Al Pacino as Michael Corleone in The Godfather (1972).

Vitals

Al Pacino as Michael Corleone, USMC Captain, WWII hero, and Mafia son

Long Island, NY, September 1945

Film: The Godfather
Release Date: March 15, 1972
Director: Francis Ford Coppola
Costume Designer: Anna Hill Johnstone

Background

On the 70th anniversary of VJ Day, BAMF Style is looking at one of cinema’s most notorious fictional war heroes from the Pacific Theater of World War II: Michael Corleone.

(Just so we’re clear, BAMF Style believes that the true heroes of World War II are those that did not go on to become mob bosses.)

What’d He Wear?

Michael’s USMC Uniform

Michael arrives at his sister’s wedding wearing his traditional Marine “greens”, the winter service uniform worn from September through April. Although appearing brown on screen, the uniform – now known as the Service A (or “Alpha”) – is forest green wool in a color specific to the Marine Corps, dating back to its introduction in 1912. At the time, the winter service uniform was standard in garrison and on leave and liberty. Since the iconic dress blues were temporarily ceased for most of WWII, a Marine not wearing his utility uniform would almost always be seen in his winter service greens.

As an officer, Michael would have the option to wear either the heavyweight kersey wool uniforms issued to all enlisted men, or he could purchase one in gabardine or wool serge. His uniform at Connie’s wedding appears to be the latter.

Kay and Michael share some vino.

The uniform jacket is single-breasted with a close, tailored fit. It closes with three black metal buttons, each embossed with the Eagle, Globe, and Anchor (EGA) logo, on the chest. Just below the three buttons is an attached belt cut from the same green cloth as the jacket with a brass buckle, which was added as an alternative to the Sam Browne belt in 1943. The cloth belt differs the coat from the enlisted coat, which was worn with a “fair leather” cordovan garrison belt. The single vent extends up to the belt in the back.

Michael probably didn’t get many opportunities to eat Italian cuisine or dance while fighting in the Pacific.

Michael’s jacket also has the four-pocket layout that has remained consistent on USMC service coats for more than 100 years. The two chest pockets are box-pleated with pointed flaps. The larger hip pockets are bellows-style patches, also with pointed flaps. Each pocket closes on a smaller black metal EGA button. His medals are worn above the left chest pocket, but we’ll get to those later.

Michael also wears two black EGA screw-back collar devices on his coat’s notch lapels. The epaulettes (or “shoulder straps”) button close to the neck with the same small black EGA buttons found on the pocket flaps. Michael wears the double silver bar insignia, indicating his Captain rank, on the epaulettes.

Check out the pointed sleeve detail!

The sleeves of the service uniform coat are plain without buttons although each cuff features a pointed appliqué of the same fabric as the rest of the coat.

Diane Keaton remains stoic as Al Pacino goofs around on set.

A proud Marine, Michael never removes his coat or otherwise alters his appearance during the wedding party. All that are seen of his trousers are the plain-hemmed bottoms, although it’s safe to assume that they have the same belt loops and straight side pockets that are standard on all service uniform pants.

Michael wears the standard khaki uniform shirt worn through all seasons. It has a convertible collar, front placket, and two patch pockets on the chest that close through pointed button flaps. The long sleeves have gathers at the rounded single-button cuffs. Summer shirts were 100% cotton, but khaki shirts worn with the winter service uniform were typically wool or wool blend. Michael’s khaki tie, or “field scarf” in USMC parlance, is made from the same material as his shirt. Collar pins were standard issue before WWII as “battle pins”, but these were discontinued on Valentine’s Day 1942 for the duration of the war. Thus, Michael wears no collar pin behind his tie knot.

The last time Michael wears a hat before he’s entrenched in the Mafia is when he arrives at the wedding wearing his green peaked combination cap, known to Marines as a “barracks cover”. The cap is all forest green to match the rest of the uniform, save for the black visor and black EGA device above the peak. USMC barracks covers also feature a quatrefoil – a lace cross – on the crown, a tradition from the early days of the Marine Corps when fellow officers needed additional distinction for safety from their own sharpshooters. The other approved headwear for the service uniform is the soft green “piss cutter” garrison cap.

The hat doesn’t get much time on screen, but it showed up in plenty of promotional photography.

Michael’s footwear consists of brown leather low quarter service shoes with black calf-length wool socks.

Michael’s shoes are best seen as he jumps out of the family photo to bring Kay into it. Ballsy move for a girlfriend that the family has never met.

Michael wears a sterling silver ID bracelet on his right wrist and a plain, military-issued watch on his left. The watch is likely a steel Hamilton or the like with a black dial and brown strap.

Michael’s Medals

Now, we’ll take a look at Michael’s hard-fought medals, indicative of his reputation as a war hero as he so humbly brags to the congressional committee in The Godfather, Part II. In fact, let’s start there. Michael tells the committee that he “was awarded the Navy Cross for action in defense of my country.” While the Navy Cross is indeed issued for extraordinary heroism to servicemembers in both the Navy and the Marine Corps, Michael’s uniform in The Godfather only displays the Silver Star.

Michael is a well-decorated hero.

The Silver Star is awarded for “gallantry in action against an enemy of the United States”, and the ribbon consists of an Old Glory red center stripe with white, ultramarine blue, and white stripes extending outward on each side. It was first awarded in 1932 and is available to any uniformed servicemember, including a Marine like Michael.

Next on the row is the Navy and Marine Corps Medal ribbon, consisting of equal stripes in navy blue, old gold, and apple red. The medal was established in August 1942 for “distinguishing oneself by heroism not involving actual conflict with an enemy of the United States” and is offered to both USN and USMC servicemembers that risked their lives to save others. JFK had famously received the medal for his duties as the doomed PT-109’s commanding officer.

Filling out the top row of Michael’s awards is the Purple Heart, famous from countless war films as a decoration for “being wounded or killed in any action against an enemy of the United States or as a result of an act of any such enemy or opposing armed forces”. Needless to say, Michael’s Purple Heart is from a wound; had he been killed, The Godfather would have been a much more boring film. The Purple Heart is the oldest military award still given to U.S. military members, originally designated as the Badge of Military Merit by George Washington in 1782, and first awarded in February 1932. Interestingly, the first Purple Heart recipient was Douglas MacArthur, whom had reopened work on commissioning the design the previous year in his role as U.S. Army Chief of Staff. The ribbon is purple with a thin white stripe on each end.

Graphic representations of Michael’s ribbons.

The first service ribbon on the bottom row is the Asiatic-Pacific Campaign Medal, awarded to all U.S. military servicemembers who served between December 7, 1941 and March 2, 1946 in the Asiatic-Pacific theater area. The ribbon is gold with a white-red-white triple stripe pattern on each side and a thinner blue-white-red triple stripe in the center. Michael’s particular ribbon has two campaign stars, indicating his performance in two of the 48 recognized Naval and Marine campaigns in the Asiatic-Pacific theater during World War II.

Michael’s next ribbon is the European-African-Middle Eastern Campaign Medal (EAME), showing that not only did he see Pacific action, he was also well active in Europe, North Africa, and the Middle East. Other than the geographic component, the medal’s parameters include the same dates for all U.S. servicemembers as the Asiatic-Pacific medal. Michael also has two campaign stars on his ribbon, which includes brown (African sands), green/white/scarlet red (Italy), green (European fields), and the same triparted blue, white, and red central ribbon from the Asiatic-Pacific Campaign Medal (which had been originally used on the American Defense Service Medal). On the other side is the same green and brown but with a white/black/white tristripe to represent Germany.

The third ribbon on the bottom row is the World War II Victory Medal, established by Congress on July 6, 1945 and awarded to all active service members who served in the U.S. military between December 7, 1941 and December 31, 1946 as Truman didn’t officially declare an end to hostilities until this date. The ribbon has an Old Glory red ground with double rainbows of blue, green, yellow, red, yellow, green, and blue on each side, representing the pattern used in the World War I Victory Medal.

To the best of my knowledge, Michael’s awards and service ribbons are consistent for a Marine officer who joined and fought in several World War II campaigns. Although Marines did primarily fight in the Pacific theater during the war, there were a few thousand that served in European campaigns, although it is perhaps a stretch that Michael would have two campaign stars for his efforts there. However, Mario Puzo’s book does state that Michael had his photo printed in Life magazine, so he must have been an exemplary officer. The first chapter states:

But when World War II broke out, Michael Corleone volunteered for the Marine Corps. He defied his father’s express command when he did so.

Don Corleone had no desire, no intention, of letting his youngest son be killed in the service of a power foreign to himself. Doctors had been bribed, secret arrangements had been made. A great deal of money had been spent to take the proper precautions. But Michael was twenty-one years of age and nothing could be done against his own willfulness. He enlisted and fought over the Pacific Ocean. He became a Captain and won medals. In 1944 his picture was printed in Life magazine with a photo layout of his deeds. A friend had shown Don Corleone the magazine (his family did not dare), and the Don had grunted disdainfully and said, “He performs those miracles for strangers.”

When Michael Corleone was discharged early in 1945 to recover from a disabling wound, he had no idea that his father had arranged his release. He stayed home for a few weeks, then, without consulting anyone, entered Dartmouth College in Hanover, New Hampshire, and so he left his father’s house.

This isn’t exactly consistent with the film, where Michael’s arrival at Connie’s wedding is evidently the first time that anyone has seen him since he left college in December 1941 to head off to the war.

Go Big or Go Home

Michael, you never told me you knew Johnny Fontane!

Michael’s bright-eyed girlfriend Kay Adams is thrilled to see the romantic crooner, played by Al Martino, show up at Connie’s wedding to sing “I Have But One Heart” as a personal favor to the Don. Michael hints at the history between the two men with the vague line, “My father helped him with his career.”

After some prodding by Kay, Michael tells the story:

Michael: When Johnny was first starting out, he was signed to a personal services contract with this big bandleader. And as his career got better and better, he wanted to get out of it. But the band leader wouldn’t let him. Now, Johnny is my father’s godson. So my father went to see this bandleader and offered him $10,000 to let Johnny go, but the bandleader said no. So the next day, my father went back, only this time with Luca Brasi. Within an hour, he had a signed release for a certified check of $1,000.
Kay: How did he do that?
Michael: My father made him an offer he couldn’t refuse.
Kay: What was that?
Michael: Luca Brasi held a gun to his head, and my father assured him that either his brains or his signature would be on the contract.
Kay: …
Michael: That’s a true story.

Although the names have been changed to protect the guilty, Michael is correct; the story is indeed, true. (Or at least believed to be.)

Fontane and Sinatra

Mario Puzo famously borrowed from American criminal history when writing The Godfather, and it’s well-known that Johnny Fontane is the story’s de facto Frank Sinatra. Like Sinatra, Fontane is an Italian-American vocalist who attained heartthrob status in the ’40s with mobs of girls screaming everywhere he goes. Also like Sinatra, Fontane was a notorious womanizer whose career was revived after he landed a film role that brought him back into the spotlight for the rest of his life.

The “brains or signature” story is also a part of Sinatra lore, just swap out the names Johnny Fontane, Luca Brasi, and “this big bandleader” for Frank Sinatra, Willie Moretti, and Tommy Dorsey, respectively. Sinatra had spent the better part of 1939 rising from a Hoboken hotshot to a popular singer with Harry James’ orchestra. James was an affable trumpeter who was more than happy to allow the talented Sinatra’s star to rise. When the far more prestigious Tommy Dorsey came calling for Sinatra in November, James graciously let Sinatra out of his one-year contract to join Dorsey and continue his rise to stardom.

Unfortunately for the swaggering young Sinatra, Dorsey had a well-earned reputation as a strict and mercurial bandleader. Under the terms of the Dorsey-penned contract, a third of all of Sinatra’s lifetime earnings would go straight to Dorsey with an additional 20% divided among Dorsey’s manager and Sinatra’s agent, leaving 47% of his earnings – before taxes and union fees, of course – to Sinatra. Frank continued to grow more and more popular, spending thousands of what little he made trying to legally break his contract. As Sinatra wasn’t Sinatra yet, unions and industry insiders tended to side with the more powerful Dorsey rather than the green Sinatra.

Luca Brasi and Willie Moretti.

In desperation, Sinatra went to Jules Stein, the founder of MCA and a personal friend of both Al Capone and Bette Davis. It was the former connection that proved most useful to Sinatra as Stein called in the colorful Jersey mobster Willie Moretti, who went to Dorsey with an offer of $60,000 cash. The proud Dorsey turned him down, despite later saying he recognized the smart deal due to the fickle nature of popular music.

Dorsey may have had a reputation for being volatile, but he had nothing on Willie Moretti. One night after a show in the summer of 1942, Moretti stormed into Dorsey’s dressing room and shoved a pistol into Dorsey’s mouth, demanding that he sell Sinatra’s contract to him with the words “Sign it or else!” One dollar later – $59,999 shy of Moretti’s original offer – Sinatra was free of his obligations to Dorsey and formally left the band on September 3, 1942, replaced by Dick Haymes. Officially, MCA did pay $60,000 to Dorsey for the release of Sinatra’s contract. After Dorsey paid the taxes on the sixty grand, it went straight from his bank account to Moretti.

While parts of the story have been questioned, there’s no doubting that it jives with the personalities of each man involved. But as Michael sums up:

That’s my family, Kay. That’s not me.

How to Get the Look

Everyone is pleased to see Michael as he enters the wedding wearing the sharp service uniform of a U.S. Marine.

• Forest green wool serge U.S. Marine Corps service uniform, consisting of:
  • Single-breasted belted jacket with notch lapels, three EGA black metal button front, two button-flapped box-pleated chest pockets, two button-flapped bellows-style patch hip pockets, button-down epaulettes/shoulder straps, and single rear vent
  • Flat front trousers with belt loops, straight side pockets, and plain-hemmed bottoms
• Khaki wool long-sleeve shirt with convertible collar, front placket, two button-flapped patch chest pockets, and rounded single-button cuffs
• Khaki wool necktie
• Brown leather low-quarter service shoes
• Black wool calf socks
• Forest green peaked combination cap (“barracks cover”) with black EGA device
• Sterling silver ID bracelet
• Steel military-issue wristwatch with black dial and brown strap

Michael proudly wears a captain’s insignia with two rows of awards and service ribbons – as well as black EGA collar devices – on his uniform coat. U.S. Marine Corps uniforms are traditionally simple without the divisions and additional patches that are found on the uniforms of other military branches.

Do Yourself a Favor and…

Buy the series, but be forewarned that only the first two films are masterpieces while the third… is not.

Footnotes

Plenty of information about WWII-era USMC uniforms came from WW2 Gyrene.

Kevin Spacey as President Frank Underwood in “Chapter 34” of House of Cards (2015).

Vitals

Kevin Spacey as Frank Underwood, ruthless and calculating U.S. President

Washington, DC, September 2015

Series: House of Cards
Episode: “Chapter 34” (Episode 3.08)
Streaming Date: February 27, 2015
Director: John Dahl
Costume Designer: Johanna Argan

WARNING! Spoilers ahead!

Background

According to the Netflix version of House of Cards, today – September 7, 2015 – would have found the American eastern seaboard in trouble as Hurricane Faith rumbled on its way. Luckily for dwellers in both the show’s universe and the real universe, the Category 4 hurricane ended up offering no real threat… leaving President Underwood in the frustration position of having provided emergency funding when it wasn’t needed. While this wouldn’t necessarily mean trouble for a politician, it meant the end of Frank’s “AmericaWorks” pet project and thus the beginning of his 2016 presidential run.

Although Kate Baldwin’s dual narrative is a bit heavy-handed in comparing the devastation of Hurricane Faith with “Hurricane Frank”, Chapter 34 serves as a necessary catalyst to give Frank Underwood a valid reason to run for President in 2016 – as we all knew he would. Plus, it brings back Freddy Hayes, and Reg E. Cathey’s low-key scene dominance is always welcome on screen.

What’d He Wear?

Always impeccably dressed – perhaps to make up for his behavior – Frank spends much of “Chapter 34” wearing a dark blue linen suit that nicely transfers his favorite color into a suiting appropriate for the warm D.C. climate.

The white linen suit worn by Underwood in the previous episode, “Chapter 33”, has been identified as a custom tailored example of a Polo by Ralph Lauren suit, so it’s possible that this too is Polo by Ralph Lauren.

President Underwood keeps his linen suit looking professional.

Frank’s suit jacket is single-breasted with slim notch lapels that roll down to a two-button front at mid-torso. The suit jacket pulls a little when buttoned, perhaps a reference to Frank’s inferred weight gain since becoming President and, thus, relatively complacent as leader of the free world.

The jacket’s shoulders are slightly padded to give Frank the stronger profile he needs to intimidate others. The welted breast pocket is left empty, and the flapped hip pockets sit straight around his waist on the same axis as the lower button. The long double rear vents make it easier for Frank to push his jacket aside when placing his hands in his trouser pockets.

Even with an old friend, Frank doesn’t let his guard down.

Little is seen of the trousers themselves, but they have a flat front and plain-hemmed bottoms. Frank wears them with a black leather belt with a small, polished steel single-claw buckle.

Frank goes for a monochromatic ensemble by also wearing a blue shirt and tie, with the lightness of the shirt providing a healthy contrast against the darker suit. His pale blue poplin shirt has a large collar with a moderate spread. The white buttons fasten down a plain, placket-less front, and the French cuffs are secured with a set of silver links with an iridescent surface.

Even in repose, Underwood keeps his tie perfectly knotted at the neck.

President Underwood’s woven silk tie has a cornflower blue ground with a faint white grid that connects a pattern of plain white dots and darker navy blue floral accents.

Frank Underwood, looking fresh for a day of political glad-handing… then a little worse for wear after the day is done.

Frank wears the familiar pair of black leather plain-toe oxfords, laced through five eyelets, that he tends to wear with his suits. His socks are dark, likely black but possibly blue.

After a tough day at the office…

The monochromatic scheme even extends to his wristwatch. Noted IWC ambassador Spacey wears a stainless IWC automatic with a blue dial and black leather strap, which I believe is an IWC Portofino Automatic. Although Underwood notably wore IWC watches throughout the first two seasons, this dialed watch didn’t make its first appearance until the third season premiere.

Frank Underwood for IWC.

Many have identified it as the IWC Portuguese Yacht Club Chronograph Automatic IW390213, but that watch has Arabic numerals and two sub-dials while the watch on the show has Roman numerals and appears to have no sub-dials. Still, if you’re a fan of the Yacht Club watch and you’ve got $12,240 that you’d like to invest in one, Jomashop.com has them for sale. If the price has you worried, fret no more – shipping is free!

Frank wears a ring on the 3rd finger of each hand: his class ring on his right hand and his plain gold wedding band on his left hand. His class ring from “The Sentinel” is based on the heavy 10-karat gold ring worn by graduates of The Citadel, a military college in South Carolina. It appears to share a similar design and lack of gemstone with The Citadel ring, and in the episode where he buries it – “Chapter 18” – we see the year 1981 inscribed on it.

Frank negotiates jobs with Freddy.

Since Frank had buried the ring, his wife Claire gives him a new one that she had made as a pre-birthday gift upon his taking the office of President in “Chapter 26”.

Frank also wears a pair of simple steel-framed reading glasses that he removes when Freddy and DeShawn enter the Oval Office.

Frank adopts a very presidential pose when greeting his old pal Freddy.

Underneath his dress shirt, Frank wears a white cotton crew neck short-sleeve t-shirt that serves as an undershirt.

When flying on Air Force One, Underwood dons a blue nylon zip-front flight jacket with the Presidential seal on the left breast.

Underwood is especially wary on Air Force One given the prevalence of Russians this season…

How to Get the Look

Although there’s no denying the stylish practicality of linen suits in warm weather, it’s often difficult to incorporate them into the professional world. Frank Underwood finds a way to put a professional and presidential stamp on a linen business suit.

• Dark blue linen tailored suit, consisting of:
  • Single-breasted jacket with slim notch lapels, 2-button front, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and double rear vents
  • Flat front trousers with belt loops, side pockets, and plain-hemmed bottoms
• Pale blue cotton poplin dress shirt with large collar, plain front, and double/French cuffs
• Cornflower blue woven silk necktie with navy and white floral dot motif
• Silver cuff links with iridescent surface
• Black leather 5-eyelet plain-toe oxfords
• Black dress socks
• Black leather belt with polished steel single-claw buckle
• IWC Portofino Automatic wristwatch with round stainless case, blue dial with Roman numerals, and black leather strap
• Gold “Sentinel” class ring
• Gold plain wedding band
• Steel-framed reading glasses
• White cotton crew neck short-sleeve undershirt

When aboard Air Force One for a casual meeting, Frank loses the coat and tie and dons a blue nylon Presidential flight jacket.

Do Yourself a Favor and…

Check the show out on Netflix, as it set the new standard for binge-watching. If you’re a traditionalist, you can also pick up the first, second, and third seasons on DVD.

The Quote

Imagination is its own form of courage.

Jason Statham as Terry Leather in The Bank Job (2008).

Vitals

Jason Statham as Terry Leather, struggling car salesman and petty thief

East London, September 1971

Film: The Bank Job
Release Date: February 29, 2008
Director: Roger Donaldson
Costume Designer: Odile Dicks-Mireaux

Background

The Bank Job is a fun and different approach to the well-worn territory of the heist film by taking a true event and deconstructing it to propel the story forward with an appropriate mix of lightheartedness and genuine suspense. While Jason Statham once again plays a charming wiseass who’s a bit too comfortable on the wrong side of the law, his typical ass-kicking bravado is replaced by a combination of wit and desperation that provides a realistic motive for a man in his circumstances.

The movie begins by introducing Statham as Terry Leather, a car salesman and repair shop owner trying to make ends meet between loans from various London gangsters. He’s no gangster himself, although he’s got some criminal pals, and it is they who will come in handy once the alluringly mysterious model Martine (Saffron Burrows) comes calling with a tip that may get him back on his feet.

What’d He Wear?

When we first meet Terry Leather, he’s doing a fine job living up to his name by actually wearing a cool leather jacket. The titles tell us that this is “East London, 1971”, but the sight of Jason Statham in a badass vintage brown leather jacket as he stands between a black ’62 Singer sedan and a sweet Austin-Healey roadster give us all the context we need.

Terry’s brown leather jacket is hip-length with large – but not excessive – lapels and three plastic buttons down the front. The coat has a full leather belt that either ties or buckles in the front, but Terry wears the jacket open and tucks the ends of the belt into each of the hip pockets.

Just another day at work for Terry Leather Motors.

Both the hip pockets and the chest pockets are inverted box-pleat patch pockets that close with a flap. Terry tucks the lower hip pocket flaps into the pockets (with the ends of the belt), but he wears the chest pocket flaps buttoned closed. Stitching runs around the waist, presumably under the belt, meeting in the front just below the center button. A single vent in the rear ends at the center waistline, and a vertical stitch continues up to the collar.

Terry does briefly wear a full turtleneck with the jacket later in the film. Just worth noting.

In addition to the rest of the jacket’s distinctive styling, each cuff has a rounded leather half-tab that closes on a large, single brown plastic button. This appears to be a stylistic touch rather than a functional adjustment for fitting over the wrists.

Terry gets a tip from Martine, who wears a pretty badass watch herself.

Plenty of replicas of this jacket are available all over the internet, usually priced around the same $195 as Ultimo Jackets offers for their replica. Concrete information about the jacket’s real origins are difficult to find, and it’s likely a custom tailored piece based on a vintage find by the production crew.

Terry continues to look cool by sporting a black sweater with a short mockneck collar. The jumper is long-sleeved with each cuff poking out under the coat. The fabric looks soft and comfortable, with a texture that suggests cashmere or at least a cashmere blend.

Terry’s flat front trousers are dark brown with a full, straight fit through the legs down to the plain-hemmed bottoms. Since he never removes his jacket in any of these scenes, it can’t be positively ascertained whether or not his pants have pockets or belt loops.

Terry struts his leather around East London.

Terry’s shoes are a pair of square-toed 3-eyelet bluchers in a brown calfskin leather that nicely match the lighter brown of his leather coat. His only visible accessory is the plain gold wedding band on the third finger of his left hand.

Although we don’t see it here, Terry also wears a TAG Heuer Monaco Chronograph wristwatch with a stainless rectangular case and a blue dial – with two white sub-dials at 3:00 and 9:00 – on a black leather strap. The appearance of the Monaco watch is technically correct as it was first introduced in 1969, but Terry clearly wears a more recent TAG Heuer version instead of the anachronistically-correct Heuer Monaco that was made famous by Steve McQueen at the time.

How to Get the Look

Some people have a fit when suggesting a black and brown mix, but Terry Leather pulls it off with aplomb by wearing varying shades of brown, grounded by a solid black jumper. Of course, with a sweet brown leather jacket like that, it’s hard to go wrong.

• Brown leather hip-length belted jacket with large lapels, inverted box-pleat chest and hip pockets with button-down flaps, and single-button half-tab cuffs
• Black cashmere mockneck long-sleeved sweater
• Dark brown flat front trousers with plain-hemmed bottoms
• Brown calfskin leather 3-eyelet square-toe bluchers
• Plain gold wedding band
• TAG Heuer Monaco Chronograph wristwatch with stainless rectangular case, blue dial, and black leather strap

Do Yourself a Favor and…

Buy the movie.

