David Duchovny as Hank Moody, alcoholic novelist and dad
Venice Beach, Summer 2008
The penultimate scene of “La Petite Mort”, Californication‘s second season finale, wrapped up the show’s last truly great season as Hank gave up the chance to accompany Karen back to New York, choosing instead to stay behind with their daughter Becca to avoid unfairly transplanting the poor girl yet again.
Becca had recently started dating Damien (played by Ezra Miller from The Perks of Being a Wallflower), and Karen felt bad splitting them up. Hank chooses to stay to help Becca nurture her relationship and allow Karen to explore her career opportunities in New York. Yet, at the start of the third season, Becca is evidently single with no mention ever made again of Damien. It’s a shame because:
a) Ezra Miller was very good as Hank’s mini-foil.
b) It marked the beginning of the show’s decline by throwing continuity out the window in favor of just giving Hank opportunities to have more sex.
The show is coming to a conclusion next weekend with the end of its seventh season. Californication seems to be another victim of the Showtime curse that plagued other shows like Dexter and Weeds, starting off incredibly strong with an original premise. After a few great seasons, the writing stalled out and each show – once an innovative and creative experience for viewers – became a slow race to the finish, supported only by loyal viewers who pledge to watch their favorite shows to the end, hoping for one last flash of genius reminiscent of the show’s early years. Keep your fingers crossed for Californication‘s finale.
Whether a finale can ruin your mood or not, there’s no denying that we deserve a pleasant summer after the polar vortex that killed everyone’s morale this winter. Get a t-shirt like Hank’s and keep projecting positivity out into the universe, whether it’s genuine or not.
What’d He Wear?
Hank’s smiley face t-shirt makes its one and only appearance in this episode. Either he doesn’t put it into his rotation that often, or it was one of the shirts he inherited from Lew Ashby (although we never saw Ashby wearing it either.)
It is a cobalt blue short-sleeve t-shirt of soft cotton. The smiley face in question is the standard yellow circle with a black border, black eyes, and a black mouth. It’s either a vintage shirt or it has been printed to resemble one as the screen-printed smiley face is beginning to wear away toward the top.
Hank wears his usual dark wash denim jeans with bootcut legs. His shoes are a pair of indigo blue Puma Whirlwind sneakers with white side trim. White laces are standard for indigo Whirlwinds, so the bright orange laces on Hank’s pair must have been laced himself to give them a little more pop.
These are the same Pumas that showed up eight episodes earlier in “The Raw and the Cooked” as a continuity error, but they are clearly intended to be Hank’s shoes in this scene. Duchovny is a Puma fan in real life, so I’m sticking by my theory that these are his personal pair. (I personally own an indigo pair – with the original white laces – and they are some of my favorite shoes.)
You can still pick up a pair of new Whirlwinds from Puma, although it looks like the indigo and white combination has been discontinued.
The rest of Hank’s accessories are the same, including his silver index finger ring, the black leather studded bracelet, and its thinner braided leather accomplice. The two bracelets are available from Urban Wrist.
Hank and Becca watch Karen’s flight take off from LAX from the back of his Porsche, presumably parked near the Vista Del Mar Park. Hank wears his brown Izod 725 sunglasses and his dark brown corduroy smoking jacket.
How to Get the Look
Somehow Hank is able to pull off a smiley face t-shirt without looking tacky. See if you can do the same.
- Cobalt blue short-sleeve cotton t-shirt with a fading yellow “smiley face”
- Dark blue bootcut denim jeans with zip fly
- Dark brown single-breasted corded suede smoking jacket with a 2-button front, jetted breast pocket, flapped hip pockets, 3-button cuffs, and single rear vent
- Puma Whirlwind sneakers with indigo uppers, white trim, and orange laces
- Silver ring with two ridged bands, worn on the right index finger
- Black leather bracelet with silver hexagonal and round studs, worn on the left wrist
- Thin black braided leather bracelet, also worn on the left wrist
- Izod 725 sunglasses with dark brown lenses
Do Yourself a Favor and…
Buy the second season.
At the end of the day, it’s all about her. It’s always been about her. What happens between us, I can’t fucking control. Lord knows I’ve tried every which way. But what I can do is be the absolute best I can be for her. If I followed you to New York, I’d just be hoping against hope that we lived happily ever after. Maybe we do. Maybe we don’t. But you got some shit you got to do, lady. I think you should do it. I’ll hold down the fort… keep her off the pole.
