Robert Stack and Doris Day, as well as legendary editor Anne V. Coates’ marked scripts, including a never-before-seen glimpse into her Oscar-winning decision-making on David Lean’s “Lawrence of Arabia.” Other Coates items include her lined scripts for “The Elephant Man” and “Out of Sight.”

“Our fans crave a tangible connection to their passion and now they can satisfy that desire with these iconic costumes and unique memorabilia from the movies we air on TCM,” said TCM’s general manager Pola Changnon.

One of the biggest ticket items is a yacht once owned by JP Getty that was used in the exterior scenes of the film “Pal Joey,” starring Frank Sinatra, Rita Hayworth and Kim Novak. There are also costume jewelry options worn by Monroe, Hayworth, Judy Garland, Olivia de Havilland and Barbara Stanwyck from Joseff of Hollywood.

“Today marks an exciting milestone for Julien’s Auctions as our new collaboration with TCM will bring our world class collection of important Hollywood artifacts and our premium auctions to new heights and build on our reputation as the leading auction house to the stars,” said Martin Nolan, Executive Director of Julien’s Auctions.

The auction will run July 15 through July 17 at Julien’s Actions in Beverly Hills.

Most Viewed

 
 
Entertainment

Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
TT
TT

Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.