The Quote

Not every customer is a satisfied customer.

Robert De Niro as Neil McCauley in Heat (1995).

Vitals

Robert De Niro as Neil McCauley, professional armed robber

Los Angeles, Spring 1995

Film: Heat
Release Date: December 15, 1995
Director: Michael Mann
Costume Designer: Deborah Lynn Scott
De Niro’s Costumer: Marsha Bozeman

Background

My last post looked at a bank robber who relied on his wits and a team of burglars to carry out a job. Neil McCauley is far more ruthless and traditional kind of cinematic bank robber; one that you would expect a no-nonsense great like Robert De Niro to portray. After months of planning and double-crosses, McCauley’s team is ready to take down a major bank in downtown L.A.

Although Heat is often considered to be Mann’s masterpiece, it wasn’t his first go at the storyline. In fact, he’d been perfecting the story in his mind for more than 15 years. Mann was well-acquainted with former Chicago police officer Chuck Adamson, who told him the story of a professional robber he was investigating in 1963. The robber’s name was Neil McCauley. As Mann describes: “one day they simply bumped into one another. [Adamson] didn’t know what to do: arrest him, shoot him or have a cup of coffee.” A failed robbery by McCauley later led to a standoff where Adamson killed him. Sound familiar?

Mann had his first screenplay drafted in 1979. He directed his first feature, Thief, in 1981 and continued reworking the script throughout the decade. When NBC commissioned him to produce a new TV series, Mann took his magnum opus, shortened it from 180 to 90 pages to make an acceptable pilot, and filmed L.A. Takedown in 19 days. The 92-minute film aired on NBC on August 27, 1989. Although it didn’t lead to a series, Mann stuck with his dream to film the entire sprawling story he had developed and, after directing The Last of the Mohicans in 1992, he finally managed to gather the massive talent and $60 million budget he needed to make Heat a reality.

The film is a perfect crime drama, weaving in each character’s personal lives and motives until archetypes are abandoned in favor of three-dimensional characters. However, the part that sticks out in the minds of most fans is the Far East Bank robbery and its fatal aftermath. After entering the bank with his two most reliable comrades, Chris Shiherlis (Val Kilmer) and Michael Cheritto (Tom Sizemore), McCauley takes immediate command of the situation:

We want to hurt no one! We’re here for the bank’s money, not your money. Your money is insured by the federal government, you’re not gonna lose a dime! Think of your families, don’t risk your life. Don’t try and be a hero!

What’d He Wear?

It’s well-documented that Michael Mann likes to dress his professional criminals in gray suits and white shirts, giving them a look that can range from anonymous to deadly efficient as needed. Neil McCauley is no different, wearing four different gray suits throughout the film, always with a white shirt.

For the bank robbery, McCauley wears a charcoal gray wool suit with a subtle fine pinstripe. Apropos to the mid-1990s, the suit has a very large, baggy fit that – while definitely dated – also serves a practical purpose for a heavily-armed bank robber.

McCauley gets some bad news.

McCauley’s double-breasted jacket allows him to totally cover the tactical vest beneath it when closed. The front has a long 6×1 button layout, although we primarily see the suit coat worn totally open. The peak lapels have slanted gorges with a low stance at mid-chest. The welted breast pocket is even lower on the chest, implying that the jacket is at least one size too big for De Niro. Although unflattering on its own, Heat deserves credit for not glamorizing its star by placing him in a better-fitting suit when he wouldn’t practically be wearing one. Since he needs the larger jacket to fit over his tactical vest and long gun during the robbery, it makes sense that he wouldn’t waste time by changing out of it during the robbery’s hurried aftermath.

McCauley had also worn the voluminous pinstripe suit while planning the robbery.

The suit coat also has heavily padded shoulders that extend far beyond De Niro’s natural shoulders, another sign that the jacket is sized too large for De Niro. Other details include a single rear vent, flapped hip pockets that often have the flaps tucked in, and 4-button cuffs with the buttons stitched very close to the edge.

A CU shot of McCauley donning his head mask for the robbery clearly shows 3-button cuffs, a continuity error that suggests another suit jacket was used for that shot only as every other appearance seems to show the jacket with 4-button cuffs.

So this is what they mean when they say “bank takeover”…

The suit’s matching trousers also have a very generous fit, but it’s less noticeable than the jacket and likely just a result of ’90s styling rather than a practical choice since he isn’t hiding any guns in his pants… that we know of. The trousers have a low rise with single reverse pleats, and the bottoms are plain-hemmed.

In addition to the straight on-seam side pockets, McCauley’s suit pants also have jetted rear pockets that close through buttons. McCauley wears a black leather belt – with a gold squared single-claw buckle – through the trousers’ belt loops.

When in the bank, McCauley wears a lightweight mesh tactical vest with eight black velcro loops for his carbine magazines. The outer trim of the vest is also black, including the short zipper over his abdomen.

A frightening sign of a professional criminal robbing your bank is when he wears a vest with 240 additional rounds of rifle ammunition attached to it.

I’ve never seen a shooting vest that exactly resembles McCauley’s, but similar black mesh shooting vests are available from companies like Bob Allen and H2H.

McCauley’s tie, also worn only during the bank robbery, is black with a slanted gray shadow grid check. Ties like these are a dime a dozen: easy to match with a simple outfit like McCauley’s and very inconspicuous.

McCauley watches Dr. Bob do his thing, slyly envying the man’s clean shirt.

After taking the wounded Shiherlis to Dr. Bob (Jeremy Piven) for treatment, McCauley loses the vest and watches over his buddy in his shirt, tie, and trousers. The shirt is a McCauley standard for the film: white cotton with a long-pointed spread collar, front placket, breast pocket, and button cuffs.

McCauley realizes he can’t be inconspicuous in his bloodied shirt, so he quickly flips from concerned pal to ruthless commander in a second:

McCauley: Take off your shirt.
Dr. Bob: What?
McCauley: Take off your shirt.
Dr. Bob: My… my God, my daughter gave it to me for Father’s Day-
McCauley: I don’t give a shit who gave it to you, take it off!

From at point until the end of the film, McCauley wears Dr. Bob’s similarly-styled blue striped shirt, without a tie.

In a fresh shirt, McCauley is ready to get revenge before getting away.

McCauley’s shoes are a pair of black leather plain-toe oxfords with heavy black soles, worn with black dress socks. An efficient and monochromatic thief like McCauley isn’t going to draw attention to himself with the fashionable alternative of brown footwear with a gray suit.

Also eschewing fashion standards, McCauley wears a black digital wristwatch that allows him to run his team of crooks with precision, able to measure the exact time down to the second.

There are three kinds of people in the world: those that notice McCauley’s watch first, those that notice his gun first, and BAMFs who notice both of them.

While he may not care about fashion when it comes to the rest of his clothing, McCauley does spring for a pair of snazzy gunmetal-framed sunglasses with tortoise resin arms. I’ve read that he wore Giorgio Armani sunglasses in the film, although I can’t connect this specific pair to an actual model.

McCauley definitely wears a pair of gunmetal-framed Giorgio Armani 634 sunglasses in the earlier scene where he tracks down Charlene Shirherlis (Ashley Judd) to a motel, but this is clearly a different pair.

Other robbery-specific accessories worn by McCauley are the plain black skin-tight balaclava, worn to conceal all but his eyes, and the black nylon tactical gloves that close with velcro over the elasticized wrists.

Note the 3-button cuffs… is this a different suit jacket?

Ski masks like these, often associated with armed robbery, can be easily found. I can’t identify the exact gloves worn by McCauley but these FREETOO gloves look like a good enough approximation.

DON’T Go Big or Go Home

Apparently, many aspiring crooks around the world didn’t learn the lesson from Heat that crime doesn’t pay, with copycat robbery attempts on armored cars, banks, and stores showing up everywhere from Colombia to Norway after the film’s release. The most notable copycat attempt was the famous 1997 North Hollywood shootout when Larry Phillips, Jr. and Emil Mătăsăreanu marched into a North Hollywood branch of the Bank of America on February 28, 1997. Much like the Heat criminals, the two had previously robbed an armored car that resulted in the death of a guard. They had some experience with bank robbery in the past few years, but they supposedly delayed their robbery three days until they could get their hands on the exact money-carrying bags used by Val Kilmer in the film.

The LAPD – not led by Al Pacino, I should mention – cornered Phillips and Mătăsăreanu as they exited the bank, engaging them with their Smith & Wesson .38 Special revolvers, 9mm Beretta pistols, and 12-gauge shotguns. Phillips and Mătăsăreanu fired back with illegally-modified, fully-automatic rifles while trying to escape in their ’87 Chevy Celebrity getaway car. Eleven police officers and seven civilians were wounded in the shootout, although the only two fatalities were Phillips and Mătăsăreanu.

There is some irony in the fact that one of the few criticisms of Heat was that people called the post-bank robbery gunfight unrealistic. When two wannabe McCauleys tried to pull off the same job, they met with just as much police resistance and fared just as poorly. What did they expect??

How to Get the Look

Stripping away the aspects of his outfit that were needed for a bank robbery (including the excessive bagginess!), McCauley actually wears a fine example of a ’90s business suit.

• Charcoal pinstripe wool suit, consisting of:
  • Double-breasted 6×2-button jacket with low-gorge peak lapels, welted breast pocket, flapped hip pockets, 4-button cuffs, and single rear vent
  • Single reverse-pleated low rise trousers with belt loops, on-seam side pockets, button-through jetted rear pockets, and plain-hemmed bottoms
• White cotton dress shirt with long-pointed spread collar, front placket, breast pocket, and button cuffs
• Black and gray-shadow grid-patterned necktie
• Black leather belt with gold square single-claw buckle
• Black leather plain-toe oxfords
• Black dress socks
• Gunmetal-framed sunglasses with tortoise resin arms and brown lenses
• Black digital wristwatch

I’m hoping you won’t need a breakdown of the shooting vest, ski mask, and gloves.

The Gun

In addition to his trusty .45-caliber SIG-Sauer P220 pistol, Neil McCauley arms himself with a deadly efficient Colt Model 733 “Commando” fully-automatic carbine. This is also the long arm of choice for Chris Shiherlis, who had also carried one during the opening armored car robbery (when McCauley was armed with the similar but longer-barreled Colt Model 654, predecessor to the M4).

McCauley takes aim with his Colt Model 733.

The Colt Commando was developed from the CAR-15 family of M16-based rifles sold by Colt on the civilian market during the Vietnam War era. Since the AR-15 name originally stood for ArmaLite Rifle, the original manufacturer, the CAR-15 was Colt’s attempt to re-associate the rifle with its own brand as the “Colt Automatic Rifle-15”. Now, the CAR-15 is a more generic name for any carbine-length variants of the M16 or AR-15 developed before the M4 Carbine was introduced in 1994. While the M16 line of rifles have 20″ barrels and the M4 has a 14.5″ barrel, the Colt Commando and XM177 versions of the rifle have remained popular for their compact size with 11.5″ barrels.

In its early years, the Colt Model 733 “Commando” was literally pulled together from scraps and spare parts of both M16A1 rifles and M16A2 rifles. It fires the same 5.56×45 mm NATO round as its longer M16 and M4 variants, although the shorter barrel and lighter weight means reduced accuracy, muzzle velocity, and range.

Photo courtesy of IMFDB, uploaded to that site by MoviePropMaster2008.

The Colt Model 733 is a smart, professional choice for the urban bank robbery shown in the film due to the close-to-medium distance fighting. In addition to the compact size, the greater muzzle flash from the shorter barrel would also increase the intimidation factor when fired, and the rifle round means greater accuracy and power than a submachine gun would offer. Val Kilmer was supposedly so proficient with quickly reloading the Model 733 that American Special Forces instructors show this sequence to their trainees for educational purposes (according to IMFDB.)

For these few moments, L.A.’s city streets belong to the McCauley crew.

The actors’ proficiency with their weapons means much credit should be given to Andy McNab, the Special Forces soldier and Persian Gulf War veteran who served as a technical advisor on Heat and spent two months training the cast with firearms. McNab used a tape of L.A. Takedown to get a feel for the style of shootout that Mann desired, then extensively worked with the actors, even working with De Niro to teach him how he would carry an appropriately weighted bag full of money and a wounded Val Kilmer while still firing his automatic carbine one-handed with relative precision.

Neil McCauley knows how to watch out for a buddy!

Of course, McCauley always has his .45 handy. In this case, it’s a blued SIG-Sauer P220 pistol with an 8-round magazine of .45 ACP.

McCauley delivers some fatal news to an enemy.

Interestingly, McCauley always carries his pistol in the front of his waistband. This type of carry, known in non-PC circles as “Mexican carry”, isn’t recommended by firearms experts as it doesn’t firmly secure the weapon and it unsafely keeps it pointing in the direction of man’s most prized possession.

Do Yourself a Favor and…

Buy the movie. And please don’t rob a bank.

Although, you can and should listen to “Force Marker”, the Brian Eno track that underlines the McCauley gang’s efficient takeover of the Far East Bank.

The Quote

He knew the risks, he didn’t have to be there. It rains… you get wet.

James Gandolfini as Tony Soprano on The Sopranos.
(Episode 5.13, “All Due Respect”)

Vitals

James Gandolfini as Tony Soprano, Jersey mob boss and conflicted family man

New Jersey, Fall 2002-2007

Series: The Sopranos
Episodes: multiple episodes from “Mergers and Acquisitions” (4.08) through “The Blue Comet” (6.20)
Air Dates: November 3, 2002 (4.08) through June 3, 2007 (6.20)
Creator: David Chase
Costume Designer: Juliet Polcsa

Background

James Gandolfini was born on September 18, 1961. On what would’ve been the late, great actor’s 54th birthday, BAMF Style is finally examining a favorite look of his most notorious character: Tony Soprano.

The Sopranos did a fine job of keeping its characters’ wardrobes consistent and contextually fashionable throughout the seasons. Just as in real life, clothing is repeated on a cycle, with certain items showing up more in the colder seasons and others on warmer days.

When autumn rolled around on the later seasons of The Sopranos, Tony could often be seen wearing a garment very frequently associated with Italian mobsters – a black leather blazer. Tony is no stranger to leather jackets, wearing various styles and colors throughout the show’s run. But this particular jacket, styled and cut like a suit coat, adds an air of sinister formality and power. It was seen in the following episodes:

• “Mergers and Acquisitions” (Episode 4.08), dir. Dan Attias, aired November 3, 2002
• “The Strong, Silent Type” (Episode 4.10), dir. Alan Taylor, aired November 17, 2002
• “Long Term Parking” (Episode 5.12), dir. Tim Van Patten, aired May 23, 2004 – set in November 2004
• “All Due Respect” (Episode 5.13), dir. John Patterson, aired June 6, 2004 – set in December 2004
• “Moe n’ Joe” (Episode 6.10), dir. Steve Shill, aired May 14, 2006 – set in late fall 2006
• “Kaisha” (Episode 6.12), dir. Alan Taylor, aired June 6, 2006 – set between Thanksgiving and Christmas 2006
• “Walk Like a Man” (Episode 6.17), dir. Terence Winter, aired May 6, 2007 – set in fall 2007
• “The Blue Comet” (Episode 6.20), dir. Alan Taylor, aired June 3, 2007 – set in fall 2007

What’d He Wear?

The Leather Blazer

Tony’s black leather blazer is cut like a suit jacket and made from a soft leather, possibly an English lambskin that Gandolfini was known to prefer. At 6’1″ and roughly 275 pounds, Gandolfini would have likely worn a size 54 jacket that would serve as a blanket or cape for mere mortals. On Tony Soprano, it looks dangerous and menacingly sophisticated. The coat’s padded shoulders and roped sleeveheads enhance Gandolfini’s powerful silhouette and ensure that Tony Soprano looks intimidating whether he’s in a mobbed-up strip club or hospital waiting room.

Tony in various states of fidgeting.

The coat is single-breasted with a long and large notch lapels that roll over the top button of the two-button front. Both the front buttons and the four buttons on each cuff are black plastic. A slanted buttonhole is stitched into the left lapel, parallel to the lower gorge.

Tony’s leather blazer has the same welted breast pocket and straight hip pockets that one would find on a sport coat or suit coat. The flaps of the hip pockets are often tucked in to reveal the jetting, and the pockets sit straight across the same stitched horizontal axis as the lower front button.

Tony berates Paulie for his lack of taste: both in art and fashion.

Tony typically wears dark trousers in various shades of gray when sporting his black leather blazer. The most commonly seen pants are a pair of charcoal slacks that he wears during the jacket’s fourth and sixth season appearances. Most of Tony’s pants are styled with single reverse pleats, side pockets, and turn-ups on a full break. They all have belt loops, and he tends to wear a black leather belt when wearing his black leather blazer. Many of Tony’s pants were made by Zanella, according to the show’s costumers and several online auctions. Zanella is an especially appropriate choice for the character given its luxurious Italian roots.

Tony follows sartorial standards by wearing black leather shoes to match his jacket and belt. He usually wears a pair of split-toe bluchers, but his shoes in “Mergers and Acquisitions” (4.08) are black calf double monk strap loafers with steel buckles. He always wears black socks with his black shoes.

Tony’s bluchers as seen in “All Due Respect” (5.13) and monk shoes in “Mergers and Acquisitions” (4.08). Safe to assume that both pairs are Allen Edmonds.

Based on the sole logo and the show’s history with the brand, Tony’s monk shoes have been identified as Allen Edmonds’ “Mora” monk straps, currently available as the 2988 “Mora 2.0” on their site for $385. I haven’t been able to identify his bluchers, but if they are also Allen Edmonds, the current “Walton” model would be a fine approximation. Also $385.

Tony’s Shirts

Unlike some BAMFs on this blog who prefer a monochromatic palette, Tony isn’t afraid to let his colorful flag fly with his shirts. The rest of his outfit may consist of blacks and grays, but Tony’s shirts with this outfit vary by episode.

The first appearance of the black leather blazer finds Tony relaxing in the back room of the Crazy Horse in “Mergers and Acquisitions (4.08), enjoying a Scotch on the rocks and not enjoying a conversation with the eccentric Ralph Cifaretto (Joe Pantoliano). Tony wears a light purple silk long-sleeve dress shirt with dark buttons down a plain front and buttoned cuffs.

“Mergers and Acquisitions” (Episode 4.08)

Two episodes later in “The Strong, Silent Type” (4.10), Tony arrives at his uncle’s home and finds himself entranced by his uncle’s tough nurse Svetlana (Alla Kliouka Schaffer) as well as a box of Ritz crackers. He consults briefly with Uncle Junior (Dominic Chianese) after taking off the black leather blazer to reveal a dark gray silk short-sleeve polo shirt with a 3-button placket.

“The Strong, Silent Type” (Episode 4.10)

In “Long Term Parking” (5.12), Tony visits Valentina at the hospital in an all-black ensemble, including the black leather blazer, black pants, and a black silk microfiber camp shirt.

At home in “Long Term Parking” (Episode 5.12).

This casual shirt is short-sleeved with cream-colored broken stitching on the edges of the shirt – including the collar and the pockets – with cream rear side pleats that extend down from the yoke to the hem but slightly pulled in for collection at the waist. The patch pockets close with buttoned flaps; the black plastic buttons match those down the shirt’s plain front. The maker of this particular shirt isn’t known to me, but the broken-stitch styling is very similar to a black, olive, and cream Nat Nast shirt that Tony wears in “The Ride” (6.09).

In the next episode, “All Due Respect” (5.13), Tony replaces the black shirt and pants with an all gray look, sporting a dark gray long-sleeve dress shirt with gray single reverse-pleated trousers. The shirt has 2-button mitred cuffs, but Tony only buttons the outer button closer to his hand.

“All Due Respect” (Episode 5.13)

Tony’s black leather blazer makes its next appearance in the next season’s “Moe n’ Joe” (6.10) in a brief scene at the Bing when Tony returns to the office with some Dunkin’ Donuts takeout. Now, his shirts are getting more complex. The printed silk shirt worn with his outfit has a pattern of abstract black and blue squares connected on a gray grid. Many of the squares are filled with gray target-style circles, but some of the black squares have a small waffle pattern that resembles Tony’s beloved Honey Comb cereal. (And yes, I’ve done the research and determined that Honey Comb is the cereal that Tony is most frequently seen eating.) This casual shirt is short-sleeved with black plastic buttons down the plain front.

A whole lot of writing for very little screen time in “Moe n’ Joe” (Episode 6.10).

Two episodes later in “Kaisha” (6.12), Tony sports another printed silk casual shirt with the black leather blazer. This shirt is long-sleeved with a black and gray deco pattern.

“Kaisha” (Episode 6.12)

Later in the episode, Tony goes to visit Phil Leotardo at the hospital, marking the second occasion that he chooses his black leather blazer for a hospital visit. He wears a different shirt this time, a very complex gray silk casual shirt. The base of the shirt is a gray ground with a tonal silk grid with vertical overlaying stripes in varying shades of gray, blue, and tan. The plain front has iridescent buttons.

Tony has his touching heart-to-heart with Phil in “Kaisha” about a year before engineering his murder.

The black leather blazer makes a brief appearance in some of the final seasons’ episodes. In “Walk Like a Man” (6.17), he wears a busy-looking purple, blue, and beige printed shirt while making a phone call from his car.

The last appearances of Tony’s leather blazer in “Walk Like a Man” (Episode 6.17) and “The Second Coming” (Episode 6.20).

The final appearance of Tony’s black leather blazer comes in the penultimate episode, “The Blue Comet” (6.20), when Tony wears a brown, tan, and blue plaid shirt.

Of course, Tony always wears his white ribbed cotton sleeveless undershirt. A few examples auctioned from the show were made by Jockey, so it’s safe to assume that this is Tony’s preferred brand of undershirts.

Tony’s Standard Accessories

Christmas shopping for Tony Soprano must have been very easy as he makes his preference for gold accessories clear early on. He always wears a gold 18″ open-link chain necklace with a St. Jerome pendant buried in his chest hair.

Tony wears a gold pinky ring on his right hand with a ruby and diamond clustered together. On his left hand, he wears his plain gold wedding band on the third finger. On his right wrist, he wears a gold link bracelet that isn’t uncommon among movie mobsters.

Tony takes a call from Carmela in “Long Term Parking” (Episode 5.12).

Tony’s left wrist is adorned by a gold Rolex President Day-Date. Tony’s Rolex watch, seen in every season, is 18-karat yellow gold on a 36mm case with a “champagne” dial, worn on a flat Oyster three-piece link bracelet with a concealed clasp.

Of course, Tony’s (literally) burned mistress is none too pleased that he’s taking calls from his wife… or leaving to go back to her.

This Rolex is still available and their site claims that it is “the most prestigious Rolex model since 1956”.

A Note

Referring to a “black leather blazer” may send sartorial purists up in arms. “A blazer is wool with metal buttons!” screams purist #1. “Yes, and you can pry my navy blazer from my cold, dead hands,” threatens purist #2. Despite the protests of these purists, when you say you’re looking for a “black leather blazer”, salespeople and designers are going to know what you’re talking about. Other terms like “black leather sport coat” are clumsy and saying “black leather jacket” is too vague. If you disagree, then bite your lip and suck it up. If you’re cool to go with an industry-recognized term as I am, then more power to you for being a cool, rational person.

How to Get the Look

Tony Soprano set the standards for a new brand stylish but imposing badassery in the 21st century. His black leather blazer is a staple garment that adds a degree of toughness to even the most vibrantly printed silk shirt.

The shirt doesn’t have to be black, as Tony finds gray, blue, and purple varieties work as just as easily.

• Black lambskin leather blazer with large notch lapels, 2-button front, welted breast pocket, flapped hip pockets, and 4-button cuffs
• Black printed silk long-sleeve button-up shirt
• Charcoal gray single reverse-pleated trousers with belt loops, side pockets, and turn-ups/cuffed bottoms
• Black leather belt with steel square single-claw buckle
• Black calf leather 5-eyelet split-toe bluchers/derby shoes
• Black dress socks
• Rolex President Day-Date 118238 yellow gold wristwatch
• Gold open-link chain bracelet
• Gold pinky ring with ruby and diamond stones
• Plain gold wedding band
• Gold open-link chain necklace with round St. Jerome pendant

If you want to up your Sopranos game by wearing Tony’s brands, track down some Zanella trousers and Allen Edmonds shoes. His known shirts came from a variety of manufacturers from Burma Bibas to Rochester Couture, so look for what feels best.

Do Yourself a Favor and…

Buy the entire series. You won’t regret it, and Gandolfini was a master of his craft.

The Quote

Listen to me. Now I never told nobody this, but while I was in that coma, something happened to me. I went someplace, I think. But I know I never wanna go back there. And maybe you know what I’m talkin’ about. Believe me, nobody ever laid on their deathbed wishing they saved more no-show jobs. Now, you take your time, you get better, and you get out of this fuckin’ place. But when you do, you focus on grandkids and good things. We can have it all, Phil, plenty for everybody.

Footnotes

Although the post is a celebration of James Gandolfini’s birthday, today is also my sister’s 30th birthday! Happy birthday, Sis!