George Clooney as Jack (aka “Edward”), weary hitman and gunsmith
Castel del Monte, Abruzzo, Italy, April 2010
A very informative article from the Focus Features archives features Suttirat Anne Larlarb, The American‘s costume designer, discussing the costumes worn by the main characters in the film. About Clooney’s character, she explains:
Jack needs to be anonymous, to blend in with his surroundings. He is trying to avoid his past and to be a normal person, so he picks a small Italian town, almost a village, to live in. To have someone like George Clooney playing such a character for me meant stripping away from him anything that was glamorous or fashion forward. It was very necessary to normalize him, especially because we were not in a fashion-forward city like Rome or Milan. He has picked a small town with 75-year-old men sitting on benches drinking their cappuccinos; he has to blend into that.
But, at the same time, Jack is played by one of the best-dressed men on the planet, and we didn’t want to strip him of his handsomeness and individuality. It was a balance.”
After arriving in the remote village of Castel del Monte from Rome, he sheds his more distinctive and traditionally hitman-worthy double coat and spends his days (and nights) sporting a casual field jacket from Ermenegildo Zegna, which provided much of the film’s attire.
Jack spends much of his time in Abruzzo focused on the job he was sent to do: perfecting a rifle for an assassination and meeting with the client to test it. However, the lonely and increasingly cynical assassin also begins taking solace with Clara, a beautiful and oft-naked Italian prostitute, whom he could be potentially happy with if only he had learned how to trust.
What’d He Wear?
The American does a fine job of keeping Jack’s wardrobe both realistically believable and useful. He looks sharp, but only because he happens to feel comfortably wearing sharp clothing. (It also helps that he is played by George Clooney.) We never get the impression that he is trying to show off; in fact, he is ably blending in with the “75-year-old men drinking cappuccinos” that Larlarb mentioned. He rotates his clothing effectively, pairing shirts, jackets, and trousers differently from day to day based on comfort and activity level.
The staple of his Abruzzo wardrobe is the gray field jacket mentioned above. It is a very utilitarian garment, but it has a very clean and correct military-inspired presentation, especially when he wears it fastened. The jacket is almost definitely an Ermenegildo Zegna garment, as they received notable publicity for supplying most of Clooney’s costumes in the film, including his charcoal suit in the finale.
The front features both a zipper and four buttons to close, both ending at waist level to allow the skirt of the jacket to flap openly even when the jacket is closed.
There are three outer pockets. The chest pocket on his left breast is flapped and closes with a button, which he typically keeps fastened. In addition, there is a welted pocket on each hip with a buttoning flap, although the flaps are almost always tucked into the pockets themselves, leaving the buttons exposed. This could be a personal choice of Jack’s to allow him quicker access to the pocket contents.
The jacket has reddish-brown exposed stitching that nicely complements most of the brown-toned clothing that Jack wears with it. The three-row top-stitching is present on the lapels and pocket flaps, but it is especially noticeable on the shoulders and upper back of the jacket. The cuffs of the jacket are also set apart by the stitching, but they are otherwise plain cuffs with no buttons or zips.
While the classic M-65 field jacket (think Taxi Driver) was traditionally a cotton and nylon blend, the more fashion-oriented Zegna variant probably leans closer to the cotton side of the spectrum.
Jack’s field jacket is a very reasonable and sensible choice for a professional. It is fitted around the waistband with no vents, flaps, or tabs present that could potentially snag when he needs to jump into action.
Jack often pairs the jacket with the same zip-front cardigan sweater that he wore at the train station in Rome. To refresh your memory – or save you the time of reading that post – the sweater is a dark brown herringbone wool that zips all the way down and has elasticized cuffs. It is a very versatile garment, serving the double purpose of keeping Jack warm in a fashionable manner as well as giving him an extra layer to conceal his PPK. Castel del Monte is located in the L’Aquila province of Abruzzo, where April temperatures typically fluctuate between 40°F and 60°F. Thus, Jack is wise to wear various and easily removable layers.
Jack also wears several pairs of trousers, all in various shades of brown. There is some danger is pairing brown trousers to a brown top (the sweater), but both the differing shades of brown and the contrasting shirts underneath keep Jack from looking like a UPS employee.
The trousers – which range in color from mink to dark chocolate brown – are all flat front with belt loops, open side pockets, jetted button-through rear pockets, and plain-hemmed bottoms with a full break. Occasionally, Jack also wears a pair of more casual cargo pants in dark gray, typically when spending the day gunsmithing.
Although most of his clothing is made by Zegna, a label visible on his mink-colored trousers while doing his morning exercise routine appears to be something else. I’m tempted to say Dockers for some reason, but can anyone shed more light on the possible brand?
Keeping with what is evidently his favorite (and most tactically appropriate) color, Jack wears a dark brown leather belt with a silver buckle.
Jack wears many different shirts while in Abruzzo – some paired with the sweater and some worn alone.
The first shirt we see has a small white and gray check pattern. He almost always wears this with the sweater zipped up over it, so we have to infer the details. It is definitely long sleeve with buttoned cuffs, and it also appears to have button-down collars and almost definitely a front placket.
