Gloves in Films: Hiding True Character and Desires

audrey-hepburn-breakfast-at-tiffanys-costume-wallpaper-2This will be my 200th post on the blog, and I thought I would do something different. I have always been fascinated with objects and their symbolic meanings in films, and some object-placements in films evoke powerful imagery and are open to different symbolic interpretations. On the face of it, gloves in films do not present a big conundrum: they can be worn for warmth; because of an unspoken societal rule/etiquette; as a result of a fashion trend; in the course of a professional pursuit, such as medicine or sport; or in the course of a crime. However, arguably, gloves may also sometimes have a more symbolic interpretation in a film, and represent a character’s “camouflaged”/hidden true intention or desire, or emphasise a character’s subconscious attempt to distance him(her)self from others, hiding their true character.

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“Oscar and Lucinda” Review

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Oscar and Lucinda (1996)

‘Oscar and Lucinda’ is based on the novel by Peter Carey and tells the story of a young Australian heiress, Lucinda Leplastrier (Cate Blanchett) with the passion for glass and gambling who meets an Anglican priest, Oscar Hopkins (Ralph Fiennes), who has the same obsessions. The two soon strike up a close friendship, because they share the same trait of being quite unfit to live in the society as they know it due to their oddities and gambling compulsions. However, their increasing closeness soon puts to the test their obsession limits. This film directed by Gillian Armstrong (‘Little Women’ (1994)) is almost as odd and unique as its main characters. Rapidly going from comic to romantic, and ending up being tragic, the film covers almost every genre without losing its eccentricity. However, the film’s ‘strangeness’ and unusual style may be attributed to Carey book’s content and style. The book’s narrative is more factual than descriptive, and has many ambiguous paragraphs and references.

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