Humphrey Bogart as Philip Marlowe in The Big Sleep (1946).

Vitals

Humphrey Bogart as Philip Marlowe, archetypal hard-boiled private detective

Los Angeles, Fall 1945

Film: The Big Sleep
Release Date: August 23, 1946
Director: Howard Hawks
Wardrobe Credit: Leah Rhodes

WARNING! Spoilers ahead!

Background

The Big Sleep is often considered the apex of American film noir. Plot becomes secondary (and often disregarded) in favor of colorful characters made of private eyes, floozy femme fatales, and pornographers spitting snappy dialogue at each other against the backdrop of both the glamorous and seamy sides of the city. The same plot and characters from Raymond Chandler’s 1939 source novel are here, with the anti-Code elements like pornography and homosexuality all but removed.

Roger Ebert’s deservedly positive 1997 review, which describes the film as “a black-and-white symphony that exactly reproduces Chandlers ability… to find a tone of voice that keeps its distance and yet is wry and humorous and cares,” includes many great anecdotes about The Big Sleep‘s production. Although the relatively faithful script was punched up by writers William Faulkner, Jules Furthman, and Leigh Brackett, the studio’s insistence on reshooting certain scenes to focus on the blossoming romance between Humphrey Bogart and Lauren Bacall even further muddied the narrative waters. Ebert states: “It is typical of this most puzzling of films that no one agrees even on why it is so puzzling. Yet that has never affected “The Big Sleep’s” enduring popularity, because the movie is about the process of a criminal investigation, not its results.”

In fact, it seems that very little attention at all was paid to the results, both in the novel and the film. Ebert shares a story about Bogart showing up on the set and asking Howard Hawks, “Who pushed Taylor off the pier?” referring to the death of unseen character Owen Taylor. As Lauren Bacall noted in her autobiography: “Everything stopped” because no one knew the answer. Hawks telegrammed Chandler to ask if Taylor’s death was a murder or a suicide, and Chandler himself was stymied, later recalling, “Dammit, I didn’t know either.”

The Bogart-Bacall focus also drastically changed the film, which had been filmed and set for release in 1945. About twenty minutes were reshot and edited back in to let fans appreciate the chemistry between the two stars. According to Chandler, the decision irked director Hawks to the point that he threatened to sue. As Chandler wrote to his publisher:

The girl who played the nymphy sister was so good she shattered Miss Bacall completely. So they cut the picture in such a way that all her best scenes were left out except one. The result made nonsense and Howard Hawks threatened to sue… After long argument, as I hear it, he went back and did a lot of re-shooting.

While I take umbrage with any criticism toward Lauren Bacall, there is no denying that Martha Vickers (the “nymphy sister”) delivered a top-notch performance in both versions as the flighty young Carmen Sternwood. Vickers still featured prominently in the 1946 recut, but the “electric” performance cited by Ebert has indeed been forcibly shaved.

For a 20-year-old relatively inexperienced actress who described herself as “scared to death” on set, Lauren Bacall did one hell of a great job.

Focusing on the film’s male lead, Ebert perfectly sums up what makes Humphrey Bogart so perfect for the Philip Marlowe role:

Bogart himself made personal style into an art form. What else did he have? He wasn’t particularly handsome, he wore a rug, he wasn’t tall (“I try to be,” he tells Vickers), and he always seemed to act within a certain range. Yet no other movie actor is more likely to be remembered a century from now.

Bogie had come a long way since he was a stock player at Warner Brothers, portraying the “sniveling bastard” as needed from Three on a Match in 1932 through The Petrified Forest up to his shared appearances with Jimmy Cagney in Angels with Dirty Faces and The Roaring Twenties. He established himself in 1941 with High Sierra and The Maltese Falcon and firmly cemented himself in cinema history with Casablanca the following year. Finally, with The Big Sleep, Bogie adapted the “sniveling bastard” into a underdog we can’t help but to cheer on. It’s a high point in Bogart’s career, acting in the role he was born to play with the love of his life.

What’d He Wear?

Philip Marlowe wears three different suits over the four days of action in The Big Sleep, evidently cycling through Marlowe’s whole wardrobe as he ends up repeating his first suit on the fourth day. Since the film is black-and-white, it’s difficult to accurately determine what colors were involved in his outfits. The book is no help either, as the first paragraph of Chandler’s 1939 novel reads:

It was about eleven o’clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills. I was wearing my powder-blue suit, with dark blue shirt, tie and display handkerchief, black brogues, black wool socks with dark blue clocks on them. I was neat, clean, shaved, and sober, and I didn’t care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars.

… so clearly, the film didn’t use the book as a basis when dressing its protagonist in what appears to be a much more traditional combination of dark suit, light shirt, and dark tie. The attire that Marlowe describes in the book is surprisingly flashy for our cynical, straightforward private eye.

Bogart’s suit colorized in brown (by “MsgtBob”) and green (by “BunnyDojo”).

I’ve seen a few different colorizations of stills from The Big Sleep, including a very attractive green color for this suit created by “MsgtBob” for a Worth1000.com content. However, the most convincing colorization that I’ve seen colored the suit brown, the shirt tan, and the tie a dark red, created by an artist known as “BunnyDojo”.

No matter what color it is, Marlowe’s suit on film is a dark two-piece, constructed from a birdseye wool suiting best seen when Marlowe is inspecting the empty camera at Geiger’s murder scene.

The birdseye detail of Marlowe’s suit is best seen in this close-up at Geiger’s crib.

Matt Spaiser from The Suits of James Bond describes birdseye as: “a pattern of round dots on a diagonal grid… The pattern alternates two dark yarns and two light yarns in both the warp and the weft. In a larger scale the pattern looks like large circles with a dot in the centre. In smaller scales it looks like a simple pattern on dots on a diagonal grid.” Marlowe’s birdseye wool suit is an example of the smaller scale described by Spaiser, appearing solid from a distance and a grid of dots closer up.

As The Big Sleep was filmed mostly in 1945 when clothing was still mostly rationed for the war, Marlowe’s suit doesn’t feature any of the overly baggy fits or padding that were en vogue by the time of the film’s release a year later. The jacket is single-breasted with wide notch lapels. The notches themselves are large, and each lapel has a stitched buttonhole. The shoulders are lightly padded with only slight roping on the sleeveheads. The back is ventless.

Marlowe at the Sternwood residence.

Per Chandler’s description, Marlowe does wear a handkerchief in his breast pocket, but it’s a plain white linen handkerchief that he often uses to wipe his sweat in the intense heat of General Sternwood’s solarium and not the dark blue display handkerchief of the book. The breast pocket itself is welted, and the straight hip pockets are jetted with no flaps.

Marlowe’s suit jacket closes on a two-button front, but he always wears it open. There are also four buttons on each cuff.

Dr. Jekyll and Mr. Marlowe.

The double reverse-pleated trousers of Marlowe’s suit are less minimalist than the jacket, mostly due to the fashions of the mid-1940s. They have a long rise with belt loops around the waist, secured by a slim brown leather belt. The belt appears to have some Western influence with its decorative tooling, metal tip, and the shape of its small metal single-claw buckle. He wears his keys on a chain that connects to his right front belt loop, carrying the keys themselves in the trousers’ right side pocket.

Marlowe was wise to remove his jacket in the tropical atmosphere cultivated by General Sternwood.

Marlowe also often keeps his hands in the on-seam side pockets of his trousers. When he takes off his jacket upon meeting General Sternwood, the pants’ baggy fit is evident around his hips and across the rear where there are two jetted pockets – the left closes with a button while the right is open. The generous fit continues through the trousers’ straight legs down to the cuffed bottoms.

Marlowe wears a light-colored cotton shirt that isn’t quite light enough to be pure white. Based on the contrast, it’s probably a lighter version of whatever color the suit is; assuming the suit is brown, the shirt is probably tan or ecru. It has a long point collar and a front placket. The square cuffs close with a single button, and the gauntlets also have a button. There is no pocket.

Before the sweat accumulated…

Marlowe’s silk tie is the simplest part of the outfit. It’s dark, short, and wide at the bottom. It has none of the vibrant prints or pizzazz that were characteristic of the decade’s later ties.

Even Bogart’s footwear deviates from Chandler’s description of Marlowe in the book. Rather than brogues and clock-patterned socks, Bogart’s Marlowe wears a pair of black calf cap-toe oxfords with plain black wool socks.

Bogie gives Bacall the boot… or, rather, the balmoral.

The classic fedora is now immediately associated with film noir tough guys, specifically Bogie. The Big Sleep is no exception, as he wears a dark felt snap-brim fedora with a wide black ribbon throughout the film. The “Royal Stetson” logo is clearly seen on the inside of the crown when it’s knocked off of his head during a confrontation with Eddie Mars’ thugs.

Marlowe briefly loses his hat! Chaos ensues!

Bogart pokes fun at his own tough guy image when he poses as an effeminate antique book aficionado in the early stages of the investigation. He snaps up the front of his fedora’s brim and dons a pair of dark-framed sunglasses, affecting a foppish lisp as he grills Agnes about the “Ben-Hur, 1860… with the erratum on page 116″. Perhaps the lisp was a defense mechanism against his own natural lisp.

“Hmm?”

Although he only wears the sunglasses as part of a disguise (shades of North by Northwest!), Marlowe wears all of Bogart’s usual accessories. On the third finger of his right hand is the familiar gold ring with its ruby-diamond-ruby setting. Replicas are available at Royalty and Hollywood Jewelry in Naples, Florida as well as on Amazon.

All Bogart fans know this ring.

Bogart’s square-cased watch is clearly seen, although it’s not the same Longines Evidenza seen in Casablanca. He wears it on a brown leather strap.

Not the Longines, but still elegant.

Marlowe also wears two different topcoats with this suit. His go-to topcoat is a Glen plaid wool knee-length coat with a single-breasted, four-button front, typically worn with just the bottom button done. It has a large collar, straight welted hand pockets, plain cuffs, and – interestingly – a ventless back.

Marlowe gets to investigating.

However, he also encounters some rain over the course of his investigation and finds himself sporting a classic khaki trench coat. Just like the iconic one he wore as Rick Blaine in Casablanca, this belted raincoat is double-breasted with storm flaps, button-down epaulettes, slanted hand pockets, buckle-strap cuffs, and a long single vent in the back.

Shades of Rick Blaine!

The manufacturers’ logo of Marlowe’s trench coat is visible when Norris eases him into it before he leaves the Sternwood residence, but I haven’t yet been able to identify it. It doesn’t look like either the Aquascutum or Burberry logos, but those could have been different in the 1940s.

Norris would be far more helpful if he would tell us who manufactured Marlowe’s trench coat.

Go Big or Go Home

It’s been said (by me) that a film noir gumshoe is only as good as his daily booze and tobacco consumption. Luckily, Philip Marlowe’s got that covered in spades (pun) from the very beginning. General Sternwood enjoys brandy but is no longer allowed to imbibe for health reasons so he takes his drinks “by proxy”, and Marlowe is more than happy to indulge by taking several drams on his behalf. He learn a little more about Marlowe when he stops off at a bookstore and, after some flirtatious banter with the foxy clerk (played by a scene-stealing Dorothy Malone), mentions to her that “It just happens I got a bottle of pretty good rye in my pocket.” We see little of the bottle himself, so we’ll just have to accept Marlowe’s word regarding its quality. Still, it’s not too good that either Marlowe or the unnamed clerk are above drinking it out of her paper cups.

Marlowe offers Bernie Ohls a smoke.

Marlowe’s cigarettes of choice are Chesterfields, unfiltered of course.

How to Get the Look

Marlowe’s suit is a perfect template for dressing a hard-boiled PI from the era. Simplicity is key – both due to wartime rationing and an uncomplicated attitude. So what if we don’t know what color it is?

• Dark birdseye wool two-piece suit, consisting of:
  • Single-breasted 2-button jacket with large notch lapels, welted breast pocket, straight jetted hip pockets, 4-button cuffs, and ventless back
  • Double reverse-pleated trousers with belt loops, straight on-seam side pockets, jetted rear pockets, and turn-ups/cuffed bottoms
• Light cotton dress shirt with long point collar, front placket, and squared 1-button cuffs
• Dark short silk necktie with wide bottom
• Brown decorative-tooled slim leather belt with small single-claw buckle and metal tip
• Black calf leather cap-toe oxford shoes
• Black wool dress socks
• Dark felt snap-brim Royal Stetson fedora with wide black grosgrain ribbon
• Dark plastic-framed sunglasses
• Square-cased wristwatch on brown leather strap
• Gold ring with two rubies and diamond

If it’s raining, opt for a classic khaki trench coat to combat the wetness. If it’s just a chilly night, a simple Glen plaid topcoat will add a touch of tough-guy class.

The Guns

Like most films of its era, The Big Sleep appeals to wheel-gun lovers by featuring plenty of revolvers. Marlowe himself keeps two in his car – a Colt Detective Special and a Colt Official Police.

Both the Colt Detective Special and the Colt Official Police were developed in 1927 as double-action revolvers aimed at the police market. Both were primarily chambered in .38 Special and had swing-out cylinders and exposed ejector rods. The primarily difference is the barrel length; the Official Police was developed for general police issue and offered in barrel lengths of 4″, 5″, and 6″. The Detective Special, on the other hand, was meant to serve as it was named – for plainclothes detectives. It was one of the first modern “snubnose” revolvers developed for concealment with its 2″ barrel (although rare examples made with 3″ barrels have also been uncovered).

Marlowe keeps a Colt Detective Special handy in his Plymouth.

The climax of the film finds Marlowe tied up in a house outside Rialto in San Bernardino County. He frees himself and sneaks out to his disabled car, where he flicks a switch and – PRESTO! a panel flips down with his 2″-barreled Colt Detective Special waiting for him. (Evidently, his Official Police has been misplaced.) Marlowe grabs the Detective Special and sets up a gambit for Vivian to help him corner and kill the nefarious Lash Canino.

Marlowe waits for Canino to show up.

Once Canino has been downed by Marlowe’s bullets, Marlowe has to put the last steps of his plan in motion. He arms himself with Canino’s own Colt Official Police and heads to the deceased A.G. Geiger’s house on Laverne Terrace to wait for Eddie Mars.

Marlowe holds Canino’s Colt Official Police on Eddie Mars.

It’s with this Colt Official Police that Marlowe forces Mars to get what’s coming to him in the finale. Some have cited this as a continuity error since Marlowe clearly uses the shorter-barreled Detective Special in the shootout with Canino, but it’s more than probable that he just picked up Canino’s own Official Police to ensure that he’d have a much firepower as necessary when facing off against Eddie Mars.

Do Yourself a Favor and…

Buy the movie as well as Raymond Chandler’s 1939 book. Who cares if you get confused by the plot? Chandler himself wasn’t sure what was going on. Just enjoy some classic hard-boiled private eye noir.

The Quote

I don’t mind if you don’t like my manners, I don’t like them myself. They are pretty bad. I grieve over them on long winter evenings. I don’t mind your ritzing me drinking your lunch out of a bottle. But don’t waste your time trying to cross-examine me.

Michael Pitt pours some brandy as Jimmy Darmody on Boardwalk Empire.
(Episode 1.12: “A Return to Normalcy)

Vitals

Michael Pitt as Jimmy Darmody, Atlantic City bootlegger and gangster

Atlantic City, Spring/Summer 1921

Series: Boardwalk Empire
Episodes:
* “A Return to Normalcy”
(Episode 1.12, aired December 5, 2010, dir. Tim Van Patten)
* “21”
(Episode 2.01, aired September 25, 2011, dir. Tim Van Patten)
* “A Dangerous Maid”
(Episode 2.03, aired October 9, 2011, dir. Susanna White)
* “Two Boats and a Lifeguard”
(Episode 2.08, aired November 13, 2011, dir. Tim Van Patten)
* “Georgia Peaches”
(Episode 2.10, aired November 27, 2011, dir. Jeremy Podeswa)
* “To the Lost”
(Episode 2.12, aired December 11, 2011, dir. Tim Van Patten)
Costume Designer: John A. Dunn

WARNING! Spoilers ahead!

Background

The ambitious yet bitter Jimmy Darmody was a fan favorite on Boardwalk Empire, certainly a testament to Michael Pitt’s appeal since most characters that would ally themselves with Al Capone and incite a violent war against the protagonist would not be so warmly regarded. However, Jimmy Darmody was a complex onion, and the writers deserve equal credit for giving the character so many layers.

Thus, by the time Nucky Thompson pulls the trigger and declaresthat he isn’t seeking forgiveness, Jimmy was firmly planted in viewers’ minds as a sympathetic hero who had overcome the trauma of World War I and a drunken sexual congress with his own mother. However, it seems that fans were rooting for Jimmy more than Jimmy himself had been, as the character resigns himself to his fate and even coaches Nucky on how he’ll be able to live with himself after committing a murder.

Rumors have floated that Jimmy was actually killed off because Michael Pitt was difficult to work with, but showrunner Terence Winter vehemently denies the rumors and confirms that it was a creative decision in a December 2011 interview with Entertainment Weekly:

The idea was to try and push things to their absolute limit, even if it makes it difficult for yourself and your writing team. If you take things to their logical extreme with the situation we created, Jimmy has betrayed Nucky, he tried to have him killed. You want to be honest about the storytelling. In the pilot, Jimmy told Nucky:”You can’t be half a gangster anymore.” We wanted with the first two seasons to follow that trajectory, where he goes full season from being the guy who doesn’t want to get his hands dirty to actually pulling the trigger himself. And what’s the strongest version of that? To pull the trigger on the very guy who told him,”You can’t be half a gangster anymore.” It’s like, “Guess what? You’re right. I can’t. And here’s me now fully becoming a gangster.” Anything short of Nucky doing it himself wouldn’t feel real, it wouldn’t be real. And it would be a cheat for us to say, “We want to keep our beloved character Jimmy Darmody alive.”

One of the things I wanted to do by design in the finale is make the audience pissed off [at the start of the episode]. I wanted people to say [when it seemed like Nucky and Jimmy would reconcile], “Oh great, after all that, it’s all going to be forgotten and Jimmy is going to be back in Nucky’s good graces.” I wanted them to think right up to the very end that Nucky is going to forgive him and take him back. It was a really hard decision. You’re sort of blowing up your own show, in some ways. Now we’re back in the writers room trying to figure out where we go from here without Jimmy Darmody.

Winter certainly succeeded, although I doubt he expected the backlash from fans. I recall many at the time declaring that they would refuse to watch the show without the Jimmy Darmody character, and several even demanded that he return for the third season… although I have no idea how that would logistically happen. Personally, I applaud Boardwalk Empire for a move that managed to be both shocking and realistic, continuing the show’s momentum as a solid criminal drama and away from the trappings of a fan-pandering show like Dexter became in its later seasons.

Michael Pitt himself had requested that, if his character was to be killed, that he go out “in the worst way possible,” as The Hollywood Reporter explained. After Martin Scorsese and Winter made their decision, they tried to call Pitt to inform him but couldn’t get through, so they unfortunately had to tell him via email that his character would be shot in the face by his old mentor.

What’d He Wear?

Jimmy ups his sartorial game at the end of the first season. He began the series in a humble brown tweed Norfolk suit and cap that made him look every bit the lackey that he was. After moving to Chicago, he picked up a snappy blue check three-piece suit to begin establishing himself as more than just “half a gangster”. Upon his return to Atlantic City in “Belle Femme” (1.09), Jimmy has refined his look from the louder Nucky-worthy blue suit with a more somber gray suit. His wardrobe continues to grow with each new step in his career.

In “A Return to Normalcy” (1.12), set in November 1920, Jimmy decides to end his uneasy and unholy alliance with Nucky and sets in motion a plan to take control of Atlantic City for himself. Jimmy sits and plots with the Commodore and Eli while wearing a brown striped flannel three-piece suit. He looks relaxed yet alert, evoking the image of one of cinema’s most notorious fictional gangsters.

Don Jimmy.

The many shots of Jimmy with both arms on his chair as he is told to assert his power is almost definitely a homage to The Godfather, as Winter told EW: “I’m not ashamed to say Godfather is one of my favorite movies of all time, and any time I can steal from it, I always do.”

Jimmy’s brown striped suit lasted him through the rest of his tenure on the show, worn during confrontations with Nucky and meetings with potential confederates like Manny Horvitz and Chalky White. It was while wearing this suit in the season finale, “To the Lost” (2.12), that Jimmy received his fatal wounds from Nucky after a year-long power struggle.

Jimmy appears to have had two of the same suit, one version in brown stripe suiting (as featured here) and the other made from a charcoal and gray stripe. The latter suit appears in two episodes: “21” (2.01) and “Gimcrack & Bunkum” (2.05). I’ve considered that the charcoal suit may actually be this suit in different lighting, but the color contrast is too dramatic for me to say that it is the same suit. This particular suit was auctioned by Screenbid.com earlier this year.

Jimmy’s suit, auctioned by ScreenBid.com. Notice that the right side is shifted up; the jacket’s top button is thus hidden under the lapel.

The stripe effect on Jimmy’s suit is simply two shades of brown that alternate between a lighter and darker color. No pinstripes, no shadow stripes, just two different shades of brown repeating in an equal width.

Jimmy shares a moment with Joe Harper Tommy before heading off to his doom.

The jacket is single-breasted with notch lapels and a high three-button stance, although he almost always wears it open. The hip pockets have wide flaps and slant slightly toward the back, with the top of the pocket aligned with the jacket’s third button. A flapped ticket pocket on the right also slants slightly back, aligned with the jacket’s center button. Jimmy also has a welted breast pocket and 4-button cuffs.

If Michael Pitt didn’t have the Geto Boys in his head while filming this scene, then I don’t even know anymore…

Jimmy’s suit nicely reflects men’s fashions of the early 1920s with its half-belted back and athletic fit that makes Michael Pitt appear even taller than his natural 5’11” height. The jacket’s shoulders are straight down to roped sleeveheads, and the back of the jacket is belted above a long single vent.

The suit’s matching vest (or waistcoat) rises high on his chest, above the jacket’s top button. It has notch lapels and a 6-button single-breasted front down to the notched bottom. Jimmy wears each button fastened. The front of the vest has four welt pockets – two on each side. The back is brown patterned silk with an adjustable strap across the bottom.

Jimmy resigns himself to his fate after getting a call from Nucky in “To the Lost” (2.12).

Jimmy’s suit trousers are flat front with straight on-seam side pockets and jetted rear pockets that both close with a button. They are cut straight through the leg down to the cuffed bottoms, which have a full break over his boots. All of Jimmy’s trousers are worn with suspenders, whether they’re visible or not. These trousers are no exception, and they have the adjustable back strap on the rear waistline where he attaches them.

Jimmy begins his practice of wearing a gold collar pin toward the end of the first season rather than letting his shirt collar flop in and out of his suits. Perhaps it’s his way of affecting a more professional, intimidating look, emulating the clean-looking collars of his old boss Nucky without resorting to the detachable contrast collar that was becoming more and more an indication of an older generation.

Jimmy faces off with Nucky after learning the truth about his conception.

All of Jimmy’s shirts with this suit appear to be lightweight cotton with soft turndown point collars, front plackets, and buttoned cuffs. He tends to stick with his favorite color combinations, wearing a royal blue shirt in “A Return to Normalcy” (1.12), “A Dangerous Maid” (2.03), “Two Boats and a Lifeguard” (2.08), and “To the Lost” (2.12).

Jimmy often sports a gold tie with his blue shirt, wearing a mustard-colored knit tie in “A Return to Normalcy” and a gold printed silk tie in “A Dangerous Maid”.

For a night at Babbette’s, Jimmy wears a more formal gold silk tie rather than his preferred knit.

Jimmy wears a blue-gray shirt with a large turndown collar – still fastened by the gold collar pin – with the mustard knit tie when he meets with Nucky outside the funeral home in “21” (2.01).

Frenemies, 1921 style.

In “Two Boats and a Lifeguard” (2.08), Jimmy spends the afternoon meeting with co-conspirators before “enjoying” a day on the beach with Angela. He sports a monochromatic look, wearing the royal blue shirt and a dark blue silk tie with a blue paisley “teardrop” motif.

Jimmy lights up an Old Gold. Check out that new wedding ring… not that Angela looks too happy to be part of this union.

Two episodes later in “Georgia Peaches” (2.10), Jimmy has a clandestine and unsuccessful meeting with Chalky. Now, he opts for a totally monochromatic palette by wearing his a brown shirt with a white pinstripe, the mustard knit tie, and his brown striped suit.

Chalky ain’t having it.

The first appearance of this suit in “To the Lost” (2.12) finds Jimmy and Richard Harrow storming into Jim Neary’s office with fatal intentions. Blood was spilled, and Jimmy’s monochromatic maroon shirt and silk paisley tie may be symbolic, or it may be a coincidence.

After a day spent celebrating on the beach with his family and Richard, Jimmy gets a call to meet Nucky at the Atlantic City War Memorial. Nucky offers an excuse, but Jimmy sees right through it. He heads to the meeting in the last outfit of his life, sporting his favorite royal blue shirt, the brown striped suit, and a black tie with a series of green and tan abstract designs.

Jimmy lets Richard stay behind and goes off alone to meet his fate.