Very briefly, later in the film, Jack lays in bed while wearing this shirt underneath a soft black shirt-jacket. Not much is visible about this garment other than the black horn buttons down the front and the flapped chest pocket. It is definitely not the dark brown zip-up sweater, but it doesn’t match anything else worn by Jack in the film.
Next, Jack drives into town for a meeting at an outdoor café. For this encounter, he wears a gray soft cotton long-sleeve polo shirt with three plastic buttons. It should be noted that these buttons are not on a placket.
Zegna currently makes a long-sleeve polo constructed of a cotton and silk blend; given the luxurious look of this shirt, it’s very possible that there was also some silk in its construction.
The shirt worn by Clooney in the film also has elasticized cuffs, best seen when he is in bed, reading about butterflies.
For much of the construction of his Ruger Mini-14 rifle, Jack wears a blue button-down shirt, worn open over a heathered gray cotton t-shirt. The blue shirt is long-sleeved with seven white buttons down a front placket (plus two extra buttons on the bottom) and a contrasting inner collar with a blue and green tattersall pattern on a white ground.
The heathered gray cotton t-shirt is one of the most basic items of a man’s wardrobe, and I feel confident saying that most men in the civilized world own at least one. If you don’t think you know what heather means – in terms of clothing – you have definitely seen it. Heather is a series of interwoven yarns, often of mixed colors, producing streaks in the fabric to create an alternating appearance. It is very commonly used with multiple shades of gray, although many manufacturers also heather gray with other colors for a muted shade.
Jack finds very diverse uses for his gray cotton t-shirt, wearing it as an undershirt for a button-down or alone with the field jacket and brown sweater.
When dining with Father Benedetto, Jack again wears the brown sweater, this time zipped up over a white long-sleeve shirt with buttoned cuffs. This is likely the same shirt he wears for his date with Clara, which has no front placket and a spread collar with no buttons.
Jack wears a different white shirt the next day. This shirt is an off-white linen button-down with spread collars, a plain front, and long sleeves with buttoned cuffs, which he typically rolls up. He wears his light gray t-shirt underneath.
Jack and his client, Mathilde, take to the woods for a marksmanship session, where Mathilde tests his handiwork with the Ruger Mini-14. Underneath his field jacket and brown sweater, Jack wears a light blue long-sleeve shirt with button-down collars, buttoned cuffs, and a front placket.
Jack’s underclothing is also consistent throughout the film. He wears a black ribbed sleeveless A-shirt and a pair of dark gray boxer briefs. It’s possible that these sartorial choices were made to show that, despite what he may wear on the appearance, he is always dark underneath, but that might be taking metaphors a bit too far.
The brown motif again rears its head with Jack’s footwear as his typical footwear is a pair of well-traveled brown leather hiking boots. He also seems to wear a lighter pair of tan suede slip-on boots, but the hiking boots get much more screen time.
The piece of Jack’s wardrobe that gets the most focused screen time, however, is his stunning Omega Speedmaster Professional. The watch is stainless with a round 42mm case on a black calfskin strap. The black face has three sub-dials at 3:00, 6:00, and 9:00.
If you really like Jack’s Omega, you can pick one up on Amazon for $3,900. Amazon kindly tosses in free shipping, because paying a few extra bucks for a $3,900 watch would really be the last straw.
Jack’s only other accessory is his pair of bronze-framed Ermenegildo Zegna SZ3174 aviator sunglasses with brown polarized lenses.
These are much more low-key than the tortoiseshell Persols he wore earlier in the film and much more in line with his character. Although they are no longer in production, you can still pick up a similar pair from SmartBuyGlasses.com for about $220.
Go Big or Go Home
Jack is a nice contrast from the typical movie assassin. Sure, he’s tough and talented, but he isn’t overly macho. He broods, growing increasingly cynical about his life choices. If you’re a real-life hitman, learn from Jack that you should change professions before it’s too late!
He wisely keeps in shape with a morning routine of rigorous exercises all within the confines of his rented room. If the cost of a gym membership is your only excuse for not working out, Jack just proved that you’re pretty foolish. Plus, it means he is more than ready when an armed Swedish assassin forces him into a high speed motorcycle chase.
Jack also follows the old “when in Rome…” adage, enjoying the region’s finest red and white grapes with glasses of Montepulciano d’Abruzzo and Asprinio wines, respectively.
In possibly the greatest interpretation of religious advice ever, Jack is told by the local Catholic priest, Father Benedetto, that he lives in “a place without love”. In response, Jack allows himself to fall in love with Clara, a lovely soiled dove who spends most of the film sans clothing.
But after all, can you blame him?