Ever the soldier, Jimmy still wears his black leather U.S. Army-issued combat boots, laced up the throat. Best featured in the first season, his Mk I Trench Knife is firmly fastened into the left boot via an ankle holster.

Jimmy’s wristwatch is also indicative of his service, since wristwatches were still only commonly worn by servicemen who had been exposed to this more convenient style of timekeeping during the war. Various characters would adopt wristwatches rather than pocket watches as the series goes on, but Jimmy wore his since the beginning. It has a steel tonneau-shaped case with an off-white dial and a brown leather strap.

Jimmy’s watch is best seen during his times of tobacco-assisted reflection in “A Dangerous Maid” (2.03).

Jimmy also continues to wear his silver military dog tags, suspended around his neck on a brown cord. He typically tucks them under his white sleeveless cotton undershirt.

Although many aspects of his attire remain the same, Jimmy gets some new outerwear for 1921. In “21” (2.01), set in winter 1921, he wears a heavy gray herringbone tweed overcoat. The double-breasted coat has a 6×2 button front, which he leaves open, and extends down past his knees. Each of the wide peak lapels has a stitched buttonhole. The two chest pockets are box-pleated with flaps, and the two flapped hip pockets sit straight on his waist. The back has a V-shaped yoke across the shoulders and five darted pleats – including an “action-back” center vent – extending down to the half-belt, and a long single vent cuts up the center of the back. The sleeves are cuffed up 2″ from the edge.

Jimmy and Nucky talks shop at a klansman’s funeral. Yes, a klansman’s funeral.

Jimmy also gets a new hat, sporting a black beaver felt fedora with a thin black grosgrain ribbon and a narrow brim. The Screenbid.com auction also included this hat with the suit, and The Custom Hatter’s logo is clearly seen on the satin inner lining.

Jimmy’s hat, auctioned by Screenbid.com and manufactured by The Custom Hatter.

The Custom Hatter himself is Gary White, a talented hat maker in Buffalo who has worked on several major film, TV, and stage productions and offers a range of hats on his site, custom made using rare vintage machines. The hat sported by Jimmy appears to be White’s “The Untouchable” model. White describes that his “fine-quality beaver felts are fine in rainy weather”, which is good for Jimmy since his final scene finds him sporting the fedora on a very rainy night in the summer of 1921.

R.I.P. James Darmody
1898-1921.

The one other new aspect of Jimmy’s attire this season is the plain gold wedding band, found on the third finger of his left hand. Evidently, things are going well with Angela… despite her preference for the fairer sex.

How to Get the Look

As Jimmy’s trek for power advances, so does his wardrobe. Although he’s no longer a soldier, he still wears a personal uniform of sorts, as opposed to his colorful opponent and ex-mentor. Like his clothing, Jimmy Darmody is simple but threatening.

Thompson vs. Darmody.

• Brown striped flannel suit, consisting of:
  • Single-breasted 3-button jacket with notch lapels, welted breast pocket, straight flapped hip pockets with flapped ticket pocket on right side, 4-button cuffs, half-belted back, and single rear vent
  • Single-breasted 6-button vest with notch lapels, 4 welted pockets, and adjustable rear strap on patterned silk lining
  • Flat front high-rise trousers with straight on-seam side pockets, jetted button-through rear pockets, rear suspender strap, and turn-ups/cuffs
• Royal blue lightweight cotton shirt with soft turndown collar, front placket, and button cuffs
• Mustard gold knit necktie
• Gold collar pin
• Black leather combat boots with black laces
• Black dress socks
• Black leather ankle holster for 1918 Mk I trench knife
• Dark striped suspenders with brass hardware
• Black beaver felt fedora with a thin black grosgrain band
• Gray herringbone tweed double-breasted “action-back” overcoat with peak lapels, 6×2 button front, 2 flapped box-pleated chest patch pockets, 2 flapped patch hip pockets, cuffed sleeves, half-belted back, and long single vent
• White cotton sleeveless undershirt
• Off-white cotton boxer shorts
• Steel tonneau-shaped wristwatch on a brown leather strap
• Plain gold wedding band, worn on left ring finger

Do Yourself a Favor and…

Watch the entire series, but if you’re especially a fan of Jimmy Darmody, invest in the first and second seasons. This suit gets most screen time during the second.

The Quote

I died in the trench, years back. I thought you knew that.

I’ve made no secret of the fact that I think all of you who follow and comment on this blog are some of the coolest dudes around. BAMF Style just celebrated its third anniversary (on September 26th, if you’re curious), and I couldn’t have made it this far without all of you.

To show my appreciation, I’d love to get the chance to highlight some of the looks you guys are sporting. Whether it’s based on a movie or TV BAMF or just a stellar combination you’ve found on your own, feel free to send a photo or two of an outfit that makes you proud to TheSartorialBAMF@gmail.com, along with a few words like the manufacturers, fabric, and even an anecdote about it.

It’d be my pleasure to sort through the submissions and get a post up – probably around Thanksgiving, since I’ll be literally giving my thanks – featuring all of your great style.

This one’s for you, BAMFs!

Also, check out this cool article by Guy Trebay for the New York Times, where Trebay talks about classic sprezzatura style icons like Steve McQueen, Paul Newman, Cary Grant, and Marvin Gaye. Trebay even talks about McQueen’s somewhat anachronistic – but badass – attire in The Great Escape.

The poster for Rebel Without a Cause (1955), featuring James Dean as Jim Stark in his iconic windbreaker and jeans.

Vitals

James Dean as Jim Stark, confused suburban high school student and loner

Los Angeles, Spring 1956

Film: Rebel Without a Cause
Release Date: October 27, 1955
Director: Nicholas Ray
Costume Designer: Moss Mabry

Background

Today – September 30, 1955 – is the 60th anniversary of the famous fatal car crash that ended James Dean’s life at the age of 24. At the time of his death, he had only completed acting in three films (other than uncredited bit parts), but those performances made more of an impact than anyone could have guessed.

After his breakout role in East of Eden in 1955, Dean quickly followed it up with his performance as the troubled and tortured Jim Stark in Rebel Without a Cause, a representation of teenage angst that gave a glimmer of hope to millions of teens throughout the country who were disgusted by the falsely naive and puritanical state of 1950s society. Teens could actually relate to the frustrated Jim Stark rather than the squeaky clean Andy Hardy or mischievous doe-eyed Beaver Cleaver. Dean’s electric performance captivated young audiences that began copying his style.

Unfortunately, James Dean didn’t live to see the release of the film that would give so many of his fans hope. Shortly after completing his role in Giant, Dean was scheduled to compete at a race in Salinas on September 30, 1955 in his “Little Bastard”, a brand new 1955 Porsche 550 Spyder (VIN 550-0055) purchased only nine days earlier and painted with “130” on the hood, doors, and deck lid. Rolf Wütherich, the German Porsche factory mechanic that maintained the car, encouraged Dean to drive it from L.A. to Salinas to ensure it was in racing condition. Wütherich joined Dean in the car, with Dean’s friend and stunt driver Bill Hickman driving behind them in the station wagon that Dean had originally intended to use to carry the Porsche via trailer. Hickman would later become famous as the stunt driver and actor who handled the black ’68 Charger in Bullitt. It was Hickman who gave Dean the nickname, “Little Bastard” that Dean then applied to his car.

James Dean and Rolf Rolf Wütherich in one of the last photos of the actor, taken September 30, 1955 hours before the fatal crash. Excited for the day’s race, Dean raised Wütherich’s hand and shouted “We’re going to win! ” as the photo was taken.

At 5:45 p.m., more than two hours after both cars had received a speeding ticket, a Cal Poly student named Donald Turnupseed was driving his black and white 1950 Ford Tudor coupe east on Route 46 toward Cholame Junction. Turnupseed hesitantly pulled his Ford left over the center line to take the left fork onto Route 41. Dean, approaching the junction from the other direction, was unable to stop his Porsche in time and attempted to power steer away from Turnupseed’s Ford. Unfortunately, the Porsche slammed into the driver’s quadrant of the Ford in a nearly head-on collision, catapulting Wütherich out of the Porsche but trapping Dean inside the mangled Porsche as it flipped intot he air and landed in a gully, northwest of the junction. The heavier Ford was pushed nearly forty feet down the westbound lane of the road. Turnupseed managed to step out of his damaged car with only minor injuries. Hickman and Collier’s photographer Sanford Roth pulled up in the station wagon and joined the many passersby who stopped to help.

After the badly mutilated Dean had been extricated from the Porsche where his left foot had been trapped between the clutch and brake pedal, Hickman recalled the actor taking his last breath in his arms, and Dean was pronounced dead on arrival shortly after arriving by ambulance at the Paso Robles War Memorial Hospital at 6:20 p.m. Wütherich would survive but with serious injuries and psychological trauma that would haunt him until his 1981 death.

Dean’s brief flash of stardom in 1955 shook the decade by storm before his death, shaking the long-standing tradition of the old dictating the young. Rebellion became cool, and Dean became a martyr for the movement that he unwittingly ignited but undoubtedly would have supported. Up to this point, fine clothing and dressing up was a symbol of social status. Now, fashion was redirected toward dressing down. Personal attitude became more important than fads or conformity.

What’d He Wear?

The red windbreaker, plain white t-shirt, and blue jeans sported by James Dean in Rebel Without a Cause has skyrocketed to become one of the most iconic outfits in movie history, right up there with Bogart’s trench coat, Indiana Jones’ leather jacket, and 007 in a sharp tuxedo.

“The name’s Stark. Jim Stark.”

For his night out, Jim Stark dons a bright red cotton windbreaker, appropriately intense for Dean’s performance. It zips up the front with a brass YKK zipper, although Dean tends to keep his only partially zipped down at the waist. The jacket gathers at the waist like a blouson with an elastic hem that provides an athletic figure when closed. The windbreaker has two open slanted hand pockets – one on each side.

The cuffs close through a single buttonhole on one of two buttons; Dean wears his with the outer button fastened for a looser fit over the wrists.

I’m curious what effect Jim Stark’s love of milk had on the dairy industry.

Many stories circulate about the origins of this iconic jacket. Nicholas Ray claimed that he took it from a Red Cross worker, although most now believe that it is a McGregor Anti Freeze jacket with some customizations by costume designer Moss Mabry. The original McGregor Anti Freeze was designed in 1949, and the McGregor site even acknowledges that this was the windbreaker seen in the film, saying “a certain Mr. James Dean was wearing this coat in a ‘rebellious’ movie that would make history. We can’t be absolutely sure that this was due to the coat, but what is certain is that it has stood the test of time.”

Jim Stark’s timeless windbreaker.

McGregor updated its original Anti Freeze based on the film’s popularity and now offers the “Kirk Anti Freeze” for €199.95, constructed of “light water and wind resistant polyester with a soft wool lining” with the same adjustable cuffs and ribbed elastic hem as the film’s version. The only major cosmetic difference is that the Kirk has flaps on the slanted hand pockets, while Dean’s original Anti Freeze had open pockets.

Underneath, Dean wears a plain white cotton crew neck t-shirt with a short-sleeve “muscle cut” that shows off plenty of arm, as the sleeve ends closer to the shoulder than to the elbow.

James Dean, J.C. Penney advocate.

Luckily for purists who require nothing less than the exact brand worn in the film, a blogger called The Undershirt Guy has taken the case of identifying the t-shirt worn by James Dean in Rebel Without a Cause. Apparently, after three auctions in six years, Nate D. Sanders finally managed to sell the shirt in 2012 for $6,083. However, none of the auction descriptions say much more than that Gordon Bau, Dean’s makeup artist on his three major movies, was able to give the shirt to Claire Gaynor, who provided the letter of provenance.

(The other auctions were Heritage Auctions and Live Auctioneers.com, if you’re curious. Heritage Auctions remarked on the irony that Clark Gable’s lack of an undershirt dramatically decreased undershirt sales until Dean’s white t-shirt revived them 21 years later.)

The Undershirt Guy persisted and found a 2013 article by CNN contributor Bob Greene titled “Could James Dean save J. C. Penney?” In it, Greene comments that Dean was born in Marion, Indiana which was “smack dab in the middle of J. C. Penney country”, and thus copycats believed he favored the simple J.C. Penney “Towncraft” brand of t-shirts. While the answer is most likely lost to history, The Undershirt Guy provided a helpful alternative to all James Dean wannabes by recommending the RibbedTee Retro Fit shirt, a loose knit cotton/polyester blend going for $30 and marketed by RibbedTee as “reminiscent of the great, but no longer made Towncraft 50/50 undershirts.”

Dean’s jeans leave much less guesswork, as Dean himself advertised for his preferred Lee jeans while he was alive. The dark blue jeans sported in Rebel Without a Cause are Lee 101Z Rider denim jeans, notable being the first zip-fly jeans upon their introduction in 1926. While denim jeans had predominantly been the domain of the working man since Levi’s introduced them in the 1870s, they became the symbol for a rebellious teen counterculture in the ’50s, no doubt thanks to James Dean.

The Lee 101Z Riders worn in the film can be identified by the small black tab stitched onto the top of the right back pocket. They are of the standard five-pocket layout with two slanted front pockets, a coin pocket on the right, and two back patch pockets. The bottoms of Dean’s jeans are frayed.

Under the jeans, Dean wears a pair of black leather engineer boots, identified by the silver buckle on the adjustable leather throat strap. We never see the full length of the boots themselves since they tend to extend about 10-18″ up the leg. Engineer boots were developed during the 1930s for workers exposed to potential leg or foot injuries. They were quickly adopted by motorcycle riders for their resistance to leg burns or injuries while riding.

A blog called Vintage Engineer Boots (whose name leaves no doubt regarding their authority in this case!) visited a Madrid exhibit that showcased a pair of Chippewa engineer boots from the ’40s or early ’50s as the boots worn by James Dean in Rebel Without a Cause. With more expertise than I could ever hope to gather on my own, the blog sheds some doubt on this claim and opens it up to debate with good points on both sides. Since Chippewa Shoe Manufacturing Company was the original manufacturer of engineer boots, I think it’s conceivable that Dean wore at least one pair of Chippewa engineers in the movie.

Dean’s socks will remain a mystery, but he does wear a pair of plain white briefs that are glimpsed poking over the top of his jeans when he gets his hands on Plato’s pistol… if you’re curious about his underwear.

The simple steel tonneau-shaped wristwatch has also garnered some debate among Dean fans and watch aficionados. Although it looks like some Hamilton, Elgin, or Longines pieces of the era, I believe it is a Westclox Wrist Ben on a black leather strap. This watch, with its dark gray luminous dial, appears to be the best approximation of the one worn by Dean.

Jim’s watch is best seen when he’s unloading Plato’s pistol.

ClockHistory.com cites that this style would’ve been produced between 1956 and 1958, but it’s the only similar-looking watch from the era that I’ve been able to track down that has only even numerals presented on the face.

Dean himself wore a much fancier watch in real life. The watch on his wrist at the time of his fatal car crash was a Le Coultre Powermatic Nautilus with a 14-carat gold case, black dial, and black alligator strap.

How to Get the Look

Ironically, Dean became a style icon by ignoring fashion and dressing with an aim towards comfort and practicality. He wasn’t a rebel because of what he chose to wear; he was a rebel because he chose not to conform.

• Red cotton zip-front windbreaker with collar, brass zipper, open slanted hand pockets, button cuffs, and elastic ribbed waistband
  • Dean likely wore a customized McGregor Anti-Freeze jacket
• White cotton crew neck short-sleeve t-shirt
  • Dean likely wore a J.C. Penney “Towncraft” undershirt
• Dark blue denim straight leg jeans with zip fly, slanted front pockets, coin pocket, and patch back pockets
  • Dean wore Lee 101Z Rider jeans
• Black engineer boots with silver buckles
  • Dean possibly wore Chippewa engineer boots
• Stainless steel tonneau-cased wristwatch with dark gray luminous dial on black leather strap
  • Dean possibly wore a Westclox Wrist Ben watch
• White underwear briefs

The Gun

Jim’s even more troubled buddy Plato (Sal Mineo) gets his hands on a pistol for the third act, a Colt Model 1903 Pocket Hammer with nickel plating and white pearl grips, found in his mother’s bedroom.

Jim and Judy (Natalie Wood) do everything they can to calm the excited Plato, with Jim eventually getting his hands on the gun in a quick gambit designed to reassure Plato and disarm him.

As Plato slips on the windbreaker, Jim takes out the pistol’s magazine and removes the remaining .38 ACP rounds before handing it back to Plato because “friends always keep their promises.”

Jim slyly gets his hands on Plato’s pistol… with good intent, of course.

The scene ends with tragic consequences as the police don’t know that Plato’s pistol is empty when he steps outside. And, technically, since Jim didn’t eject a round from the chamber – and we know that Plato has already fired it earlier in the evening so the chamber would indeed be loaded – Plato would still have one shot left.

Plato heads out with his unloaded .38 Colt pistol.

The Colt Model 1903 Pocket Hammer enjoyed 24 years of production in the early decades of the 20th century, although it is mostly forgotten today. It was one of John Browning’s early efforts at the semi-automatic pistol, a natural evolution from the Colt M1900 and the Colt Model 1902 Sporting Model – both also designed by Browning.

Like its predecessors, the Colt Model 1903 Pocket Hammer is a short-recoil, single-action, semi-automatic pistol chambered for the obsolete .38 ACP cartridge and lacking an external safety mechanism. Externally, it resembles a simplified and more compact version of the later M1911 .45-caliber pistol with its external hammer. Although only four letters separate it from the Colt Model 1903 Pocket Hammerless, the two pistols are very different.

An original Colt Model 1903 Pocket Hammer with pearl grips, found on ColtAutos.com.

The Colt Model 1903 Pocket Hammer weighed just under two pounds with a 4.5″ long barrel and a seven-round box magazine. It was quite popular in its early years as a relatively light and compact pistol with a cartridge that could carry a punch. However, the more streamlined Pocket Hammerless in .32 and .380 would eclipse Pocket Hammer sales and continue to thrive well into the 1940s. Nearly 31,000 Colt Model 1903 Pocket Hammer pistols were produced until production ended in 1927 as more powerful rounds like the 9×19 mm Parabellum, .38 Special, and .45 ACP gained favor with handgunners.

Do Yourself a Favor and…

Buy the movie.

The Quote

You can wake up now, the universe has ended.

Walton Goggins as Boyd Crowder on Justified.
(Episode 4.05: “Kin”)

Vitals

Walton Goggins as Boyd Crowder, scrappy Harlan County criminal chieftain

Harlan County, Kentucky, Fall 2012

Series: Justified
Episode: “Kin” (Episode 4.05)
Air Date: February 5, 2013
Director: Peter Werner
Costume Designer: Patia Prouty

Background

For great fall attire, one needs look no further than Justified on FX. The show’s pragmatic anti-hero, Boyd Crowder, came a long way from being the thuggish white supremacist bank robber we met back in the pilot. By the middle of the fourth season, he’s shaping up his own criminal empire in Harlan County and enjoying a romance with his deceased older brother’s widow. (It should be noted that said widow had actually shot his older brother to death with a shotgun… Boyd is evidently the forgiving type.)

With his character transformation came a major costuming transformation. Boyd can’t be pigeon-holed into a particular stratum of the criminal underworld, and his wardrobe reflects that. He needs to look respectable enough for urban mobsters like Wynn Duffy while still keeping in touch with the good ol’ boys under his employ. The result is a mishmash of rustic formality that suits Boyd’s particular brand of dapper style.

“Kin” is set in the middle of Justified‘s strong fourth season, when most of the county is searching for the enigmatic Drew Thompson without realizing he is right under their nose. When Deputy U.S. Marshal Raylan Givens heads into the hills on his search for Drew, he finds that his sometime-nemesis Boyd has the same goal.

What’d He Wear?

In “Kin”, Boyd Crowder wears a very unique garment that appears to be a cross between a sportcoat and a cardigan. It’s definitely not the plain gray wool cardigan he wore in the third season, and it’s certainly different from the rest of his sportcoats in their various shades of gray.

Although cut like a sportcoat, the distinctive shawl lapels are unlike anything I’ve ever seen on a traditional sportcoat. The collar portion of the lapel around the back of the neck is the same herringbone tweed as the rest of the coat, but the front facings of the shawl lapels are ribbed like a cardigan sweater.

Boyd sports a very unique looking lapel.

Based on this combination, I think the best description of Boyd’s unique garment would be to call it a “sweater sportcoat”. He wears a genuine sweater-coat on many other occasions over the last few seasons, but the structure of this coat differentiates it from an actual sweater-coat.

Update! Blog commenter RM tracked down this jacket, and it appears to definitively be a Ted Baker “Ananic” jacket, described as “a rib-knit shawl collar updates a handsome three-button blazer rendered in a fine, two-tone herringbone weave” at the Nordstrom site, one of the few places I could find the jacket still posted (albeit currently unavailable).

Boyd pulls up a chair to meet with Colton in his bar.

The jacket is primarily gray woven herringbone tweed, cut like a single-breasted sportcoat with three brown horn buttons down the front. It has natural shoulders and roped sleeveheads. According to the Nordstrom description of the Ted Baker jacket, the construction is a wool/polyamide blend.

In addition to the welted breast pocket, Boyd’s coat has flapped hip pockets that slant toward the back. The jetting on the hip pockets is charcoal.

Boyd in various stages of captivity.

The inside front panels are lined in gray silk with a faint pattern of white dots; the back of the coat is lined with burgundy silk. There is a jetted inside pocket on each side of the gray silk lined portions of the coat.

Quite a pained expression. Also, the hillbilly on Boyd’s left looks like the most perfectly-cast person on TV.

Underneath, Boyd wears very similar attire as seen two episodes earlier in “Truth and Consequences” (4.03). He sports one of his many dark vests that become part of his “uniform” in the show’s latter seasons. In this case, it is a black flannel waistcoat with a single-breasted 5-button front – leaving the lowest button undone over the notched bottom – and slim fishmouth notch lapels.

There are four jetted pockets – two on each side of the chest. Boyd keeps his silver-toned brass Gotham pocketwatch in the lower right pocket of the vest, attached to a silver fob on a curb chain that loops through the fourth buttonhole. The quartz watch’s tetradecagon-shaped case has an open silver dial with black Roman numerals and a date window at 6:00.

A shot of Boyd’s Gotham watch, seen earlier in the season when he first began wearing it.

He doesn’t remove the coat in “Kin”, but “Truth and Consequences” gives us a better look at the vest on its own. Unlike some vests, the lapels are fully functional and extend all around the neck rather than stopping at the shoulders. A thin strip of the same flannel fabric extends down the sides of the vest, but most of the back is lined in dark gray silk.

“Truth and Consequences” (Ep. 4.03)

In “Kin”, Boyd wears a dark charcoal cotton work shirt with a subtle tonal overplaid. The point collar is buttoned to his throat, as usual, with black buttons down the front placket. Each of the cuffs also closes with a single black button.

Also note the vest’s distinctive fishmouth lapel and the coat’s patterned lining.

Most men in Harlan County seem to own nothing but jeans, with the two dueling leads Raylan Givens and Boyd Crowder proving to be no exception. However, Boyd is the darker yin to Raylan’s yang, evident in the black denim jeans that he wears on a daily basis. According to The Americanologists, Boyd wears imogene + willie “Barton” slim fit, low rise jeans with bronze buttons and rivets.

Boyd finds himself in countless unfortunate situations during “Kin” (Ep. 4.05).

Boyd’s jeans have a straight fit through the leg, giving the already slim Walton Goggins an even scrappier look. The bottoms of his jeans are cuffed over the ankles.

Boyd wears a distressed brown leather belt with a tarnished brass single-claw buckle. He notably uses it in “Truth and Consequences” to give the snake-bitten Jimmy something to bite on.

Jimmy finds good use for Boyd’s belt in “Truth and Consequences” (Ep. 4.03).

Boyd follows the oldest rule in the sartorial book by sporting a pair of old brown leather work boots that lace up the front, a callback to his days as a miner.

Boyd’s boots, as seen in “Truth and Consequences” (left) and “Kin” (right).

Boyd’s boots have heavy soles and four brass eyelets visible below the cuffs of his jeans.

How to Get the Look

Boyd Crowder is a wily, outspoken individualist who deals with all strata of society. As he grows as a person – and as a criminal – his wardrobe reflects his personality and his position more and more, with unique garments like the sweater-ish shawl-lapeled sportcoat.

• Gray herringbone tweed Ted Baker “Ananic” sportcoat with ribbed cardigan-style shawl lapels, 3-button front, welted breast pocket, slanted flapped hip pockets, and gray-to-burgundy silk lining
• Dark charcoal tonal plaid cotton work shirt with point collar, front placket with black buttons, and button cuffs
• Black flannel single-breasted vest with slim fishmouth notch lapels, 5-button front, four jetted pockets, and notched bottom
• Black denim slim fit jeans
• Brown distressed leather belt with squared brass single-claw buckle
• Brown leather front-laced work boots with brass eyelets and heavy soles
• Gotham quartz pocketwatch in silver-toned brass case (with open silver face, Roman numerals, and 6:00 date window) on silver metal curb chain connected to silver-toned round fob

Thanks again to commenter ‘RM’ for identifying Boyd’s Ted Baker jacket. Who knew that the wily blue-collar criminal had such luxurious fashion taste?

The Gun

Boyd cycles through many different weapons throughout Justified, but the most consistent favorite of his is the classic 9mm Beretta 92FS semi-automatic pistol, as seen in “Kin”.

Boyd keeps his Beretta on the table during a meeting with Wynn Duffy.

The Beretta was adopted as the M9 by the U.S. military in 1985; as a war veteran, Boyd would be quite familiar with the M9 and thus pretty comfortable keeping the Beretta as his sidearm of choice.

Do Yourself a Favor and…

Check out the entire series. This outfit comes from the fourth season, particularly the fifth episode “Kin” (and partially the third episode “Truth and Consequences”).

You can also help out the blog (and our helpful commenter ‘RM’) by hunting down the exact brand and style of Boyd’s trusty boots.

The Quote

Whole world’s a tree, Raylan. I’m just a squirrel trying to get a nut.

Sean Connery as James Bond in Goldfinger (1964).

Vitals

Sean Connery as James Bond, British government agent and super spy

Geneva, Switzerland, Summer 1964

Film: Goldfinger
Release Date: September 18, 1964
Director: Guy Hamilton
Wardrobe Supervisor: Elsa Fennell

Background

James Bond: Do you expect me to talk?
Auric Goldfinger: No, Mr. Bond, I expect you to die!

For this 00-7th of October installment, BAMF Style is looking at the classic scene from the most iconic of Bond flicks, Goldfinger.

After successfully trailing the sinister Auric Goldfinger to his metallurgy plant in Geneva, James Bond chooses the dark of night to cover his covert investigations of the plant. He discovers Goldfinger’s gold smuggling enterprise and overhears his conversation with a Red Chinese agent about the mysterious “Operation Grand Slam”.

When he tries to leave, Bond finds Tilly Masterson – a woman he’d encountered earlier in the day – aiming a rifle at the plant. The two tussle and trip an alarm that sends Oddjob and Goldfinger’s legions of Asian henchmen after the duo. Bond attempts to spirit them away in his DB5, but an unfortunate roadblock and the sharp edge of Oddjob’s bowler hat bring an end to both the getaway plan and Tilly’s life.

Goldfinger greets the waking Bond when the latter is strapped to a cutting table. Goldfinger smugly assures Bond that his attempts were in vain as an industrial laser slowly moves to cut Bond in two, starting with his most utilized organ. In desperation, Bond reveals his knowledge of Operation Grand Slam, and Goldfinger shrewdly decides that the spy is worth more to him alive… for the time being. Bond next wakes up on Goldfinger’s private plane, headed for Fort Knox. He’s stunned by the first image he sees, a lovely and buxom pilot who is quick to introduce herself to the disoriented agent:

Pussy: My name is Pussy Galore.
Bond: I must be dreaming.

What’d He Wear?

Bond establishes his preference in Goldfinger for wearing all black on convert night missions, following next in Thunderball with a black polo and again during Roger Moore’s first outing in Live and Let Die when he sports a black turtleneck and trousers. However, black isn’t the best choice for nighttime secrecy as it tends to stand out among non-black surroundings like a dark blue sky, green foliage, or gray buildings.

Bond finds himself aboard Goldfinger’s personal plane.

For sneaking around Goldfinger’s plant, Bond wears an all black outfit consisting of a shirt, sweater, trousers, shoes, and socks. The contrast between his shirt and sweater isn’t obvious at first since both are the same black knit texture.

Bond’s shirt is a black knit polo with three buttons and a large, soft collar. Though we don’t see for sure, it’s likely a short-sleeve polo shirt to keep him cool under the sweater and prevent bunching at the wrists.

Poor Bond is pretty out to sea when it comes to learning the time without consulting his Rolex.

The sweater is a v-neck jumper that looks like a very comfortable lightweight wool like merino. The long sleeves have elasticized cuffs that fall somewhat short on Connery’s wrists, giving more credence to the theory that the polo is short-sleeved since it would otherwise create an unsightly collision at the wrist.

The black merino wool v-neck sweater would make a return appearance in Skyfall when Daniel Craig wears one with his peacoat, white shirt, and black tie. That particular jumper – the John Smedley “Bobby” – was constructed from extra-fine 30-gauge merino wool from New Zealand. You can still pick one up for $230 from Mr Porter.

A quick massage eases Bond’s pain after being shot in the side by a tranquilizer gun.

Bond wears a pair of black wool flat front trousers with his usual “Daks top” 3-button side adjusters on each side of the waist. They have a straight cut and plain-hemmed bottoms.

A precarious situation.

Interestingly, Bond wears the same black calf ankle boots that he wore with his white dinner jacket in the film’s opening sequence, truly showing the versatility of the shoe. They have black elastic side gussets but are shorter than the typical Chelsea boot.

Bond’s shoes would be the only clothing left intact after Goldfinger’s laser has its way with him.

The soles of Bond’s low boots are smooth, hard tan leather with “HANDCRAFTED” printed under the arch. They have been customized to slip open the heel that stores Bond’s Q-issued GPS tracker.

Somehow, GPS devices have actually gotten less cool in the last 50 years.

We get a good look at Bond’s socks when he is tied to Goldfinger’s laser-cutting table. They are naturally also black, as this would be a poor outfit to inject colored socks. Based on the texture and the ribbing, they may also be merino wool. Merino wool socks offer a more luxurious – but also sweatier – alternative to the usual cotton socks.

Naturally, Bond also sports his stainless Rolex Submariner 6538 on his left wrist. This is the same watch he wears throughout Goldfinger with its black dial and undersized striped RAF strap.

A Swiss watch in Switzerland.

He doesn’t appear to have his watch after being captured by Goldfinger; perhaps Goldfinger knows what sort of watches they give out in Q Branch.

Bond’s nighttime ensemble in Goldfinger is also featured in a post on Matt Spaiser’s blog, The Suits of James Bond.

What to Imbibe

A martini. Shaken, not stirred.

Bond isn’t dressed for the occasion, but this sequence is when he first orders his iconic cocktail of choice*. Goldfinger’s stewardess, who is a bit too chipper to be a working for a terrorist, eagerly serves him one made with Martini & Rossi Extra Dry vermouth, garnished with a thin twist of lemon.

“Here’s to Operation Grand Slam.”

* Bond did indeed drink “shaken, not stirred” martinis in Dr. No, but this is the first time we actually hear 007 himself utter the words.

How to Get the Look

Bond’s totally black outfit may not be the most tactically sound outfit for sneaking around at night, but his ensemble is certainly more fashionable – albeit less practical – than the military-inspired fatigues that later 007 actors like Pierce Brosnan would wear in similar situations.

• Black knit short-sleeve polo shirt with 3-button collar
• Black merino wool v-neck long-sleeve sweater
• Black wool flat front trousers with 3-button “Daks top” side adjusters and plain-hemmed bottoms
• Black leather plain-toe ankle boots with elastic side gussets
• Black ribbed merino wool socks
• Rolex Submariner 6538 wristwatch with stainless case and black dial on an undersized striped RAF strap

The Gun

Although Goldfinger is often considered to be the quintessential James Bond movie, it interestingly reduces the role of his iconic Walther PPK sidearm to a brief appearance in the pre-credits sequence. After that, he is only armed with Walther P38 pistols – one of his own and one taken from a careless guard in Kentucky.

The Walther P38 was first designed for the rapidly advancing German military in 1938 – hence its nomenclature. It was intended to replace the recognizable but costly Luger pistol, and the first production models rolled out of the Walther factory in Zella-Mehlis by the middle of 1940. Like its legendary predecessor, the P38 was loaded with a single-stack box magazine containing eight rounds of 9×19 mm Parabellum ammunition. However, the Luger’s distinctive toggle-lock action was abandoned in favor of a more conventional locked-breech short-recoil system. As the Walther factory was destroyed during the war and Germany was banned from producing weapons for more than a decade following, production on the familiar P38 was halted until 1957. Wartime P38 pistols were rounded up and resold once the imprinted swastikas were removed. The new generation of Walther P38s were christened the “Pistole P1” and manufactured through the year 2000 while serving as the standard sidearm for German military and police forces. Interestingly, Germany’s last death penalty in 1981 was conducted with a silenced Walther P38.

Bond takes aim with his seat-concealed Walther P38.

Though not seen in the finished film, publicity material for Goldfinger showed a drawer under the seat in Bond’s new DB5 that carried a Walther P38. It is presumably from this concealed drawer that Bond produced his P38 used during the gunfight outside Goldfinger’s factory.

Do Yourself a Favor and…

Buy the movie.

The Quote

I think you made your point. Thank you for the demonstration.

Goldfinger gets the upper hand though, replying with “Choose your next witticism carefully Mr. Bond, it may be your last.”

Bond came very close to losing his thunderballs!

Footnotes

Tim Siedell tweeted a brilliant interpretation of the most iconic quote from this scene a few years ago.

Link to Tweet.

George Clooney as Danny Ocean in Ocean’s Eleven (2001).

Vitals

George Clooney as Danny Ocean, smooth-talking casino heister and con man

Las Vegas, Summer 2001

Film: Ocean’s Eleven
Release Date: December 7, 2001
Director: Steven Soderbergh
Costume Designer: Jeffrey Kurland

Background

Although he aimed to distance himself from the original Ocean’s Eleven as much as possible with this 2001 remake, Steven Soderbergh must have realized that you don’t have George Clooney in a movie about slick Vegas con men without placing him in a tuxedo. Danny Ocean’s tux was a very welcome throwback to a time when people didn’t wear graphic t-shirts, cutoff jorts, and fanny packs to casinos. (Although, since Frank Sinatra didn’t wear a tuxedo at all in the 1960 film, it could be argued that Clooney’s dinner suit is more of a throwback to characters like Cary Grant‘s gentleman thief in To Catch a Thief.)

According to IMDB, the cast made the most of their time in the gambling capital of America by spending plenty of time at the tables. According to George Clooney, Matt Damon was the biggest winner, but Damon himself says it was Brad Pitt. No matter who won the most, it’s reported that Clooney lost at least 25 hands of blackjack in a row. No wonder Danny stuck to the slot machines.

What’d He Wear?

On the evening of the big heist, Terry Benedict (Andy Garcia) and his security team spot Danny hanging out at the slot machines while sporting a black wool tuxedo and a casually untied bow tie around his neck. Once he knows he’s gotten their attention, he straightens himself up and cleans up his appearance as he goes to see Tess.

Danny makes sure he looks his best when going to see the ex.

Danny’s black dinner jacket is double-breasted with wide satin-faced peak lapels and a low six-on-one button front. All buttons, including the three functional buttons on each cuff, are also covered in black satin. A buttonhole is stitched into the left lapel.

Most prisons don’t offer tuxedo-pressing services, much to Danny’s chagrin.

The double-breasted dinner jacket has a classic style with the straight padded shoulders offering a strong silhouette with a ventless back. The hip pockets are straight with satin jetting, and there is no breast pocket or any sort of lapel ornamentation.

Before and after prison. (This time, at least.)

Although he removes his jacket and shirt when carrying out the actual robbery, Danny keeps wearing his formal trousers. It’s a reasonable decision as it saves him both the time and effort of packing extra pants and changing in and out of them. Since he intends to look beaten up by Bruiser, it’s also a practical way to give the trousers some extra wear that the supposed beating would provide.

Danny’s formal trousers are flat front with a high rise to the waist and a single satin stripe down the side of each leg to the plain-hemmed bottoms. He has straight pockets which open just behind the side stripes and two jetted rear pockets.

Luckily for Danny, his formal trousers still look pretty good with his tactical t-shirt and vest.

Danny foregoes wearing a cummerbund, vest, or any other sort of waist covering. Not only would it be an extra garment to deal with during his repeated “costume changes”, but it’s also unnecessary with a double-breasted dinner jacket that entirely covers the waist.

Danny wears a white cotton shirt with a point collar and a piqué bib front designed to resemble the formal British Marcella shirt. The shirt takes four large black studs through the bib, which has a rounded bottom.

For the most part, Danny keeps his black satin bow tie untied which certainly isn’t the correct way to wear it but is more in keeping with the informality of 21st century Las Vegas. It is a refreshing indication that he is wearing a classic self-tie rather than a pre-tied or – gasp! – clip-on version. When he does tie it, it takes a large butterfly shape.

The cuff links worn through the shirt’s non-piqué square French cuffs are silver octagons with mother-of-pearl center settings.

Danny reaches into his goodie bag.

Danny’s shoes, which he wears with the trousers for both his time on the casino floor and down in the vault, are black leather 4-eyelet cap toe bluchers. Bluchers are typically considered to be too informal with a dinner suit, although patent leather bluchers would be more acceptable than the black calf that Danny wears. Balmorals or oxfords are considered to be the most formal contemporary dress shoes. Naturally, Danny wears a pair of fine black socks that extend far enough up the leg that they’re not seen when he’s flailing around during his faux beating from Bruiser.

Wouldn’t he look worse than this after a few hours of sustained beating? Benedict should’ve been suspicious… oh wait, he was.

Other than his wristwatches, Danny’s only piece of jewelry is the plain silver wedding band that he wears on the third finger of his left hand. Unlike Tess, he makes no claim to having gotten rid of it.

Sly!

Danny’s wristwatch is a Hamilton Linwood Viewmatch powered by an automatic 25-jewel movement, an elegant, reliable, and practical choice for a man who embodies all three. The round 38 mm case is polished stainless steel, worn on a 16 mm-wide black crocodile leather strap that fastens through a steel tang buckle. The textured silver dial has gold-toned hands, plain gold and black hour markers, and a small date window at 3:00.

The Hamilton is Danny’s primary watch throughout Ocean’s Eleven.

During the actual heist, Danny wears a second watch – an all-black Luminox with white numerals on the black dial and rotating black bezel. It lacks a sub-dial and is most likely a variant of the Luminox 3000 series, similar to the Luminox 3001 worn by Paul Walker in The Fast and the Furious, also released in 2001.

No bandit team is complete without matching watches…

Evidently, the Luminox is standard issue for Danny’s heist team as Linus Caldwell (Damon) wears the exact same one.

The actual heist also finds Danny sporting a black cotton crew neck short-sleeve t-shirt and a black leather vest, both of which he was supposedly wearing underneath his formal jacket and shirt. The black leather vest covers his whole torso with velcro straps over each shoulder and a short zipper under the left arm. He also dons a pair of black tactical gloves. Since Danny’s operation is mostly inside and incorporates his black formal trousers, this is a better use of black covert attire than 007 sported in Goldfinger as I featured in Wednesday’s post.

…and matching vests.

Of course, Danny’s overdressing leads to a very entertaining exchange when he leaves the pokey after a few months for violating parole and runs into his much flashier lieutenant.

Rusty: (re: Danny’s tuxedo) I hope you were the groom.
Danny: (re: Rusty’s awful shirt) Ted Nugent called. He wants his shirt back.

Although the scene is meant to evoke the opening of the film when Danny is released from prison in black tie, it should be pointed out that the two tuxedoes are different. Notably, the first dinner jacket is single-breasted with notch lapels. Danny wisely opts for the more luxurious double-breasted dinner jacket when carrying out the film’s climactic heist.

Danny’s dinner suit from the opening scene is clearly different than the one he later wears in Vegas. That’s one classy con man!

Clooney again sports a black single-breasted dinner jacket with notch lapels in Ocean’s Thirteen during that film’s casino con.

How to Get the Look

Danny Ocean is a throwback to an era of “honor among thieves” before a trip to Las Vegas meant seeing old t-shirts and ratty cargo shorts. You’d be hard-pressed to find any other man in this day and age who takes so much pride in his appearance while committing a crime.

• Black wool double-breasted dinner jacket with wide peak lapels, 6×1 satin-covered button front, jetted hip pockets, 3 satin-covered functional cuff buttons, and ventless back
• Black wool formal trousers with satin side stripe, on-seam side pockets, and plain-hemmed bottoms
• White cotton formal shirt with point collar, piqué bib front with 4 black studs, and double/French cuffs
• Black satin butterfly-shaped bow tie
• Silver octagonal cuff links with white mother-of-pearl centers
• Black calf leather 4-eyelet cap-toe bluchers
• Black dress socks
• Hamilton Linwood Viewmatch wristwatch with a polished stainless steel case and textured silver dial on a black crocodile leather strap
• Silver plain wedding band

Do Yourself a Favor and…

Buy the movie.

The Quote

There’s a ninety-five pound Chinese man with 160 million dollars behind this door.

Footnote

I thought I was so clever by putting this Ocean’s Eleven post on October Eleventh. If anything, I’m just a nerd.

An Italian poster for For a Few Dollars More (1965), featuring Lee Van Cleef as Colonel Douglas Mortimer.

Vitals

Lee Van Cleef as Douglas Mortimer, taciturn Old West bounty hunter and former U.S. Army Colonel

El Paso, Fall 1873

Film: For a Few Dollars More
Release Date: November 18, 1965
Director: Sergio Leone
Costume Designer: Carlo Simi

Background

Where life had no value, death, sometimes, had its price.

That is why the bounty hunters appeared.

…is how For a Few Dollars More introduces itself after blazing onto the screen, underlined by yet another iconic Ennio Morricone score. Clint Eastwood returns to the Sergio Leone spaghetti western scene as one of these bounty hunters, a laconic loner referred to only as “Manco”. While his dress and demeanor would imply that this was the same character he portrayed in A Fistful of Dollars the previous year, a lawsuit actually prevented Leone from using Eastwood’s “Joe” character from that film. Thus, the “Man with No Name” was born more out of legal necessity than artistic intention.

Manco is surprised to find himself facing off against a rival bounty hunter, described as having “once been a great man… a soldier”. Indeed, Colonel Douglas Mortimer had risen far in the ranks of the U.S. Army before family tragedy struck. The sole focus of Colonel Mortimer’s life has become vengeance for his sister, who took her own life after she was ravaged by the drug-addicted psychopath El Indio. While Mortimer certainly carries out the tasks of a bounty hunter – quite effectively, too – it is his personal mission that drives him more than the promise of a reward. After an entertainingly ridiculous showdown in the street, Manco and Mortimer decide their efforts would be better spent joining forces.

Lee Van Cleef was no stranger to the Western genre as his first film role was as Jack Colby, one of the gunslinging gang members that takes on Gary Cooper’s Marshal Will Kane in High Noon. Thirteen years later, Van Cleef was a familiar face to fans of Westerns and crime flicks, but he had yet to land a major part other than a singularly-named flunky. After Henry Fonda, Charles Bronson, and Lee Marvin had all passed on the role for various reasons, Leone turned to the reliable Van Cleef. In what must have been a very fortuitous discovery for Van Cleef, the actor assumed he would be filming a few scenes as usual and was pleasantly surprised to find out that he was actually the co-star.

The success of For a Few Dollars More had many critics taking notice of Van Cleef’s tough but sympathetic portrayal of Colonel Mortimer, finally breaking him out from more than a decade of small but dependable performances. Leone cast him as “The Bad” in The Good, the Bad, and the Ugly, released the next year and often considered to be one of the greatest Westerns of all time.

What’d He Wear?

Colonel Mortimer’s dark outfit nicely complements his Stygian task. He alights from the train in Tucumcari (which wasn’t founded until 1901 and wasn’t named until seven years later) wearing a black wool Ulster coat over his ensemble. Mortimer’s coat extends down past his knees with a long over-cape around his shoulders that flaps over the double-breasted front. A single set of five cloth-covered buttons run down each side of the chest.

Colonel Mortimer makes some moves in Tucumcari.

A true Ulster is a coat with both sleeves and a cape, dating back to the early 1800s and popular among Old West figures like lawman Charlie Siringo. The Ulster has been erroneously confused with the Inverness, which lacks the sleeves of the Ulster and is technically a much simpler garment consisting only of armholes connected to a cape. Although Arthur Conan Doyle often described Sherlock Holmes as wearing an Ulster, contemporary illustrations usually depicted the detective in an Inverness cape… as well as a deerstalker cap that was never specifically mentioned in any of Doyle’s original stories.

Mortimer wears his Badass Longcoat during most of his time in Tucumcari, but he ditches it for the majority of his adventures with and against Manco. Beneath the Ulster, Colonel Mortimer wears a black frock coat, brocade vest, and wide necktie.

Settling some business at the local bank.

Mortimer’s black wool frock coat is single-breasted, as opposed to the more formal “Prince Albert” double-breasted coat, with two covered buttons at the waist. Mortimer’s frock coat has moderately wide fishmouth-style notch lapels.

As a simpler man in a more rugged setting, Mortimer wears a no-frills frock coat with 2-button plain cuffs that lack the popular “turnback” sleeves often found on coats of the era. Like those on the front and back of the coat, these buttons are covered in the same cloth.

The waist is pulled in with an excessively flared skirt that extends down to his hips. Outer pockets were not common on early frock coats, but Mortimer has two large straight flaps on the waist that would indicate pockets.

Mortimer kindly steps over to pick up his hat.

Although not an exact replica, the Highland Frock Coat by Wahmaker, available both on Amazon and at The Gentleman’s Emporium, includes many similar features as the coat sported by Colonel Mortimer.

Mortimer’s brown wool trousers have a flat front with belt loops. His trouser belt is brown leather with a square brass single-claw buckle. The trousers appear to be totally devoid of outer pockets, although it is possible that they have straight front pockets that are concealed by his gun belt or waistcoat. There are almost definitely no rear pockets. Mortimer tucks the bottoms into his boots.

Thanks to Hollywood, we know that brocade vests must have been the waistcoat of choice for well-dressed gentlemen in the Old West. Mortimer wears a flashy black garment with a paisley floral gold motif throughout. It is double-breasted with slim shawl lapels, a flat bottom, and a tight 6-on-3 button layout on a tapering “V”-shaped front panel. Like the coats, all of the vest buttons are covered in the same fabric. The vest has two welted pockets. The back lining of the vest is blue-gray silk with an adjustable strap.

When down to his waistcoat, Colonel Mortimer is much more receptive to guests.

Mortimer keeps the plot-driving gold watch in the vest’s right pocket, slung across his abdomen with a gold chain that connects to his left pocket.

Who needs a Rolex?

Colonel Mortimer wears a light gray flannel shirt that reveals a subtle herringbone pattern when seen in close-ups. The excessive sweat and sand that are inevitably part of Mortimer’s Southwest travels often dirty up his shirt to give it a tan appearance in some light.

Peeping Toms were much less subtle in the 1870s.

Mortimer fastens the squared cuffs of his shirt with large flat links of dulled brass.

These cuff links are worn solely for function, as there’s very little that’s fashionable about them.

Under the large spread collar of his shirt, Mortimer wears a black wool necktie, tied with an excessively large knot. A pearl stickpin through the top of the excessively large knot keeps it in place. (Does anyone know what this type of knot is called? The closest definition I could find was “scrunchie cravat” which just doesn’t seem that accurate to me…)

An example of the shirt looking more tan than gray. Dammit, Sergio.

Mortimer also spends the entire movie wearing his same tall black leather knee-high riding boots. The boots are relatively plain with plain toes and no excessive decorative stitching other than the simple curved “crown” above the counter and up around the tongue, separating the lower instep from the upper shaft. The collar is straight around the calves with no pull straps, although a small patch can be seen that looks like the pull straps have been torn off.

Mortimer’s corpse-steppin’ boots.

The rest of Mortimer’s accessories and gear are also black. He wears a black 10X fur felt hat – which I’ve heard may have been a genuine Stetson – with a thin black grosgrain ribbon, low crown, and low edge-curled 5″ brim.

When Lee Van Cleef is aiming a .45-caliber revolver with a 10″ barrel, this isn’t the side you want to be looking at.

Mortimer’s plain black gun belt has cartridge loops along the right side and center with a steel-lined holster rig for his long-barreled Colt Buntline Special. The rig is worn on the left side for a right-hand cross draw.

Both of Mortimer’s belts – his trouser belt and his black gun belt – are seen as Manco directs the standoff against El Indio.

Replicas of Colonel Mortimer’s hat and gun belt can be ordered from this site for $250 and $500, respectively.

Go Big or Go Home

Colonel Douglas Mortimer smokes and drinks just as much as you’d expect from any Old West badass. He downs many shots of whiskey both by himself and after teaming up with Manco, and his distinctive Peterson Meerschaum pipe provides a definitive character moment in the opening scene.

You just don’t look the same making that face while puffing on a Camel Light.

Though he has a fairly laconic demeanor, Mortimer doesn’t display any of the excessive braggadocio of the younger Manco. Mortimer is more experienced and far more patient bounty hunter who will take the time needed to act appropriately rather than acting quickly and rashly and hoping everything works out. His pragmatism and purpose make him – in my opinion – a better and more watchable character than the Clint’s considerably one-dimensional “Man with No Name”.

One of my favorite scenes in any Western occurs early in For a Few Dollars More after Colonel Mortimer arrives in Tucumcari hot on the heels of escaped outlaw Guy Calloway. Although Calloway is a reckless wild man, Mortimer is able to calculate the moves necessary to trap him and shoot him down in the street.

Unlike Manco, who would fire a few shots from the hip without even blinking as cheroot smoke wafts into his eyes, Mortimer approaches the situation realistically and efficiently. When cornering Calloway in his hotel room didn’t work – as he expected it may not have – he followed the fugitive down to the street, carefully but quickly selected and assembled the appropriate weapon needed to bring him down… and then did so.