The film’s Italian setting is strongly present throughout, not least of all with its soundtrack, including such well-known Italian pop as Renato Carosone’s 1956 song “Tu Vuò Fà L’Americano” about an Italian living the American lifestyle, a reverse of the American assassin in the film who revels in the quieter Italian culture. The song was revived in 2010 for younger audiences when it was sampled (aka stolen) by Yolanda Be Cool for their song “We No Speak Americano”.
Patty Pravo’s early hit “La Bambola” also features in the film. Although Carosone’s song is more relatable to Jack’s situation, Pravo’s more mournful song about a bitterly abused woman better fits the overall tone of the film than Carosone’s lighthearted anthem.
How to Get the Look
Jack uses a timeless mixture of both grays and browns to fashionably blend in with his Italian surroundings. His neutral layers under a field jacket are a fine choice for a man who likes to maintain a look that blends simplicity, comfort, and utility, all while looking fashionably understated.
- Gray field jacket with a zip/4-button front, button-flapped chest pocket, button-flapped hip pockets, plain cuffs, plain waistband, and reddish-brown three-row top stitching
- Dark brown herringbone wool full-zip cardigan sweater with elasticized cuffs
- Light blue long-sleeve button-down shirt with front placket, button-down collars, and buttoned cuffs
- Heathered gray short-sleeve cotton t-shirt
- Brown casual flat front trousers with side pockets, button-through jetted rear pockets, and plain-hemmed bottoms with a full break
- Brown leather laced hiking boots
- Bronze-framed Ermenegildo Zegna SZ3174 aviator sunglasses with brown polarized lenses
- Omega Speedmaster Professional wristwatch on a black calfskin strap
Almost all of Jack’s clothing was made by Ermenegildo Zegna, but similar (and much more affordable) retailers like Gap, J. Crew, and Nordstrom offer items that would present the same look and feel without the resulting lightness in your wallet.
The primary job that Jack has been contracted for involves the customization of a Ruger Mini-14GBF semi-automatic rifle. He refers to the rifle as a “Ruger M14″, which is inaccurate but not too far off track as the Mini-14 was developed with the military M14 rifle as a model. The eventual name, Mini-14, is meant to imply that Ruger’s rifle is a smaller version of the M14.
Ruger introduced the Mini-14 in 1974, immediately finding popularity in both the police and private sectors. It was designed by L. James Sullivan and William B. Ruger, who implemented an investment cast, heat-treated receiver and a “simple, rugged Garand-style breechbolt locking system, with a fixed-piston gas system and self-cleaning, moving gas cylinder” according to Ruger’s website. This locking system is indeed a version of the rifle locking system found on both the M1 Garand and the M14.
The standard barrel is 18.5″, and the rifle is available in either a blued or stainless finish with hardwood, synthetic, or laminated stocks. Jack’s rifle is a very classic looking sporter rifle with a blued finish and hardwood stock, although he modifies it as an assassin’s weapon with a scope and homemade suppressor. It can fire 5.56×45 mm NATO or .223 Remington ammunition in box magazines of 5, 10, 20, or 30 rounds. Jack’s Ruger is loaded with 10-round magazines.
Another difference between Jack’s Ruger and the standard Mini-14 is the folding paratrooper stock. This indicates that Jack is modifying a Mini-14GB rather than just a Mini-14, and it was likely made prior to 2005. The folding stock allows for greater concealment and portability, which would make sense for an assassin like Jack or his client Mathilde.
Like most movie assassins, Jack also has his own cool carry piece. He opts for James Bond’s preference, a classic blued Walther PPK in 7.65 mm (.32 ACP) with black plastic grips. A fine closeup of Jack’s pistol when he is pulling it out of a picnic basket reveals that it is of Cold War-era manufacture, having been made in West Germany. Many PPKs used in American productions are typically contracted versions by INTERARMS or Smith & Wesson, but this is a genuine Walther, likely due to the genuine European locations and organizations involved in the making of The American.
As we see when he chases down the motorcycle assassin, Jack’s PPK can also fit a “Hollywood suppressor”, although we typically see it unsuppressed. When he is sleeping in his hotel room, he keeps the PPK within his reach, holstered by the bed.
Do Yourself a Favor and…
Buy the movie.
I don’t think God is very interested in me, Father.
Michael Imperioli as Christopher Moltisanti, New Jersey Mafia associate and aspiring screenwriter
New York City, Fall 2000
“D-Girl” is a turning point episode for Christopher Moltisanti. We had seen previous mentions of his screenwriting aspirations, including a poorly-written script on his Mac in “The Legend of Tennessee Moltisanti”, but “D-Girl” provides his Bugsy moment.
Through a chance meeting with his “civilian” cousin Gregory, Christopher becomes acquainted with his Gregory’s girlfriend, Hollywood studio VP Amy Safir. Amy has been working on developing a mob film with Jon Favreau (who plays himself) and offers Christopher the opportunity to provide input on the film set. After being infuriated by outsiders misunderstanding and elevating the mob status of his friend Brendan, Christopher leaps at his own opportunity to be treated like a made man despite still only technically being an associate in the Soprano crew (rather than a “made” soldier).
What’d He Wear?
Christopher dresses for his meeting with Jon Favreau in a very mobster-evoking outfit with a black-on-black jacket and shirt combination. The jacket is a very distinctive black sport coat.
The casual sport coat is single-breasted with notch lapels. There are three plastic buttons on the front which fasten with a high stance, although Christopher wears his jacket open. The jacket also has a darted front and a single rear vent. The 3-button decorative cuffs match the plastic buttons on the front.
Although it has the standard welted breast pocket and flapped hip pockets, the most distinctive aspect of the jacket is a zip pocket on the right side. This pocket is higher than the hip pocket, opening just below the point where the elbow hits the side. The zipper has straight black tape with silver teeth and a silver round-ended pull tab that opens toward the rear of the coat.
At 5’8″, Michael Imperioli is considered to be average height. Likely aware of this, Christopher would want a more imposing presence, which a jacket with padded shoulders can offer.
Underneath, Christopher wears a black short-sleeve cotton t-shirt with a crew neck. This is an appropriate accompaniment for such a casual sport coat that is obviously not meant to be worn formally with a tie. Also, the black t-shirt under a black jacket creates the “Mafioso” appearance that Christopher has been hired to provide.
Paired with the all-black top is a pair of light gray slacks. They are lightweight with a flat front and plain-hemmed bottoms. The front pockets have a fishmouth opening, and the jetted rear pockets close through a button.
Christopher wears his trousers with a black leather belt that closes in the front through a silver rectangular rounded clasp with a single prong.
Christopher correctly matches the black belt to his usual shoes, a pair of black suede slip-on loafers with short elastic side gussets and black rubber soles. Due to the casual nature of the shoe, Christopher wears them with no socks. He also wears these shoes in the next episode, “Full Leather Jacket”, with a casual light gray suit that was previously covered on this blog.
On the inside of his right ankle, Christopher wears a simple black holster for his snubnose revolver. This ankle holster is designed for Christopher to reach down over the front of his leg with his right hand to draw the weapon, which is facing butt-forward.
Although many of the show’s gangsters opt for waistband carry, Christopher tends to keep his more compact weapons in an ankle holster.
Christopher continues his black motif even under his clothes, wearing a pair of black silk undershorts with an elastic waistband.
His accessories are relatively few for a mobster, consisting only of his usual gold necklace with the round saint medallion and his watch.
The watch has a two-tone (silver and gold) mixed metal link bracelet, a stainless case, and a rounded yellow gold face, worn on his left wrist.
Go Big or Go Home
Christopher spends much of the episode at what he believes to be a crossroad of his life. While the audience is made painfully aware the entire time that he is destined for a life of gangsterdom, he truly believes that this may be his chance to live his dream as a Hollywood screenwriter. Unfortunately, his simple-minded street mentality and his deep ties to Tony Soprano prevent him from ever truly having a chance of being anything but a Jersey hood.
He blames his frustration on food:
Enough! I am so sick and tired of hearing you people talk about food, food, food! Proscuitto, cheese, and damn fava beans. I’m drowning here!
…although the only honest part of his rant are the last three words.
Parts of the episode do show an interesting comparison between the mob and the film industry, though. Even small things, like Christopher refusing to quit smoking his Marlboros in the hotel lobby after repeated urging from the concierge, would be characteristic of both a stubborn mobster and an egotistic movie bigshot.
How to Get the Look
Christopher is proud to be a gangster, especially when he’s surrounded by Hollywood types in awe of him. He dresses the part when he goes to meet them, putting aside his usual track suits for a black-on-black ensemble instead.
- Black single-breasted sport coat with notch lapels, high 3-button stance, padded shoulders, welted breast pocket, right side zip pocket, flapped hip pockets, 4-button “surgeon’s cuffs”, single rear vent
- Black cotton short-sleeve cotton t-shirt
- Light gray casual flat front trousers with belt loops, fishmouth front side pockets, jetted button-through rear pockets, and plain-hemmed bottoms
- Black leather belt with a silver rectangular clasp
- Black suede loafers with short elastic side gussets and black rubber soles
- Black RHD ankle holster worn on the right inside leg (for a 2″-barreled revolver)
- Black silk undershorts
- Thin gold necklace with a round gold religious medallion
- Stainless wristwatch with a gold face and mixed metal bracelet
According to IMFDB, Christopher uses a total of 13 handguns during the duration of the series; most of which are are only seen one or two times, with the exception of his Glock 19. This frequency is second only to Tony, who uses a total of 16. Many other shows and films give their characters a “weapon of choice”, but in the organized crime world where many of the convicted felons are not permitted to carry guns, a person’s armament is constantly changing based on availability of illegally acquired firearms.