How to Get the Look

This look doesn’t fit in as well on a 2015 street as it may have 140 years ago, but it’s still a classic look from an iconic Western character… certainly appropriate for any upcoming costume parties.

• Black wool single-breasted frock coat with fishmouth notch lapels, 2-button front, straight flapped hip pockets, plain 2-button cuffs, and decorative 2-button back over split vents
• Black-and-gold floral paisley double-breasted brocade vest with slim shawl lapels, 6×3 “V”-shaped button front, and welted pockets
• Brown wool flat front trousers with belt loops and no outer pockets
• Brown leather belt with squared brass single-claw buckle
• Light gray herringbone flannel shirt with large spread collar, plain front, and squared single cuffs
• Black wool large-knotted necktie
• Pearl tiepin on a silver star backing
• Large flat brass cuff links
• Gold pocket watch on a gold chain
• Black plain leather knee-high riding boots
• Black leather cross-draw gun belt with steel-lined SAA holster and cartridge loops
• Black fur felt wide-brimmed Stetson hat with 1″-wide black grosgrain ribbon
• Black wool ankle-length Ulster coat with shoulder cape, 10×5-button double-breasted front, and sleeves with plain 2-button cuffs

The Guns

“Beware the man with only one gun,” is the old mantra, but Colonel Mortimer gives his enemies plenty of reasons to beware despite the multitude of firearms he carries in his saddle bag. Film lore also has it that Lee Van Cleef was a quicker draw than Clint Eastwood, needing only 1/8 of a second – or three frames of film – to draw, cock, and fire his single action revolvers.

Mortimer’s holstered revolver is a Colt Buntline Special, the legendary long-barreled variant of Colt’s venerable Single Action Army that Stuart Lake falsely described as Wyatt Earp’s preferred sidearm in his 1931 fictionalized biography of the lawman. Earp’s Buntline was meant to have a 12″ barrel, but Mortimer’s model is a Uberti replica with a 10″ barrel, supposedly more practical for carrying in a hip holster. (Spoiler alert: no 10″-barreled weapon is at all practical for any holster.)

Colonel Mortimer should really invest in a gun rack or at least some form of storage rather than just leaving his pieces on the ground.

It is this 10″-barreled Buntline Special that Mortimer patiently affixes a shoulder stock onto before shooting down Guy Calloway in the dusty streets of Tucumcari. Another Buntline Special – this one with a wildly long 18″ barrel – is spotted in Mortimer’s saddle bag.

Also seen in Mortimer’s saddle bag is a Winchester Model 1892 Saddle Ring Carbine, a Colt Lightning rifle, and a classic double-barreled shotgun with exposed hammers. Mortimer uses the lever-action Winchester to shoot Calloway’s horse during the oft-described Tucumcari scene.

Mortimer opens his saddle bag to reveal a 2nd Buntline Special, a Colt Lightning rifle, a Winchester ’92 carbine, and a shotgun.

The Colt Lightning is an interesting rifle, using a slide-action as commonly seen on modern pump shotguns. Initially chambered for the .44-40 Winchester centerfire round, ubiquitous in the Old West, it was later blown out to three different frames to accommodate cartridges ranging from the diminutive .22 Short up to the big game-killing .50-95 Express. Up to fifteen rounds fit in the rifle’s under-barrel tubular magazine, with eight rounds loaded into the shorter-barreled Carbine model. Production only lasted twenty years with no major adoption outside of the San Francisco PD*, as the slide-action Colt Lightning never matched the success of Winchester’s massively popular lever-action rifles.

* The SFPD actually adopted a .44-40 variant of the Colt Lightning, providing an interesting (but tenuous) connection to Clint Eastwood’s famous .44 Magnum-carrying SFPD inspector.

Both the Winchester ’92 and the Colt Lightning are anachronistic for the supposed 1870s setting, as the Colt Lightning was developed in 1884 and the Winchester Model 1892 was introduced in… well, I’m sure you can figure that one out.

Of course, as “the man with many guns”, Mortimer has one more trick up his sleeve. One of El Indio’s lackeys is unpleasantly surprised by a .41-caliber round from the blued Remington Model 95 Double Derringer hidden inside Mortimer’s coat cuff. It was likely this mechanism that inspired Quentin Tarantino’s bounty hunter Dr. King Schultz (Christoph Waltz) to carry a similar device in 2012’s Django Unchained. The Remington Model 95 is instantly recognizable for its over-under barrel, spur trigger, and bird’s head grip.

Mortimer gets the drop on some baddies.

(For trivia’s sake, IMFDB informs us that all weapons seen in For a Few Dollars More were supplied by the Italian firm Aldo Uberti, Inc. Uberti is now known for producing quality reproductions of revolvers and rifles from the Old West era, spanning from the Colt Walker in 1847 through the Winchester 1885 “High Wall” falling-block rifle.)

Do Yourself a Favor and…

Buy the movie.

The Quote

When two hunters go after the same prey, they usually end up shooting each other in the back. And we don’t want to shoot each other in the back.

Footnote

Thanks to blog commenter Roman for suggesting two years ago that I write about Colonel Mortimer and his attire. Better late than never!

Robert De Niro as Al Capone in The Untouchables (1987).

Vitals

Robert De Niro as Al Capone, legendary Chicago mob boss

Chicago, October 1931

Film: The Untouchables
Release Date: June 3, 1987
Director: Brian De Palma
Costume Designer: Marilyn Vance
Wardrobe Consultant: Richard Bruno
Tailor: Henry Stewart

Background

Before Stephen Graham blazed into Capone’s shoes on Boardwalk Empire, Robert De Niro’s extremely method performance of Al Capone in The Untouchables was considered to be the epitome. De Niro infused his performance with the menacing charm that allowed a violent psychopath like Capone to rapidly climb his way up the ladder of the underworld. The extent of Capone’s criminal empire, culminating with the notorious St. Valentine’s Day Massacre in 1929, has lived on to define the Roaring Twenties… or more specifically, Prohibition era Chicago.

Obviously, The Untouchables‘ director Brian De Palma had always been interested in bringing Capone’s story to the big screen. The original Scarface from 1932 was a loose retelling of the real Capone’s story. De Palma initially envisioned keeping the original setting when he remade it, although it obviously became the ’80s cocaine epic we all know and love today. Four years after De Palma’s Scarface hit theaters, The Untouchables made the story of Capone’s undoing accessible to audiences with a clear-cut hero in the form of crusading Treasury Department agent Elliot Ness. Of course, Ness’ actual role in Capone’s downfall has been all but discredited, and the true credit belongs largely to U.S. Attorney George E.Q. Johnson and IRS agent Frank Wilson.

On October 17, 1931, Al Capone was finally convicted of income tax evasion after a colorful decade at the top of the organized crime racket in Chicago. 84 years later, BAMF Style is taking a look at one of the most famous portrayals of the brash, headstrong young gangster.

What’d He Wear?

For the dramatic confrontations between Ness and Capone (which were fictionalized by the filmmakers, but that’s neither here nor there), Robert De Niro wears light gray three-piece suits cut from designs by the real Al Capone’s original tailors.

De Niro takes a few sartorial nods from the real Al Capone, right down to the turnback sleeve cuffs.

Noted for his method acting, De Niro personally tracked down Capone’s tailors so he would have identical clothing for The Untouchables, all then made by New York tailor Henry Stewart. Stewart told South Florida’s Sun-Sentinel around the time of the film’s release that he was dismayed by all the publicity that Giorgio Armani was receiving for his role in the production as Armani had nothing to do with De Niro’s wardrobe:

I was sitting in the theater during the premiere of the film. De Niro had even given me the tickets. And everyone started applauding when Armani’s name came on the credits… I felt like a real dummy.

Although he passed away in 1993, BAMF Style wants to ensure that Henry Stewart continues to receive due credit for his work in bringing Capone to life on screen through De Niro’s costumes.

After a major death in the film, Ness confronts Capone on the lobby stairs of the Lexington Hotel which the gangster had made into his headquarters. Capone, his son, and his bodyguards are heading to a baseball game – as they often did – although Capone hardly looks like a man dressed for baseball in his gray silk three-piece suit.

A year later in court, Capone again wears a gray silk suit, although this is a lighter-colored and hardly one that an average man would wear for such a serious occasion.

Both suits have single-breasted jackets with wide, pointed peak lapels that sweep down to a single-button closure at the waist. The jackets have broad, padded shoulders with roped sleeveheads. The hip pockets sit straight on the waist with slim flaps, and a white linen pocket square pokes out of the welted breast pocket.

Although he played a great Al Capone, De Niro can’t help but to make a good De Niro face.

Best seen during the courtroom scenes, Capone’s suit jacket also has “turnback”-style 3-button cuffs, a natty throwback to a more Edwardian custom. Turnback cuffs were also a staple on many of Nucky Thompson’s early suit jackets on Boardwalk Empire and were also found on James Bond’s first dinner jacket in Dr. No.

Underneath both suit jackets, De Niro wears a white dress shirt with a large spread collar, front placket, and French cuffs fastened with silver links. He wears a black silk tie on the Lexington stairs and a dark navy silk tie in court. The subtle tonal pattern in the latter tie is very reminiscent of the tie worn in this photo, which Gentleman’s Gazette mentions actually features a lime green suit.

Capone’s dark navy tie is best seen as he receives the horrifying news that he’ll be receiving a fair trial.

The vest – or waistcoat – of each suit has six buttons down the single-breasted front to the notched bottom. He wears a gold pocket watch in one of the two lower welt pockets with a gold chain across his belly.

Capone’s high-waisted flat front suit trousers have straight side pockets, cuffed bottoms, and belt loops. He even wears the trousers with a belt, even though many men prefer suspenders or side-adjusted trousers when wearing a vest. His belt, best seen in the opening shave scene, is black leather with a large silver buckle.

“On a boat, it’s bootlegging. On Lake Shore Drive, it’s hospitality. I’m a businessman!”

De Niro’s Capone also wears a pair of black calf leather cap-toe balmorals with black silk socks. In fact, the socks were another item specifically mentioned in the Sun-Sentinel article by De Niro’s wardrobe consultant Richard Bruno, who reported that they “sent his silk cotton lisle socks to [Sulka] in Paris to have the special clocks sewn on them.”

In addition to the socks, De Niro had his dressing gowns and robes monogrammed following Capone’s same pattern found in the Sulka archives. De Niro’s insistence on wearing the same style of silk underwear as Capone is now well-cited as a trait of his method acting. However, costume designer Marilyn Vance testifies that this decision wasn’t as eccentric as it might seem: “De Niro knew it was there… he needed to feel the richness, the essence of the character.”

The real Al Capone would’ve been proud of De Niro’s dedication… although I’m not sure if it’s a good thing for Al Capone to be proud of you.

For the confrontation on the stairs of the Lexington Hotel, De Niro wears a luxurious knee-length camel hair overcoat with a brown velvet collar. The coat is double-breasted with six tan horn buttons and peak lapels, each with a stitched buttonhole. It has a welted breast pocket, flapped hip pockets, and buttons on the end of each sleeve.

A production photo appears to have caught De Niro in a moment of indigestion.

Headed out for the day, Capone also dons a white felt fedora with a wide black grosgrain ribbon. Bruno recalled a story to the Sun-Sentinel that found him driving the streets of Chicago with Capone’s former bodyguard, and the two ended up in the basement of one of Capone’s old hat shops where they discovered two white Borsalino hat bodies that bore the initials of a Capone alias. Bruno used these hat bodies to create the hats worn by De Niro in The Untouchables.

Capone’s final outerwear accessory is a pair of large tortoise-framed sunglasses with brown tinted lenses.

Are the glasses an Armani item? Or did De Niro totally eschew the brand association?

Although they may be vintage-inspired, the style of the sunglasses is more 1980s than ’30s as most sunglasses that I’ve seen from the era have had thin wire frames. Luxury eyewear firm Maison Bonnet has introduced a pair of “Al Capone” acetate-framed sunglasses that were evidently inspired by a real pair worn by the gangster in 1941 after his release from Alcatraz.

Like every flashy gangster should, Capone wears a large gold pinky ring on his left hand. The setting is a dark rectangular stone.

How to Get the Look

It’s okay to call a vicious criminal like Al Capone a BAMF when he’s played by a true BAMF like Robert De Niro. In these scenes, De Niro’s tailored attire gives him an authentic degree of coolness that, ironically enough, the real gangster likely never attained.

• Gray silk tailored suit, consisting of
  • Single-breasted 1-button jacket with wide peak lapels, welted breast pocket, straight flapped hip pockets
  • Single-breasted 6-button vest with two lower welt pockets and notched bottom
  • Flat front high-rise trousers with belt loops, straight side pockets, and turn-ups/cuffed bottoms
• White dress shirt with large spread collar, front placket, and double/French cuffs
• Dark silk necktie
• Silver cuff links
• Black leather belt with large silver buckle
• Black calf leather cap-toe balmorals
• Black silk Sulka dress socks
• Silk monogrammed underwear
• White felt Borsalino fedora with black grosgrain ribbon
• Tan camelhair double-breast overcoat with wide peak lapels, dark brown velvet collar, 6×2 button front, welted breast pocket, and flapped hip pockets
• Tortoiseshell-framed sunglasses with brown tinted lenses
• Gold pocket watch on gold chain
• Gold pinky ring with dark rectangular setting

Do Yourself a Favor and…

Buy the movie.

The Quote

You can get further with a kind word and a gun than you can with just a kind word.

Footnote

When we first meet Capone, he is getting a shave from his personal barber at the Lexington Hotel, surrounded by reporters eager to hear every word leaving his mouth. According to IMDB, the barbershop set was filled with a number of actual products like cologne bottles and shaving brushes that had been owned by the real Al Capone.

For a great breakdown of the real Capone’s style, check out Gentleman’s Gazette. The Gentleman himself, Sven Raphael Schneider, nicely summarizes the unfortunate fact that Capone knew how to put himself together as a fashionplate of the era:

At the same time he is a good example that it takes more to be a gentleman than just nice clothes. No matter how nice a criminal dresses and how elegant he portrays himself, he will remain a criminal.

According to Schenider’s extensive research, the Capone we see in The Untouchables is outfitted very accurately to his real life counterpart.

Robert Redford as Nathan Muir in Spy Game (2001).

Vitals

Robert Redford as Nathan Muir, shrewd CIA case officer

Langley, VA, April 1991

Film: Spy Game
Release Date: November 21, 2001
Director: Tony Scott
Costume Designer: Louise Frogley
Redford’s Costumer: David Page

Background

After Brad Pitt spent roughly the first decade of his career being compared to Robert Redford, Tony Scott’s Spy Game paired the two actors as a world-weary CIA officer and his idealistic trainee.

The bulk of the action is set in April 1991 as the Cold War is whispering its final breaths and the world’s intelligence agencies begin looking for a new paranoia to exploit. Agent Tom Bishop (Pitt) has gone rogue, and his mentor Nathan Muir (Redford) is called in on the last day before his retirement to lend a helping hand to the new generation of overseers.

Harker: If these walls could talk, huh? All this history, I envy you.
Muir: Then bag your job, you can be just like me.
Harker: No, really. The debt this country owes you guys…
Muir: Chuck, are you gonna dance with your hand on my ass all night, or are you gonna make your move?

Luckily, Muir’s instincts don’t fail him as he spends the next 24 hours outwitting the chiefs’ attempts to let Bishop fry. Spy Game channels the great Three Days of the Condor from Redford’s similar attire to his shared suspicion of intelligence networks. His paranoia isn’t unfounded, as he keenly warns his assistant while making covert preparations: “When did Noah build the ark? Before the rain.”

What’d He Wear?

When Robert Redford was cast in Spy Game, he was no stranger to the role of a rugged and resourceful CIA operative; his portrayal of Joe Turner in the definitive ’70s espionage thriller Three Days of the Condor has been praised by many (including BAMF Style!) for his iconic style. In the 1975 film, Redford played a bookish researcher working for a CIA deep cover office in New York City. His attire consisted of a herringbone tweed sport coat, blue chambray shirt, knit necktie, blue sweater, and jeans… as well as a natty pair of glasses.

Nearly 30 years later, Redford returned to service with The Company as veteran case officer Nathan Muir. Though certainly not the same character (although that does lend itself to some fun conspiracy theories…), Muir’s wardrobe is almost certainly a nod to Redford’s earlier role. As a dressier, more “office-appropriate” version, Muir ditches the jeans and sweater, but the rest of the outfit is damn near similar – right down to the striped knit tie.

Muir’s comfortable, understated look makes him look unassuming enough to fool the CIA brass questioning him on his last day.

Muir and Condor both sport a nearly identical herringbone tweed sportcoat, although the details of Condor’s jacket had been more influenced by ’70s fashions. The different contexts of the two films demonstrate the versatility of the herringbone tweed sport jacket.

The black and white herringbone on both jackets is large-scaled, differentiating the pattern as herringbone even from a considerable distance. Muir’s coat is single-breasted with moderate notch lapels, and the left lapel has a buttonhole. This buttonhole and all others on the jacket have been stitched with a brown thread.

Muir’s jacket is slightly oversized, evident by the width of its slightly padded shoulders on Redford’s frame. The front has a low, 2-button stance with two black leather cluster buttons. The four buttons on each cuff are smaller versions of the black front buttons.

Both Condor’s and Muir’s sportcoats both have welted breast pockets and straight hip pockets, although Condor’s hip pockets have visible outer flaps while Muir either tucks his in or doesn’t have flaps at all. The only other major difference is that Muir’s jacket has double rear vents and Condor’s has a long single vent.

Since the actual CIA office likely has a more stringent dress code than the “literature society” in Three Days of the Condor, Muir shows up at the office wearing charcoal blue trousers instead of Condor’s jeans. The trousers appear to be plain front with a single dart on each front side to give them more room over the hips and a slightly higher rise extending above both sport coat buttons. The trousers have straight side pockets and jetted rear pockets that each close through a button.

Muir struts around the office during an interrogation.

Muir wears a dark brown textured leather belt through his trouser loops, fastened in the front through a rectangular steel single-prong buckle.

Muir wears a blue dress shirt with a soft, casual texture that evokes the chambray snap shirt Redford wore three decades earlier in Condor.

Lunch!

Muir’s shirt has a large collar with a moderate spread the he wears unbuttoned throughout the day. The shirt has a large fit with the shoulder seams falling well below each shoulder. The long sleeves, which close with one button on a rounded cuff, extend past his wrists as well. Each sleeve gauntlet also closes with a single button.

The front of the shirt has a large patch pocket, and it closes with dark blue plastic buttons down a placket. The back of the shirt has a straight yoke across the top with a box pleat down the center below the loop.

Muir settles in with a bottle of Scotch for a long night at the office.

Muir’s dark wool knit tie is subtly striped with dark navy and olive brown horizontal stripes of the same width. The tip of the tie is pointed unlike the many flat-bladed knit ties worn by Sean Connery as James Bond.

A production photo of Robert Redford offers the best lighting for deciphering his tie.

After his overnighter in the office, Muir pulls a Draper and whips out a backup shirt. This second shirt is off-white with white buttons, a top-stitched breast pocket, and rounded button cuffs.

“Operation Dinner Out is a go.”

Under both shirts, Muir wears a typical white cotton sleeveless undershirt.

Muir spends plenty of time on the phone, doesn’t he?

Muir wears a pair of dark brown leather cap-toe bluchers with thin dress socks in a dark color, possibly charcoal but probably black.

Muir rolls into the office wearing a knee-length trench coat, a springtime outerwear standard. When he leaves the CIA building for the last time, we get a glimpse of the inner lining that appears to be the signature Burberry tartan plaid, consisting of a black and white check on a tan ground.

Checking out.

Whether it’s Burberry or not, Muir’s raincoat is made from a dark khaki-colored weatherproof fabric, likely cotton gabardine drill. The front is double-breasted with large, edge-stitched lapels and a loose belt around the waist with three D-rings on the back. Muir’s coat also has the front and back storm flap, button-down epaulettes over raglan sleeves, and buckle-strap cuffs that differentiate the trench coat from any old raincoat.

Muir’s open trench coat and loosened tie add a cheeky, devil-may-care attitude to his businesswear.

Muir’s tortoise-framed Oliver Peoples “Riley” eyeglasses are anachronistic through most of the film as OP wasn’t founded until 1986, but they would be appropriate for these scenes set in 1991 as very suitable frames for a savvy, analytical spymaster.

Muir’s eyes look far more shrewd and calculating through the lenses of his Oliver Peoples specs.

To combat the sun, Muir dons a pair of equally timeless Ray-Ban aviator-style sunglasses with large gold metal frames. Ray-Ban currently offers the RB3025 L0205 Aviator Classic with dark green lenses for a cool $150.

Yet another phone for Muir!

Muir’s wristwatch is a 41mm stainless Victorinox Swiss Army Officer’s 1884 with a white dial, firmly secured to Muir’s right wrist on a stainless link bracelet.

Muir lets his accessories shine while enjoying his morning coffee.

Muir wears two rings. The third finger of his right hand sports the standard silver ring given to Redford by a group of Hopi Indians in 1966 that has featured in most of the films he’s made since. A gold wedding band adorns the ring finger on his left hand, symbolizing both his actual marriage and the three additional fictional marriages he used for cover stories.

Go Big or Go Home

As he earlier told Bishop: “Technology gets better everyday. That’s fine, but most of the time all you need is a stick of gum, a pocket knife, and a smile.”

Spy Game puts plenty of focus on generations. The CIA top brass is comprised of ultra-reactionary conservatives looking to protect their agency and their reputation; Bishop represents the “new breed” of quixotic visionaries putting principles before power. However, both find themselves totally at the whim of Muir, the only character truly able to adapt to both generations as he blends modern tech with old school tactics and style.

Muir’s commute finds him behind the wheel of a sporty ’68 Porsche 912. The classic car predates all of the action in the film – including flashbacks – but he’s still plenty comfortable on his cell phone while sitting in the driver’s seat. (Interestingly, the phone Muir uses is a Nokia 2100 series, which wouldn’t even be introduced on the market until 1994… three years after the film is set. IMDB is also quick to note that CIA headquarters’ windows and walls were designed to block radio transmissions, thus rendering Muir’s handy cell phone into a glorified paperweight by the time he gets to the office.)

Still, it’s the old-time spy tricks that give Muir his edge around the office. It isn’t a supercomputer that he relies on when blowing his life savings to save his buddy, it’s a fresh bottle of single malt Glenlivet given to him as a retirement gift. And the simple act of leaving behind a pack of cigarettes allows him to get his hands on the files he needs.

The twerpy assistant should have been tipped off that Muir was up to something given the fact that Morleys don’t actually exist.

As Muir says: ‘”Feels good to break a rule now and then.”

How to Get the Look

Love the Condor look but your office doesn’t allow denim? Dress it up with a pair of slacks instead of jeans, and you’ll be hoodwinking those heartless CIA directors in no time!

• Black-and-white herringbone tweed single-breasted sportcoat with notch lapels, 2 black leather cluster button front, welted breast pocket, jetted straight hip pockets, 4 black leather cluster button cuffs, and double rear vents
• Charcoal blue darted plain front trousers with straight on-seam side pockets, jetted button-through rear pockets, and turn-ups/cuffed bottoms
• Blue chambray dress shirt with large spread collar, breast pocket, button cuffs, and center rear box pleat
• Dark navy and olive brown horizontal-striped wool knit tie
• Dark brown textured leather belt with rectangular steel single-claw buckle
• Dark brown leather 5-eyelet cap-toe bluchers
• Black dress socks
• White ribbed cotton sleeveless undershirt
• Dark khaki Burberry cotton gabardine drill double-breasted belted trench coat with button-down epaulettes, raglan sleeves, handwarmer pockets, and single rear vent
• Victorinox Swiss Army Officer’s 1884 wristwatch with stainless 41mm case, white dial, and stainless link bracelet, worn on right wrist
• Silver Hopi Indian ring with black imprint, worn on right ring finger
• Gold wedding band, worn on left ring finger
• Oliver Peoples “Riley” tortoiseshell-framed eyeglasses
• Ray-Ban RB3025 gold-framed aviator sunglasses with dark green lenses

Do Yourself a Favor and…

Buy the movie.

The Quote

If I’m walking into a shit storm I wanna know which way the wind’s blowing.

Footnotes

Since I spend so much time comparing Redford’s look in Three Days of the Condor with that in Spy Game, how about you have a look for yourself?

Timothy Olyphant as Deputy U.S. Marshal Raylan Givens on Justified (Episode 1.03, “Fixer”).