In “D-Girl”, Christopher’s gun-of-the-day is a Smith & Wesson Model 38 “Bodyguard” revolver. The Model 38 is a .38 Special revolver designed as a concealed carry backup weapon that found early favor among bodyguards and plainclothes policemen or agents, hence receiving the “Bodyguard” moniker. It is similar to the Model 36 “Chief’s Special”, a .38 Special snubnose with a five round cylinder, except the Model 38 is fitted with a hammer shroud, concealing the hammer and preventing it from snagging on clothing while drawing it. The shrouded hammer, along with the compact and lightweight frame, make it easily concealed in either a holster or a pocket.
The classic Bodyguard revolver series is comprised of the Model 38, Model 49, Model 638, and Model 649. The Model 38, which Christopher carries, has an aluminum alloy frame and a carbon steel barrel and cylinder that carries five .38 Special rounds. It was originally developed in 1955 as the “Airweight Bodyguard”. When Smith & Wesson began numbering its models in 1957, the Airweight Bodyguard became the Model 38 but retained its “Bodyguard” nickname.
The next entry in the Bodyguard series is the Model 49, which is manufactured totally of carbon steel without the lighter weight alloy frame. Like its predecessor, it has a five-round cylinder for .38 Special ammunition. It was developed in 1959.
The two stainless Bodyguard revolvers are the Model 638 and the Model 649. The Model 638 is naturally aluminum-framed with a stainless cylinder and barrel, while the Model 649 is all stainless steel. Both have five-round .38 Special cylinders, but the Model 649 can also fire .357 Magnum rounds.
Smith & Wesson refreshed the Bodyguard series in 2010 with the introduction of the semi-automatic Smith & Wesson Bodyguard 380 with a lightweight polymer frame. It is double-action-only in the spirit of the classic revolvers, and it has a six-round magazine for .380 ACP ammunition. Smith & Wesson recently introduced the Bodyguard 38, a revolver with a shrouded hammer and five-round .38 Special cylinder, recalling the earlier Model 38. Both Bodyguard variants have an Insight red-dot laser sight integrated into the grip.
Christopher carries his classic alloy-framed Model 38 in a simple black ankle holster on the inside of his right calf. This is shown to be Christopher’s holster of choice on at least four occasions, including the following episode when he carries a Walther PPK in the same location. He irresponsibly taunts Jon Favreau with it when Jon asks him if he is “strapped”.
Do Yourself a Favor and…
Buy the second season.
That fucking cocksucking mezzofinook!
Californication returned to Showtime last week, beginning its seventh and final season. Around the same time, David Duchovny finally joined Twitter, immediately racking up thousands of followers.
David Duchovny as Hank Moody, womanizing and borderline alcoholic novelist
Venice Beach, Spring 2008
David Duchovny as Brian Kessler, aspiring crime writer and grad student
Pittsburgh to California, Summer 1993
Ask someone about what to watch if you want to see David Duchovny playing a carefree writer who journeys out to California in search of paradise and finds the result to be the total opposite. Chances are, you’ll be told to either:
a) watch Californication, or
b) check IMDB, you lazy bastard
Despite the role of Hank Moody on Californication cementing Duchovny’s post-X-Files stardom, many forget about a similar role he had played the same year that The X-Files debuted. In 1993′s Kalifornia, Duchovny played Brian Kessler, an ultra-liberal psychology grad student hell-bent on writing the ultimate serial killer book. Without the drinking and womanizing that would be Moody staples, Brian could be considered an early version of Hank with his devotion to an artistic girlfriend and the attire – mostly black shirts, jeans, and a leather jacket. Additional parallels are in the timing; Hank supposedly went out to California in the mid-1990s, just around the same time as Brian’s road trip.
Of course, the content of both are wildly different. Californication is a dramedy about Hank’s struggle with his addictions and his writing, while Kalifornia is a brilliantly warped thriller about Brian and his girlfriend unwittingly taking a cross-country road trip with a redneck serial killer Early Grayce (Brad Pitt, before he was someone) and his childlike girlfriend Adele (Juliette Lewis).
As a Californication fan, it was fun to revisit Kalifornia and see some of the subtle Hank-isms present. For this post, I’ll break down a standard Hank Moody look – black T-shirt and jeans – from season 2 of Californication and compare it to Brian Kessler in Kalifornia.
What’d He Wear?
Throughout season 2 of Californication, Hank adds a few new pieces to his wardrobe, but on the whole it stays the same. In episodes 1, 4, 5, 8, and 10, Hank wears his standard black cotton short-sleeve t-shirt and dark blue zip-fly jeans.