Vitals

Timothy Olyphant as Raylan Givens, old school Deputy U.S. Marshal

Harlan County, Kentucky, Spring 2010

Series: Justified
Episodes:
– “Fixer” (Episode 1.03, Director: Fred Keller, Air Date: March 30, 2010)
– “The Hammer” (Episode 1.10, Director: John Dahl, Air Date: May 18, 2010)
– “The Moonshine War” (Episode 2.01, Director: Adam Arkin, Air Date: February 9, 2011)
– “Cottonmouth” (Episode 2.05, Director: Michael Watkins, Air Date: March 9, 2011)
– “The Spoil” (Episode 2.08, Director: Michael Watkins, Air Date: March 30, 2011)
– “Reckoning” (Episode 2.12, Director: Adam Arkin, Air Date: April 27, 2011)
Costume Designers: Ane Crabtree (Season 1) & Patia Prouty (Season 2)

Background

A laconic, black-suited lawman with a troubled personal life and deadly accuracy with a firearm. The first name that would come to mind for most people is Wyatt Earp. It’s no coincidence that Justified‘s showrunners also ensured that the description would fit Deputy U.S. Marshal Raylan Givens to a T.

You are every inch the goddamn gunslinger I’ve heard.

…is Judge Mike Reardon’s praise for Raylan in “The Hammer”, and it is a very apt description given the lawman’s throwback tendencies to an era when gunslingers roamed the dusty streets of the old west.

What’d He Wear?

Ah, the black suit. A controversial part of men’s fashion, black suits are typically considered inappropriate for day-to-day business lest one be mistaken for a clergyman or a hitman who is trying too hard. Black suits are often starter suits, purchased for awkward teenage boys by their parents for Bar Mitzvahs and high school dances. It’s still a useful suit to have in adult life – especially for funerals and evening functions – but many men make the mistake of sporting a black suit when they’d be better served wearing navy or charcoal.

Ever the individualist, Raylan Givens doesn’t follow these rules… nor does he necessarily need to. He already flouts sartorial convention by pairing suit jackets sometimes with jeans and always with cowboy boots. Death follows Raylan Givens wherever he goes, so it makes sense that his black suits throughout the series render him a walking funeral. In fact, Raylan’s black suits nicely evoke his dark, taciturn demeanor while also betraying the fact that this is a guy who cares little for fashion.

The Suit

Timothy Olyphant’s lean 6′ frame sporting a black suit, cowboy hat, and riding boots makes him look every bit the old-time lawman we know he is inside. Raylan wears at least three different black suits over the course of the show, sporting a new one every two seasons. The black lightweight wool suit he wears in the first two seasons can be differentiated by its 1-button jacket. He always pairs it in these early seasons with a blue shirt – often plaid – and a black tie.

Raylan sports a black suit, solid blue shirt, and black subtly-patterned tie for his investigation in Harlan County in “The Moonshine War” (Episode 2.01).

The quality of Raylan’s black lightweight wool suiting is discernible by examining the detailed pick stitching running along the edges of the jacket’s slim lapels and pocket flaps.

This suit’s jacket makes its first appearance in the second episode, but it doesn’t show up as a full suit until the subsequent episode, “Fixer” (Episode 1.03). The suit coat is very simple, minimal, and clean with a single-breasted front that closes with a low-stanced single black button.

Raylan proves that some situations don’t necessarily call for a cowboy hat… although there tend to be very few of those situations.

Raylan’s suit coat has a welted breast pocket and straight flapped hip pockets. The sleeves have roped heads and 4-button cuffs. There is a single rear vent in the back. The inside is lined with black silk, and there is a single jetted pocket on the inside of each panel.

The low rise trousers are just as basic as the jacket with a plain front and plain-hemmed bottoms. There are two jetted back pockets and two straight side pockets where Raylan often sticks his hands.

Coover Bennett lays the smackdown on Raylan in “The Spoil” (Episode 2.08).

All first season episodes and a few early second season appearances feature a very dark brown tooled leather belt with edge stitching along the top and bottom. The belt is so dark that it looks black in some lighting, but close-ups and its worn edges reveal that it is indeed black. It closes in the front through a slim, simple square steel buckle with a single prong. (Try saying that three times fast, Francis Dolarhyde.)

In “The Spoil” (Episode 2.08), Raylan wears a rust brown leather belt that is a little more matchy-matchy with his “cigar” brown boots.

Shirts and Ties

Not only does Raylan make snooty sartorialists cringe by frequently wearing black suits, but he also goes the distance by always wearing a blue shirt with his black! (A combination not endorsed by GQ until this spring, if that means anything to you.)

Shirt #1: In “Fixer” (Episode 1.03, this suit’s first appearance) and “The Spoil” (Episode 2.08), Raylan wears a triple-tone blue plaid cotton shirt with a pattern that can best be described as a smaller-scale buffalo check. The pattern is a blue check overlapping to create navy squares at each intersection, all on a lighter blue ground.

Even Raylan Givens can get his ass kicked, although a solid thrashing from the thickheaded Coover Bennett would probably knock anyone onto the floor. (From “The Spoil”, Episode 2.08)

The shirt is long-sleeved with a slim spread collar and a front placket with dark gray plastic buttons. The soft barrel cuffs close with a single button, and the patch breast pocket has a pointed bottom. Light blue contrast stitching is visible along the top of the pocket and about 1/4″ deep on the collar, placket, and cuffs.

Raylan stares down a potential adversary in “Fixer” (Episode 2.03).

Raylan wears this shirt with a plain, solid black tie in both of its appearances.

Shirt #2: The same solid black suit and tie show up in “The Hammer” (Episode 1.10) when Raylan goes to interrogate Doug E. Doug, whose character name doesn’t matter since he’s played here by Doug E. Doug. Raylan wears a different plaid shirt with a snap-down front. The more complex plaid consists of a dark blue multi-check and a wide brown gradient grid on a light gray ground. It has a super slim collar, brown contrast edge stitching, and two edge-stitched patch pockets with flaps that each close with a single snap.

Even Raylan is surprised to see Doug E. Doug returning to acting.

He secures the tie in place with a plain silver tie bar, a sporadic accessory for Raylan but also a smart method of ensuring his tie stays in place during one of his many quick-draw situations.

Shirt #3: Earlier in “The Hammer”, Raylan swapped out the blue plaid shirts and solid black tie for a blue chambray shirt and white diamond-dot tie. The shirt, which he also often wore with his gray peak-lapel suit, has a concealed button-down collar that gives the appearance of a standard slim spread collar. It has seven white plastic buttons down a front placket, two button-closed mitred patch pockets on the chest, and squared button cuffs.

Raylan redefines business dress in “The Hammer” (Episode 1.10).

Raylan sports another black tie with this shirt, although it has large white polka dots throughout. The tie – also secured with the same silver tie bar – is worn long with the blade extending down past Raylan’s belt.

…although he may have been advised to make that tie a little shorter.

Shirt #4: Raylan wears this same black suit into the second season. He wears it in the premiere, “The Moonshine War” (Episode 2.01), with another solid blue shirt, although this is a more traditional dress shirt with a spread collar, button cuffs, and double rear side darts. This metallic light blue shirt – with its slim front placket and no pocket – offers a simpler look than his more rugged alternatives from the first season.

A dressier Raylan can’t resist a swallow of the titular beverage in “The Moonshine War” (Episode 2.01).

This shirt makes another appearance with the same coat and tie six episodes later, although he swaps out the trousers for a pair of jeans.

Raylan’s slim silk tie with this outfit is also black, although it is subtly printed with a single white and a single brown rectangle, evidently placed along a subtle black curve.

Shirt #5: During a brief sequence in “Cottonmouth” (Episode 2.05) when Raylan visits the hapless dimwit Dewey Crowe in jail, he wears another blue check shirt. This one has an added layer of complexity with a light blue windowpane grid. Eagle-eyed fans will have spotted the same shirt in Episode 1.11, worn with the same black suit coat except more casually with jeans, no tie, and a dark blue henley underneath. His tie in this scene is solid black ribbed silk.

No talk with Dewey Crowe is ever a pleasant one. Luckily for Raylan, their discussion in “Cottonmouth” (Episode 2.05) is kept relatively short.

Shirt #6: While guarding Carol Johnson (Rebecca Creskoff) in “The Spoil” (Episode 2.08), Raylan swears a very dark blue flannel shirt with a black triple overcheck, slim spread collar, and two mitred patch pockets with pointed button-down flaps. This all-dark look gives Raylan the intimidation factor that he needs to protect the ‘townie’ Carol from the hearty denizens of Harlan County.

Raylan knows what will intimidate even the steeliest of Harlan County’s inhabitants in “The Spoil” (Episode 2.08).

Shirt #7: Raylan’s first black suit appropriately makes its own swan song at a funeral in “Reckoning” (Episode 2.12), paired with a simple white cotton poplin dress shirt and solid black tie. Raylan hardly ever wears white shirts, but he knows when the time is right to subtle-down for a somber occasion. His white dress shirt has a point collar, front placket, and button cuffs.

Raylan shares a moment with Winona in “Reckoning” (Episode 2.12) after saying goodbye to a family member.

Outerwear & Accessories

In “Fixer” (Episode 1.03), Raylan heads out for an investigation during some light rain, wearing a charcoal knee-length topcoat in lightweight wool. It has a single-breasted, 4-button front and a large shirt-style collar with pick stitching running along the edges.

Raylan’s topcoat makes one of its few appearances with a suit, seen here in “Fixer” (Episode 1.03).

This very simple coat reflects Raylan’s no-frills personality. The cuffs are plain with no tabs or buttons, and the back is broken only by a long single vent. There are two straight “handwarmer” pockets on the outside and a jetted inner pocket on each side plus a smaller jetted pen pocket on the inner left panel. Raylan, a practical dresser, pulls out this coat when he needs an extra layer against the elements, and he’s also been seen wearing it on top of his “denim sandwich” jacket and jeans.

While he only wears his overcoat for rainy or chilly weather, Raylan Givens always wears his Stetson and I mean always… to the point where an entire episode is called “Hatless” as Raylan spends the bulk of it without his trademark headgear. Doyle Bennett even tells Raylan in “The Moonshine War” that “You and your hat are famous.”

Raylan sports his famous hat in “The Spoil” (Episode 2.08).

Raylan’s cattleman’s hat has been identified as a Stetson “Marshall” in ranch tan 4x wool with a 4″ brim. Want one? HatCountry.com has ’em for a few cents shy of $130.

Shift from top to bottom to find Raylan’s other signature gear: a pair of custom-made Lucchese western-style cowboy boots made from dark “cigar” brown ostrich leg leather. The boots shafts are decoratively stitched, although Raylan wears his trouser bottoms over the boots.

Raylan bridges the gap between Rachel’s professional U.S. Marshal duds and the Kentucky state trooper’s more traditional uniform in “The Moonshine War” (Episode 2.01), although neither Rachel nor the trooper have the gumption to pull off a pair of ostrich leg boots.

Raylan’s tried-and-true Bianchi Model 59 Special Agent® thumb break paddle holster in tan-finished full grain leather is fixed to the right side of his belt for a fast, strong-side draw. Armed with the knowledge that he is a right-hand shooter and carries a full size Glock with a 4.49″ barrel, we can deduce that the exact model of Raylan’s Bianchi holster is #19128.

Raylan prepares for a showdown in “Fixer” (Episode 1.03).

The silver tie bar that shows up briefly in “The Hammer” is our only peek at Raylan’s additional accessories with this suit. Otherwise, he keeps everything the same – a silver horseshoe ring on his left hand and a TAG Heuer Series 6000 Chronometer on his wrist.

Raylan’s wristwatch, seen in action and in thoughtful repose.

The TAG Heuer has a brushed steel case and a white dial, worn on a brown alligator strap.

What to Imbibe

Raylan is marked as a true “son of Kentucky” with his drinking habits – both alcoholic and otherwise – especially in “The Moonshine War” (Episode 2.01). The “premium alcohol” that Tim refers to as Raylan relinquishes his Glock is Blanton’s, a high-proof single barrel Bourbon distilled at the Buffalo Trace distillery in Frankfort, Kentucky. Blanton’s led the single barrel revolution when it was launched in 1984 by the legendary Elmer T. Lee (who has a pretty great Bourbon named after him as well, shown to be the whiskey of choice for Boyd Crowder).

Blanton’s was named for Albert B. Blanton, an honored “Kentucky Colonel” who shares his title with the likes of Jim Beam and Colonel Sanders. A nearly-perfect bourbon – in my opinion – it’s been showing up more recently on shows and movies like Bored to Death, Gone Girl, and John Wick. I first heard about it five years ago on the eve of my 21st birthday when a friend recommended it via Facebook solicitation. Thanks for the recommendation, Frank!

And, even though he’s sworn to uphold the law, Raylan also isn’t above downing a shot of Mags’ Bennett’s famous “apple pie” moonshine, a legendary country concoction of white lightning and apple cider. Mags proudly breaks down her recipe for Raylan:

I make it 180 proof. Cut it with cider, some apple juice, add some cinnamon and vanilla.

Simple enough, although with a ABV like that, it makes sense that Raylan would need something a little less potent to wash it down. While Raylan and Rachel (Erica Tazel) continue their visit to the Bennett store in Harlan, Raylan enjoys a bottle of Ale-8-One, a soft drink often described as “ginger ale with a kick” due to its citrus flavor.

Raylan enjoys some of Kentucky’s finest… at least their finest non-bourbon offering.

“Ale-8”, as it’s known, was developed by Winchester, Kentucky soda bottler G.L. Wainscott in 1926 and has spent much of its history available only to Kentuckians. Availability has slowly spread to surrounding areas in Ohio, Indiana, Tennessee, Georgia, and Florida, but the soda’s appearance on Justified indicates an extra degree of verisimilitude.

Image from a Gainesville Times article from the soda’s 2010 expansion into Georgia.

(Actually, the bottle that Raylan is drinking appears to be the diet version, Diet Ale-8, which was introduced in 2003.)

How to Get the Look

If plaid shirts aren’t your cup of tea, Raylan also sports some solid blues with his black suit and tie.

Raylan Givens proudly wears his black suit, blue shirt, and black tie with a subtle touch that sets him apart as the rugged, bucolic old-time lawman. (And by “subtle touch”, I mean more subtle than a cowboy hat and boots.)

• Black lightweight wool suit, consisting of:
  • Single-breasted 1-button jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and single rear vent
  • Flat front low-rise trousers with belt loops, straight side pockets, jetted rear pockets, and plain-hemmed bottoms
• Blue check shirt with slim spread collar, front placket, and
• Slim black ribbed silk necktie
• Stetson Marshall 4x wool ranch tan cattleman’s hat with a thin tooled leather band
• Lucchese “cigar”-colored brown ostrich leg Western-style boots with decorative stitched calf leather shafts
• Dark brown tooled leather belt with squared steel single-claw buckle
• Tan full grain leather Bianchi Model 59 Special Agent® paddle holster for a full-size Glock pistol
• Charcoal lightweight wool single-breasted knee-length topcoat with 4-button front, edge-stitched shirt-style collar, slanted “handwarmer” pockets, plain cuffs, and single rear vent
• TAG Heuer Series 6000 Chronometer wristwatch with brushed steel case, white dial, and brown alligator strap
• Silver horseshoe ring

For a more casual look – and one sure to piss off sartorial purists even more than his outifts already do – Raylan subs in a pair of well-worn Levi’s jeans. But we’ll get into that later.

The Gun

Even before Justified offered Glock fans a new outlet for appreciation, U.S. Marshals (1998) brought the U.S. Marshal Service’s standard sidearm to the forefront as a plot point for Tommy Lee Jones and Robert Downey Jr. to quibble over. U.S. Marshals correctly depicts the .40 S&W caliber series of Glock pistols – the full-size 22, compact 23, and subcompact backup 27 – as the service’s issued weapon, but Justified uses the more common Glock 17, chambered in 9×19 mm Parabellum, as Raylan Givens’ “sword of justice”.

Raylan whips out his Glock in “Fixer” (Episode 1.03).

Raylan is a fan of the Glock, choosing to replace his lost model in “The Moonshine War” with yet another. As Tim tells him over a glass of bourbon:

Relinquishing a firearm can be a very emotional moment, and there always must be another deputy in attendance. Add in some premium alcohol, what could possibly go wrong?

The choice to arm Raylan with a Glock 17 rather than the slightly more true-to-life Glock 22 was almost undoubtedly made since the 9mm blank ammunition would be cheaper to keep our quick-triggered protagonist’s magazines full. In “The Hammer”, however, Raylan does tell Judge Reardon that he’s packing a “.45-caliber Glock”, implying that he carries the cosmetically similar Glock 21.

The same scene from “Fixer” gives us a close look at Raylan’s Glock muzzle. The diameter of the bore looks more fitting for the Glock 17’s 9 mm round than the slightly larger Glock 21 muzzle for the .45 ACP round.

The Glock 21 would be a fine choice for Raylan. Like his clothing, it appears to be just the same as the rest but closer inspection reveals that it packs a heavier punch. The .45-caliber also makes sense for an old-timey lawman like Raylan Givens, considering that the .45 Long Colt round was developed in 1873 for the Colt Peacemaker, one of the classic firearms referred to as “The Gun That Won the West”.

Do Yourself a Favor and…

Buy the entire series. The screenshots featured here are from the first and second seasons.

If you’re looking for these episodes in particular…

• “Fixer” (Episode 1.03) features Raylan facing off against a duo of inept debt collectors who kidnapped a bookie and foolishly challenge him to a showdown.
• “The Hammer” (Episode 1.10) finds Raylan assigned to protect an eccentric pistol-packing judge, Mike Reardon (Stephen Root!), while trying to make a new case against his old nemesis Boyd Crowder.
• “The Moonshine War” (Episode 2.01), named after Elmore Leonard’s unrelated 1969 novel, establishes the new season-long dispute pitting Raylan against the ruthless Bennett clan that rules the Harlan County drug trade.
• “Cottonmouth” (Episode 2.05) begins with Raylan meeting with an imprisoned Dewey Crowe to get information about the Bennett family.
• “The Spoil” (Episode 2.08) once again places Raylan in the role of protector, this time assigned to guard mining executive Carol Johnson who is arguably one of the least popular newcomers to Harlan County.
• “Reckoning” (Episode 2.12) finds Raylan dealing with the effects of a death in the family and setting him up for a major confrontation.

The Quote

Y’all go poking the bear, and it’s his fault when you get bit.

Kirk Douglas as John “Doc” Holliday in Gunfight at the O.K. Corral (1957).

Vitals

Kirk Douglas as John “Doc” Holliday, hot-tempered gambler, gunslinger, and ex-dentist

Tombstone, AZ, October 1881

Film: Gunfight at the O.K. Corral
Release Date: May 30, 1957
Director: John Sturges
Costume Designer: Edith Head

Background

Friday’s post focused on Raylan Givens, the dark-suited U.S. Marshal who would’ve been more at home in the Old West rather than the era of cell phones, electric cars, and Bieber. In fact, Raylan would have fit in perfectly 134 years ago today as Doc Holliday joined the Earps for their long walk toward the O.K. Corral and a showdown that would engrain them in western lore.

The Gunfight at the O.K. Corral, as it became known, became a pop culture phenomenon almost instantly. Dime books, paintings, and sketches romanticized the showdown for half a century until 1934’s Frontier Marshal incorporated the events into it largely fictional showdown between fearless lawman Michael Wyatt (George O’Brien) and local crime boss Doc Warren. Half a dozen films and more than two decades later, filmmakers finally came close to getting the names and events straight with the 1957 film Gunfight at the O.K. Corral, directed by John Sturges and starring Burt Lancaster and Kirk Douglas as Wyatt Earp and Doc Holliday, respectively.

Like most films from the Golden Age of Westerns, Gunfight at the O.K. Corral remains uncomplicated. The good guys are good, and the bad guys are bad. Thanks to Leon Uris’ script and Kirk Douglas’ performance, we get a little more depth with the characterization of the bitter, tubercular Doc Holliday, but the film is far more comfortable sticking to loose legend rather than the facts. The name itself misled many to believe that the gunfight happened at the O.K. Corral; in fact, the Earps faced off against the cowboy faction in a narrow lot on Fremont Street outside the corral’s rear entrance. The gunfight itself was transformed into a long, tactical shootout with rifles and shotguns aplenty; in fact, the 30-second long gun battle featured only revolvers, save for Doc’s borrowed double-barreled shotgun.

Although the movie’s inaccuracy is now well-known, Kirk Douglas’ interesting portrayal humanized the erudite and colorful gunslinger beyond the Western stock character that he had been for the previous twenty years. In fact, some have argued that Douglas more correctly interpreted Holliday’s irascibility more than Val Kilmer’s 1993 performance in Tombstone, often considered to be the definitive cinematic Doc Holliday.

What’d He Wear?

Kirk Douglas’ Doc Holliday wears three main outfits in Gunfight at the O.K. Corral. Looking closely at each outfit’s details, Douglas was clearly (and not unreasonably) attired in 1950s costuming rather than genuine reflections of 1880s style, but it is still a stylish and accessible look if you want a snazzy Halloween costume or if you’re some sort of weird riverboat gambler.

Doc’s preferred cigarettes are “Morleys”, the fictional brand that was later rebranded to resemble the classic Marlboro packaging. This is the same “branding” that would be seen smoked by William Shatner in a classic episode of The Twilight Zone.

Doc wears this charcoal wool dress suit during both his knife-flinging introduction and the final scene, the titular gunfight. Given the significance of these two scenes, Sturges evidently saw the suit’s representative value for the Doc Holliday character.

Doc’s suit jacket is a single-breasted lounge coat with peak lapels. The dark satin semi-facings on each lapel contribute to the suit’s luxury and make it slightly fancier than the gray pick suit he wears alternately.

A terse Lee Van Cleef eyes up Doc from his drinking table.

The jacket has no breast pocket and two hip pockets that sit straight on his natural waistline with large flaps.

All of the jacket’s dark gray horn buttons come in pairs; the suit has a 2-button front, two non-functioning buttons on each cuff, and two decorative back buttons above the rear vents. Although the lounge coat marked an evolution toward modern suits, Doc’s jacket still maintains many traditional styling points including the back layout.

The old-fashioned styling of Doc’s lounge coat is evident.

Doc’s matching flat front trousers rise to Kirk Douglas’ natural waist with a straight-cut down to the plain-hemmed bottoms. They have belt loops, although these did not become popular on mens’ trousers until the rise began falling in the 1920s. Doc’s belt is black leather with a squared steel single-claw buckle. He may wear it to secure the shoulder holster he conceals under his left arm, although the securing method isn’t readily apparent. The trousers have frogmouth front pockets just below the waistline and no back pockets.

Old West gambling often evokes an image of a well-mustached man sporting a brightly-colored silk brocade vest. Douglas’ Doc is no exception, always pairing his charcoal suit to a deep red paisley-printed satin brocade vest. Modern copycats should keep in mind that it’s not easy to sport a brocade vest these days without looking like you’re late for the high school prom.

Doc chose to skip prom to stay in bed and mope about having TB.

Doc’s vest has a low, V-shaped opening above the single-breasted, 3-button front. The three buttons are all covered in the same cloth as the rest of the waistcoat, and the bottom is notched. The vest also has slim shawl lapels and two welted hip pockets on the front, with Doc keeping his gold watch in the right pocket. The back of the waistcoat is dark mauve silk with an adjustable strap.

Doc’s yellow gold full hunter pocketwatch is clearly shown in his introductory scene. “A.W. Co. Waltham” is printed in black on the white dial, indicating that this is a classic Waltham railroad watch, likely manufactured around the time that American Watch Company changed its name to American Waltham Watch Company in 1885. Interested in your own Waltham pocketwatch? Check out this bad boy, starting at only $150.

Aw, Doc’s parents were very considerate.

Doc wears his Waltham watch on a gold chain through the top buttonhole of his vest where the gold bar pokes through. The white dial has black Roman numerals and a 6:00 sub-dial. It’s personalized with a photo of his loving parents placed inside the dust cover, with their inscription – “TO OUR BELOVED SON DOCTOR JOHN HOLLIDAY” – on the back.

Doc’s shirt is light gray with an attached turndown collar and pleated front bib. Both the ruffled placket and the plain, squared cuffs have mother-of-pearl buttons.

Doc prefers throwing a knife rather than the old ‘hit a pillow’ trick.

Doc wears a black satin string tie, which is just as simple as it sounds and is most familiar these days as the preferred neckwear of KFC’s Colonel Sanders (my second post in a row referencing the good colonel!) Cattle Kate offers these ties for sale for only $14 with the accurate description of “one long piece of silk to tie into a floppy bow… a favorite of gamblers and gentlemen callers everywhere.

For the lazy, pre-tied examples are available from Gentleman’s Emporium for $22 as the “Western Bow Tie” and, of course, Amazon for a cool $5.50.

He throws lots of knives, actually.

Doc appropriately wears an all-black “gambler hat”, a more urban evolution of the low-crowned telescope hat worn by Mexican cowboys in the southwest. The low, round crown prevented hot air from accumulating inside the hat. The telescope hat also featured a wide brim to protect its wearers from the piercing sun; since gamblers spent most of their time inside, the gambler hat featured a smaller, upturned brim like Doc’s.

Very fitting for a gambler, actually.

Doc wears a pair of black leather plain-toe boots with tall riding heels. A brief shot of Doc slumped in a chair, presumably uncrossing his legs after taking off his boots, shows a pair of high black socks worn underneath.

I know Doc didn’t want to die with his boots off, but this is ridiculous.

On the third finger of his left hand, Doc wears a gold ring with a large oval red coral setting. As both this movie and Tombstone show Doc Holliday as wearing a ring (although 1994’s Wyatt Earp does not), I don’t know if the real Doc was reputed to have worn a ring or if it’s just an affectation that both filmmakers believed he would have appreciated.

Although the veracity of Doc’s ring hasn’t been confirmed, I’ve read some accounts supporting the claim that the real-life Holliday favored a shoulder holster for his everyday carry. Gunfight at the O.K. Corral presents a low-slung brown leather holster rig, concealed below his left arm near the waist for a right-handed cross draw. Though we never see Doc wearing it with his jacket off, it appears to be secured with a thin strap that enters his left vest pocket, possibly fastening to his trouser belt.

Doc holsters his Remington after drawing on his buddy.

When the sun rises on October 26, 1881 (another of the film’s errors, as the real gunfight was around 3:00 PM), Doc straps on an extra gun belt to face the Clantons and McLaurys.

*Pew pew!*

The gun belt is brown leather, like his shoulder rig. It buckles in the front through a ranger-style strap, with the holster for his Single Action Army hanging low on his right thigh.

Go Big or Go Home

Doc Holliday has retained his popularity because his real-life exploits were the stuff of legends.The story of a tubercular dentist who took down his shingle and took up the life of a professional card sharp is interesting enough. Add in the fact that he was a dangerously accurate shot and became involved in one of the most infamous conflicts in Western history… well, you’ve got yourself a legend.

Cultured, educated, and violent, Doc Holliday was almost as quick with his wit as he was with his trigger finger. He was stubborn and full of Southern pride, and he refused to quit smoking, drinking, and whoring – even after he was diagnosed with consumption. Aware of the chronic cough accompanying TB, Kirk Douglas wrote in his 1988 autobiography The Ragman’s Son that he would plan exactly how many and what kind of coughs he would have in each scene. This consideration is a fine example of the professionalism, energy, and diligence that have characterized his six-decade long career.

Despite the vigor that he brought to the role, Kirk Douglas wasn’t always the first choice for the role. Producer Hal B. Wallis was reported in early 1955 as saying that he wanted Humphrey Bogart. It’s an interesting choice, as Bogart was hiding his own fatal disease at the time. Once Bogart esophageal cancer became public knowledge, he had already finished production on his last film – The Harder They Fall – and it was likely known that he wouldn’t be working anymore. Thus, Kirk Douglas was cast for the second of seven total films that he would make with Burt Lancaster.

How to Get the Look

Kirk Douglas’ Doc Holliday offers a primer on looking cool, urbane, and dangerous in the rugged atmosphere of the 1880s Southwest.

• Charcoal wool lounge suit, consisting of:
  • Single-breasted 2-button jacket with satin semi-faced peak lapels, straight flapped hip pockets, 2-button cuffs, and decorative 2-button back with double vents
  • Flat front high-rise trousers with belt loops, frogmouth front pockets, and plain-hemmed bottoms
• Red paisley brocade vest with low V-shaped opening, single-breasted 3-button front, welted hip pockets, and adjustable rear strap
• Light gray dress shirt with turndown collar, ruffled front placket, pleated bib, and squared button cuffs
• Black satin string bow tie
• Black calf leather plain-toe boots with tall riding heels
• Black socks
• Black gambler hat with round crown and black ribbon
• Black leather belt with square steel single-claw buckle
• Brown leather custom shoulder holster, worn under left arm
• Yellow gold Waltham full hunter pocket watch with dust cover, white dial (with Roman numerals and 6:00 sub-dial), and gold chain
• Gold ring with large oval red coral setting

The Guns

Doc: Want a gun hand?
Wyatt: You? No, thanks.
Doc: I do handle them pretty well. The only trouble is, those best able to testify to my aim aren’t around for comment.

As one would expect, Gunfight at the O.K. Corral also flubs when arming Doc Holliday. The irascible dentist preferred Colt firearms all his life; his first piece was the venerable Model 1851 Navy revolver gifted to him by an uncle in 1872, and he carried the double-action Model 1878 Lightning and Thunderer models through many gun battles in his life. Instead, Gunfight at O.K. Corral arms Holliday with a nickel Remington Model 1875 with a 5.75″ barrel and pearl grips.

Don’t piss Doc off… even if you’re his only friend in the world.

The Model 1875 Single Action Army (also known as the “Improved Army” or “Frontier Army”) was Remington’s first major development for the revolver market since its Model 1858 variants during the Civil War. Remington’s new model took on Colt’s Single Action Army and Smith & Wesson’s Model 3 and quickly gained a reputation on both sides of the law as a sturdy, reliable sidearm capable of firing the powerful .45 Long Colt and .44-40 Winchester Centerfire cartridges as well as Remington’s own proprietary .44 centerfire cartridge, which was quietly phased out after 20 years of production.

Unlike the Single Action Army, which was offered in a variety of barrel lengths in addition to the standard 7.5″ “Cavalry” barrel, the Remington Model 1875 was primarily available with a 7.5″ barrel. A limited run with 5.75″ barrels were created very late in the Model 1875’s production span and likely inspired the Uberti “Frontier Model” with its 5.5″ barrel. For more information about the Remington Model 1875, Don Ware wrote a fascinating in-depth article for the Remington Society of America journal in 2004, available online.

Doc’s Remington provides a welcome break from the ubiquitous Single Action Army seen in all classic Westerns, but some irony is derived from the fact that Doc actually did use a nickel Colt SAA at the time of his adventures in Tombstone. Sturges’ film provides a Single Action Army as Doc’s “action weapon”… but in blued steel.

For an additional dose of irony, the film actually arms Wyatt and Virgil with double-barreled shotguns during the gun battle; in reality, Doc was the only person in the whole fight to handle a shotgun… a weapon which he eschewed.

Do Yourself a Favor and…

Buy the movie. Accuracy issues aside, it’s an entertaining gem from the Golden Age of Westerns and one of the genre’s most celebrated directors.

A decade later, Sturges directed Hour of the Gun, which starred James Garner as Wyatt and Jason Robards taking over as Doc. The movie begins with the O.K. Corral and follows the Earp vendetta ride through Doc’s death in a Colorado sanitarium in 1887, serving as a spiritual sequel to Gunfight at the O.K. Corral.

The Quote

Much like Val Kilmer in Tombstone, the film gives Doc Holliday plenty of opportunities for colorful insults:

Come to think of it, he’s no gentleman at all. He’s a son of a yellow-bellied sow.

Although he also doesn’t shy away from the simpler slurs when needed.

Daniel Craig in Layer Cake (2004).

Vitals

Daniel Craig as an unnamed London drug dealer (the credits call him “XXXX”)

London, Summer 2004

Film: Layer Cake
Release Date: October 1, 2004
Director: Matthew Vaughn
Costume Designer: Stephanie Collie

Background

The outset of Layer Cake introduces its unnamed central character, a shrewd, young drug dealer played by Daniel Craig with a level of stoic cool that argues the film as a potential “audition” of sorts for Craig eventually taking the 007 mantle.

To drive the Bond point home, Craig’s character meets with fellow villains to announce his retirement at the Stoke Poges Golf Club, the venerable setting for Bond’s iconic golf match against Auric Goldfinger forty years earlier.

The 007 connection ends there as Dan – credited as XXXX – heads to a nightclub to broker an ecstasy deal with a couple of Liverpudlian pill slingers. While there, he runs into an ambitious but obnoxious gangster named Q Sidney (Ben Whishaw) and his knockout girlfriend Tammy (Sienna Miller). An additional layer of intrigue comes from the fact that the moronic Sidney’s uncle is “The Duke”, a cowboy gangster who got poor XXXX in trouble with some ruthless Serbs.

What’d He Wear?

Although sport coats and suit jackets worn with jeans aren’t a universally loved combination in the sartorial community, Daniel Craig’s vibrant rust-colored jacket in Layer Cake has had many online forums buzzing with people trying to track down information about it. Plus, his nightclub outfit is far less douchey than the sea of Ed Hardy and Tapout t-shirts one unfortunately finds in most clubs these days.

Dan brings some class to the London clubhopping crowd.

Like the navy blue pinstripe suit jacket he wears elsewhere in Layer Cake, XXXX’s rust brown chalkstripe jacket is worn with a white shirt and jeans for a casual twist on the usual sport coat look. It’s certainly not something James Bond would wear; the bold brown chalkstripe jacket is more evocative of the striped suit that Robert Redford wore for “date night” as Johnny Hooker in The Sting.

Matt Spaiser at The Suits of James Bond deduced that the navy pinstripe coat was an orphaned suit jacket, but the sporty look of the brown striped jacket leads me to believe it is likely a designer sport coat meant to capitalize on the then-stylish trend of a business suit jacket with jeans. For the sake of this post and based on its usage, I’ll refer to the brown jacket as a sport coat.

The sport coat is rust brown with a bold white chalkstripe, manufactured from a sporty fabric that takes on an iridescent sheen in different light, reflecting blue outside and red under the lights of the club. It is single-breasted with notch lapels that roll to the top of the 2-button stance.

The jacket has a comfortable fit – especially when compared to Craig’s jackets in Skyfall eight years later – with a suppressed waist and long double vents. The shoulders are straight with roped sleeveheads and 3-button cuffs at the end of each sleeve. Flapped hip pockets sit straight along the waistline, and the welted breast pocket offers XXXX a quick and convenient way to pocket Tammy’s phone number at the club.

Proof that Bond never was one to listen to much that Q had to say.

Other than the coat, the rest of XXXX’s outfit is the same as we see with the navy suit jacket. He wears the same white long-sleeve shirt with its large 2-button spread collar, front placket, and 2-button cuffs.

He also wears the same medium-dark wash Levi’s jeans with a wide brown textured leather belt. The belt has three staggered roles of holes along the back and a large brass double-prong buckle in the front.

Dan knows how to be discreet even if his potential bedmates don’t.

Craig’s leather R.M. Williams “Henley” Chelsea boots appropriately match the brown leather belt while also nicely drawing out the brown in the jacket. The color of the boots, according to R.M. Williams, is actually a dark shade of brown called “chestnut” for the brand’s purposes.

Craig’s wristwatch throughout Layer Cake – often believed to be a Rolex DateJust – is stainless with a black dial on a steel link bracelet.

How to Get the Look

Daniel Craig’s Layer Cake style is consistent for a young go-getter who ably balances style with the shrewdness that allows him to fly under the radar when needed.

• Rust brown chalkstripe single-breasted 2-button sport coat with notch lapels, welted breast pocket, flapped straight hip pockets, 3-button cuffs, and long double vents
• White long-sleeve shirt with tall 2-button spread collar, front placket, and 2-button cuffs
• Medium-dark blue Levi’s denim jeans
• Wide brown textured leather belt with large brass double-prong buckle
• Dark brown (“chestnut”) leather R.M. Williams “Henley” Chelsea boots with brown elastic side gussets
• Rolex Datejust wristwatch with stainless case/bracelet and black dial

Do Yourself a Favor and…

Buy the movie.

The Quote

Life is so fucking good, I can taste it in my spit.

Sean Connery as James Bond (or is he?) in From Russia With Love (1963).

Vitals

Sean Connery as an impostor James Bond

SPECTRE Island, Spring 1963

(“SPECTRE Island” is actually Heatherden Hall at Pinewood Studios in Buckinghamshire.)

Film: From Russia With Love
Release Date: October 10, 1963
Director: Terence Young
Costume Designer: Jocelyn Rickards
Tailor: Anthony Sinclair

Background

Dressing up as James Bond for Halloween this year or just celebrating the new release of Spectre? You’re certainly not the first to don a 007 costume; even within the series itself, an anonymous SPECTRE bait henchman sported a classic midnight blue tuxedo for his unnecessarily detailed Bond guise during the pre-credits sequence of From Russia With Love.

This sequence provides some interesting cultural context; formalwear was nowhere nearly as prominent in Ian Fleming’s literary Bond adventures as it would become in the films, yet the opening scene of the second film seems to recognize and lampshade the fact that the audience will know this is James Bond because we’re seeing Sean Connery in a dinner suit.

Of course, it turns out to not be Bond as we see when the gummy mask is removed – accompanied by a gross sound effect – and we see the mustached actor John Ketteringham, who more closely resembles a snooty waiter than Sean Connery. (This was by design, the original actor under the mask shared too much of a physical resemblance with Connery so director Terence Young re-shot the scene with Ketteringham. From Russia With Love would mark the start of a six-film career for Ketteringham, always uncredited.)

The opening scene is a cheap gag and not the last time the series would try to “trick” the audience into thinking Bond is dead. Of course, a dead Bond means a dead franchise and even the least cynical of movie-goers know that EON Productions would never shoot itself in the foot like that. Wisely, editor Peter R. Hunt – later to direct On Her Majesty’s Secret Service – moved the scene from the middle of the film to a quick teaser before the credits, introducing the now-traditional pre-credits sequence that Bond fans have come to expect. 007 himself would not appear until nearly 20 minutes into the story.

What’d He Wear?

The impostor’s sharp midnight blue tuxedo has all of the characteristics of classic Bond dinner suits, blending Anthony Sinclair’s timeless tailoring with fit and style details contemporary for 1963. It shares many similarities to the tuxedo that Connery wore previously in Dr. No for his iconic “Bond, James Bond” introduction, but the slimmer, more streamlined look informs us that this is not an identical suit.

The single-breasted dinner jacket has very straight, narrow shawl lapels. The hip pockets are jetted, and a white linen handkerchief is nearly folded in the welted breast pocket to provide a subtle and welcome contrast against the darkness of the scene.

Sneaking around SPECTRE Island at night isn’t smart.

The classic “turnback” jacket cuffs make a return from the Dr. No tuxedo, paired with four covered buttons on the end of each sleeve. This would be the last appearance of turnback gauntlet cuffs on a Bond dinner jacket until the classic Tom Ford dinner jacket worn by Daniel Craig in Quantum of Solace.

Due to the darkness of this brief sequence, other details are difficult to ascertain, but the jacket likely has no vents. The shoulders are straight with roped sleeveheads. The lapels, the single front button, and the gauntlet cuffs are all faced in midnight satin, rather than pure black.

When 007 first emerges from the hedge maze, his white shirt provides a stark contrast against both the dark night and his midnight tuxedo. The shirt has a traditional English spread collar and stitched front placket with mother-of-pearl buttons, which Bond prefers to studs on his formal shirts. The French cuffs are fastened with links that appear to be the gold discs he wears in most of the early films, although the promotional photos show a more ornate design.

After Red Grant works his garotte and “Bond” falls dead to the ground, Grant pulls off the mask to reveal the mustached impostor. This also reveals more of the shirt, including the 1/8″-pleated front.

“You look boring enough to not be Sean Connery. How would you like to be in a movie?”

Bond’s bow tie is a very slim “batwing”-shaped tie with straight blades on each end. The narrow batwing is the most flattering tie shape for this slim dinner suit. It appears to be midnight satin to match the lapel facings, although it might also just be black.

The statue behind Bond looks eerily similar to the one that Oddjob would make short work of a year later.

The lower half of Bond’s outfit in the scene is almost totally guesswork, but the trousers definitely have a traditional rise with double forward pleats and midnight silk side striping. Bond always followed black tie rules with plain-hemmed bottoms on his formal trousers, and promotional photos indicate that these tapered leg trousers are no exception.

Connery poses with Martine Beswick, who played Zora in this flick and later the much tanner Paula in Thunderball.

Many men also prefer waist coverings like cummerbunds or waistcoats, but early Bond never did. The doomed SPECTRE impostor evidently knew this, as he also foregoes any waist covering. (This poor guy put way too much work into being killed!)

Based on the promotional photos – again – it looks like Bond is wearing his usual black patent leather plain-toe oxfords. Oxfords – or balmorals – are the preferred practical shoe* for black tie, although later Bonds also wore less formal bluchers/derbies and even slip-on loafers.

* I consider opera pumps – the most formal men’s footwear – to be impractical.

A very accurate Bond costume would also include a light brown chamois leather shoulder holster with a blue nylon strap, and – if you can swing it – a stainless Rolex Submariner with a black dial secured to your left wrist via NATO strap. NATO straps appear to be making a comeback, thanks in part to their reappearance in Spectre after a 50-year absence from the Bond franchise.

If you’d like an awesome graphic breakdown of all of Bond’s dinner suits over the years, check out Matt Spaiser’s infographic from January. Matt also covered this tuxedo in a post on his blog, The Suits of James Bond.

How to Get the Look

Even though this isn’t technically James Bond (in the film’s narrative), it’s a classic 007 look and the promotional material featuring Connery in his From Russia With Love dinner suit holding a long-barreled Walther air pistol has become iconic in its own right.

• Midnight blue tuxedo, consisting of:
  • Single-breasted 1-button dinner jacket with slim satin-faced shawl lapels, welted breast pocket, straight jetted pockets, 4-button “turnback” gauntlet cuffs, and ventless back
  • Double forward-pleated formal trousers with satin side stripe and plain-hemmed bottoms
• White formal shirt with spread collar, pleated front, mother-of-pearl buttons, and double/French cuffs
• Midnight blue satin batwing-style bow tie
• Flat gold disc cuff links
• Black patent leather plain-toe oxfords
• Black dress socks

Bond typically also wears his tan chamois shoulder holster under his left arm, although arming himself doesn’t do the impostor much good against Red Grant’s garotte watch. And speaking of Bond’s armament…

The Gun

From Russia With Love – in fact, this scene – is the first time we actually see James Bond carrying an actual Walther PPK, as it is now well-known that the “PPK” in Dr. No was actually the slightly larger Walther PP. Bond’s PPK is chambered for the somewhat anemic 7.65 mm (.32 ACP) round, although carrying the .32 rather than the larger .380 gives him one extra round in the magazine.

“Take THAT, empty night air!”

The famous image of a tuxedoed Sean Connery smirking while holding a Walther pistol near his face – seen a few times in this post alone – was taken during a promotional shoot for From Russia With Love. However, the pistol is not an actual firearm; it’s a Walther LP-53 air pistol.

When photographer David Hurn was taking photos of the actors, the film’s propmaster either misplaced or simply forgot to bring Bond’s signature PPK. The quick-thinking Hurn improvised by getting his own Walther air pistol and using it for the shoot. Nearly 50 years later, Hurn’s original Walther LP-53 from the shoot was auctioned by Sotheby’s for $439,000.

David Hurn’s Walther LP-53 saved Sean Connery the embarrassment of being featured on movie posters doing finger guns.

Luckily, few of the movie-going public recognized that the prop wasn’t the same Walther they’d seen on screen. The all-metal LP-53 thankfully shared some cosmetic traits with both the Walther P38 and Luger pistols, both recognized as deadly tools from World War II. The LP-53 is far from deadly, though, firing a lightweight .177 pellet at just around 300 ft/s. (Stats from a Pyramid Air review.)

Sotheby’s auctioneer Dr. Gabriel Heaton commented on the use of the pistol: “Sean Connery clearly had such a presence that it was never questioned. A lot of people presumed it had a silencer attached.”

Knowing that it’s an air gun still doesn’t excuse some of the egregious firearm safety violations.

Do Yourself a Favor and…

Buy the movie and have a Happy Halloween!

Vincent Curatola as Johnny Sack on The Sopranos (Episode 3.04: “Employee of the Month”, 2001).

Vitals

Vincent Curatola as John “Johnny Sack” Sacrimoni, proud and urbane New York Mafia underboss

New Jersey, Fall 2001

Series: The Sopranos
Episodes:
* “Employee of the Month” (Episode 3.04, aired March 18, 2001, dir. John Patterson)
* “For All Debts Public and Private” (Episode 4.01, aired September 15, 2002, dir. Allen Coulter)
* “Watching Too Much Television” (Episode 4.07, aired October 27, 2002, dir. John Patterson)
* “Whitecaps” (Episode 4.13, aired December 8, 2002, dir. John Patterson)
* “Where’s Johnny?” (Episode 5.03, aired March 21, 2004, dir. John Patterson)
* “In Camelot” (Episode 5.07, aired April 18, 2004, dir. Steve Buscemi)
Creator: David Chase
Costume Designer: Juliet Polcsa

Background

One of the most dapper characters on recent television is John “Johnny Sack” Sacrimoni, The Sopranos‘ enigmatic underboss of the New York-based Lupertazzi crime family. Johnny Sack remains one of the most fascinating and well-rounded characters on a show filled with them. Equal parts cool, menacing, and principled family man, Sacrimoni would prove to be as useful an ally to Tony as he would eventually be feared as a threat.

Vincent Curatola was a relative newcomer to acting with only a few small credits to his name when he first appeared as Johnny Sack in the first season episode “Pax Soprana”. Immediately, Curatola established Sacrimoni as a multi-layered character with a fiery pride lurking just below his suave, cautious demeanor.

What’d He Wear?

Earth tones are a mainstay in John Sacrimoni’s wardrobe. Johnny Sack first wears one of the sharpest items in his collection – a cream plaid sport coat – when inviting friends and mobsters to his New Jersey home in “Employee of the Month” (Episode 3.04).

The single-breasted sport coat is cream with a subtle tan Glen check. The jacket has a 2-button front and 4-button cuffs, all cream plastic buttons. The lapels are wide at the low notches with a buttonhole on the left lapel.

I believe that Johnny Sack had two very similar sport coats like this. The jacket seen in “For All Debts Public and Private” (Episode 4.01) and “Where’s Johnny?” (Episode 5.03) appears to have brown buttons and 3-button cuffs.

A mobster from the “old school”, Johnny Sack appropriately wears a sport coat with a cut reminiscent of the 1940s with its ventless back, suppressed waist, and strong shoulders. The shoulders are padded with roped sleeveheads.

Hey, fun party!

The sport coat has straight flapped hip pockets and a welted breast pocket, which is rarely seen without a silk pocket square poking out.

In “Employee of the Month” (Episode 3.04), he pairs the coat with a pair of flat front khakis. The trousers have straight side pockets and belt loops, through which he wears a brown leather belt that fastens through a square polished steel single-claw buckle.

We never get a good look at John’s feet during these scenes, but his sense of style would almost certainly call for a pair of brown leather dress shoes. He also tends to wear trousers with plain-hemmed bottoms so we can assume that these khakis don’t have cuffs, either.

Johnny’s shirt for the housewarming party is warm brown with a matching silk tie. His cream and brown printed silk pocket square continues the earth tone palette.

Johnny Sack greets his guests in “Employee of the Month” (Episode 3.04).

Johnny Sack next wears a tan Glen check sport coat in “For All Debts Public and Private” (Episode 4.01) when calling an imprisoned Paulie from New York City. In this episode, he wears a blue dress shirt with subtle decorative tonal striping visible on the collar and cuffs. The shirt has black buttons down the front and gold oval cuff links fastening the double cuffs. He wears it open at the throat with no tie.

(This is one instance where I believe he wears a slightly different sport coat.)

Johnny Sack takes his prison phone calls al fresco.

The sport coat returns for a brief appearance in “Watching Too Much Television” (Episode 4.07) during a party for Paulie at the Bing. He is only seen briefly, but he appears to be wearing it with a light gray open neck shirt.

After enduring a season of growing frustrations, Johnny Sack finally confronts Tony in “Whitecaps” (Episode 4.13). Although he’s all business, Johnny foregoes wearing a tie and wears just a brown dress shirt with khakis.

Alpha!

In “Where’s Johnny?” (Episode 5.03), a pricklier-than-ever Johnny Sack attends a sit-down with Tony and Christopher in Brooklyn. He wears a mint green dress shirt and matching pocket square. The shirt has a spread collar, plain front, and squared button cuffs. He also wears a silver silk necktie.

Sacrimoni bemoans Kofi Annan’s leadership of the Mafia.

“In Camelot” (Episode 5.07) sees the last appearance of Johnny Sack’s cream Glen check sport coat for yet another sit-down. He opts for a more monochromatic look with a cream dress shirt that has white buttons down the front placket and rounded button cuffs. The throat is worn open with no tie. The look isn’t totally monochromatic, however; a dark paisley pocket square with shades of blue, green, and brown pokes out of the jacket’s breast pocket.

Although decked out in warm colors, Johnny Sack provides a dangerous contrast against the scene’s darkness.

Johnny Sack’s accessories are all gold – consistent with his wealthy personality and earth tone-focused wardrobe. On his right hand, he wears a gold chain link bracelet and a gold pinky ring with a dark red oval setting. Johnny wears a gold metal watch on his left wrist with a square face and expanding bracelet.

How to Get the Look

Dapper, dedicated, and dangerous, Johnny Sack is one of the most powerful members of The Sopranos‘ underworld. He consistently dresses to impress, showing a sense of style more advanced than the casual sweatsuits of both his contemporaries and underlings.

• Cream and tan Glen plaid single-breasted 2-button sport coat with notch lapels, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and ventless back
• Brown dress shirt with point collar
• Brown silk necktie
• Khaki flat front trousers with belt loops, straight side pockets, and plain-hemmed bottoms
• Brown leather belt with square polished steel single-claw buckle
• Brown leather dress shoes
• Gold pinky ring with dark red oval setting
• Gold chain link bracelet
• Gold wristwatch with square dial and expanding bracelet

Do Yourself a Favor and…

Buy the entire series.

The Quote

Power sharing… what’s this, the FUCKIN’ U.N. NOW?!