In season 1, he had often paired his brown smoking jacket with this look, but he keeps it pretty minimal in season 2, only whipping out the smoking jacket with button-down shirts.
His accessories remain the same with the silver ring on his right index finger and the black leather studded bracelet and accompanying thinner black braided leather bracelet on his left wrist. Both are available from Urban Wrist in both black and brown leather.
Hank also wears his same sunglasses as usual, a pair of brown-tinted Izod 725 shades that fold easily into a jacket or jeans pocket.
Hank’s shoes are the returning pair of brown sueded leather Timberland “Mt. Washington” Chelsea boots, but he also wears a pair of black Puma Whirlwinds with white piping while interviewing Janie Jones by her pool in “Going Down and Out in Beverly Hills” (Episode 2.08).
His socks and underwear are also black, just as they were when the show started.
We’ve already seen how Californication portrayed Hank in 1994, preferring a grungier look than we’re used to seeing on our hero.
In 1993′s Kalifornia, Duchovny’s Brian Kessler dresses more like the contemporary Hank, with the exception of baggier clothes and black jeans as the fashions of the mid-1990s would dictate.
The staple of Brian’s wardrobe is a well-worn black leather motorcycle jacket with epaulettes, a zip front, flapped hip pockets, and ribbed waistband and cuffs.
Brian’s jeans are traditional Levi’s denim jeans in a light blue wash, although he also concedes to the ’90s trends with a pair of black jeans. Unlike Hank, Brian prefers a belt, wearing a black leather belt with a square silver clasp in the front.
His shoes are a pair of plain gray sneakers with white laces and soles.
Brian has a rolling collection of plain crew neck t-shirts in various shades of gray, blue, and – of course – black. He wears all of his t-shirts tucked into his jeans.
Brian occasionally layers over his gray t-shirt with a solid black long-sleeve button-down shirt with two flapped chest pockets. In the pilot episode of Californication, Hank wore a similar shirt, except with a black t-shirt underneath it.
For the finale, Brian sports a proto-Moody look with a baggy black v-neck t-shirt with short sleeves down to his elbows, paired with the blue jeans.
The shirt’s fit and style are remarkably different than anything we ever see Hank Moody wearing on Californication, but it is interesting to compare the difference in what sounds like a simple look – a black T-shirt and jeans – over the course of just 15 years.
Brian has a pair of dark tinted sunglasses with metal rims. Much like Hank, he wears them both when it’s sunny out and when he is too hungover to deal with life.
Brian doesn’t have the standard Moody-issue brown smoking jacket, but he does wear a boxy black sport coat at a party when he is first seen, with padded shoulders, long notch lapels that roll down to the 2-button front, and 3-button cuffs. He looks more like Chandler Bing than Hank Moody.
Perhaps the most Moody-like of all – and definitely the accessory that urged me to make this comparison – is a black leather cuff bracelet with dulled metal snaps. Worn on his right wrist, the bracelet is very similar to the flashier studded bracelet that Duchovny would wear throughout Californication as Hank.
Brian wears the bracelet on his right wrist since a plain white-faced analog watch is on the left.
Go Big or Go Home
Comparing the similarities between Hank Moody and Brian Kessler reveals just how much of Duchovny is in each character. Both are charming, practical, and quick-witted with a tendency toward strong, passionate romances. As Brian is younger, he is more optimistic, but his plight in the Mojave Desert against a serial-killing redneck Brad Pitt reveals a potential for the cynicism that Moody is known for.
Both writers also drive classic black convertibles; Hank has his Porsche and Brian drives a beautiful 1963 Lincoln Continental four-door convertible with a big 430 cubic inch V8 engine and three-speed Turbo Drive automatic transmission.
Interestingly, although both men skew liberal on the political spectrum, they show a guilty interest in their reckless new acquaintances’ firearms. Rock producer Lew Ashby allows Hank to fire a round from his Ithaca 37 shotgun to end a catfight at his party, and Early lets Brian pop off a few .45 rounds from his Colt Mk IV Series 70 pistol.
Early even goes so far as to offer Brian his gun while Hank just helps himself to the soon-departed Lew’s t-shirts.
On the contrast side, Brian abstains from exhibiting Hank’s major vices. He displays little penchant for drug use, he actually tries to curb his girlfriend’s smoking habits, and the only time he really drinks to excess is when Early takes him out for Lucky Lagers. Hank, in his infinite wisdom and liver abuse, would probably drink Early under the table… although Early would probably kill him for it.
Technology-wise, Brian uses a Realistic brand tape recorder throughout his adventure with Carrie, Early, and Adele. Hank has updated since; this being 2008, Hank’s Motorola RAZR cell phone and Apple MacBook laptop with a 13″ screen follow the trends of the day. He isn’t as cutting-edge as possible, but he doesn’t want to be either. As Surfer Girl told him, he’s an analog guy in a digital world.
Naturally, though, Hank only uses technology if it comes in black.
But while the cutting-edge technology changes, both writers prefer to commit to their hobby using old-fashioned methods like a pen and pencil in the field and a typewriter in the home office.
How to Get the Look
The Hank Moody/Brian Kessler look sounds similar, but the details of each era and each character set them apart.
- Black short-sleeve cotton T-shirts
- Hank Moody wore slim-fitting crew neck t-shirts, but Brian Kessler preferred baggier v-neck shirts
- Blue denim jeans
- Hank preferred dark wash jeans, but Brian wore the standard light blue Levi’s jeans
- Dark sneakers
- Hank wore black Puma Whirlwind sneakers (when he wasn’t wearing his brown Timberland suede Chelsea boots), but Brian wore a lighter pair of gray sneakers
- Black socks
- Black boxer briefs
- Izod 725 sunglasses with brown lenses
- Silver ring with two ridged bands, worn on the right index finger
- Black leather bracelet with silver hexagonal and round studs, worn on the left wrist (or the right wrist, if you’re channeling Brian)
- Thin black braided leather bracelet, also worn on the left wrist
Do Yourself a Favor and…
For reference’s sake, Hank sports a black t-shirt and jeans in the following second season episodes: 2.01, 2.04, 2.08, 2.10, and 2.12. It’s his staple “uniform” throughout the show, but this particular post has a second season focus because why not.
Brian’s thoughts about California reflect what Hank was probably thinking before he and Karen made their move:
What the hell did I know about California? For some people it was still a place of hopes and dreams, a chance to start over. The idea was if you could get there everything would be okay, and if it wasn’t okay there, well, it probably wasn’t going to be okay anywhere.
Sorry this one took me long, fellas. I had planned to have it up by Tuesday (timed for the “polar vortex” ooooh…) but it’s a long-ass movie with a lot of clothes. However, this should still be pretty well-timed for anyone in North America dealing with record low temperatures this winter.
Daniel Craig as Mikael Blomkvist, disgraced Swedish investigative journalist
Hedestad, Sweden, Winter 2006
This isn’t one of those movies you pop in just for a laugh on a summer day or to fall asleep to. The Girl with the Dragon Tattoo is a very dark (both thematically and literally) film that’ll stick with you for days after watching. It’s long – closer to 3 hours than 2 – but the fast-paced, heart-racing sequences and the stellar acting, particularly from leads Daniel Craig and Rooney Mara, make the time fly.
Craig plays Mikael Blomkvist, a journalist in some hot water after his investigation into a corrupt businessman resulted in a libel case. He is mysteriously called to the home of Henrik Vanger (the always excellent and debonair Christopher Plummer) and thrown into a dark investigation of a forty-year-old murder.
Craig does a nice job not reminding the audiences that he is James Bond. Although not a slob, his Mikael is much less appearance-driven than Bond and certainly much less of an action hero. He isn’t an anti-hero, as he is always driven by his desire to do the right thing although he often takes it too far and gets himself in trouble.
As I said, it was a very dark movie, thus most – if not all – of the images I captured had to be brightened to use here. Of course, this was David Fincher so I wouldn’t expect anything less.
What’d He Wear?
He wears a few dark suits in the beginning, which I’ll cover at some point, but Mikael spends most of the film in various layered sweaters and vests, almost always worn with an outer coat, a pair of jeans, and dark leather boots.
Since the film takes place over the course of a year (although I guess most of the action is relegated to the first few months of 2006), Mikael is seen often wearing the same clothing, but paired differently. Unlike most movies, this is a very realistic depiction of a person’s wardrobe. James Bond probably goes away for the week-long mission with six business suits, two dinner suits, and eighteen shirts, all meant to be worn once. With Mikael’s outfits, we see plenty of repetition, but it is always in different combinations depending on the weather, situation, and – likely – his laundry cycle.
A lot of help came from commenters like Brandon L., Craig Richards, Roman, and JM88. Brandon directed me to this Ask Ugeta link to answer a lot of questions about clothing brands in the film.
Thus, I think the most practical way to present the attire is to list it all out, presented in the order of its appearance, then to describe each combo by the situation.
Mikael wears two winter coats while in Hedestad, one for more formal occasions and the other a more casual winter coat:
- A dark charcoal single-breasted 3-button wool overcoat with notch lapels, a welted breast pocket, flapped hip pockets, 3-button cuffs, and a large rear single vent.
- A gray wool down jacket with a zip front with a 5-snap placket, a 2-snap standing collar, a snap-flapped breast pocket, zip slash side pockets, tightly elasticized cuffs to keep out snow and weather, and a snap under the rear collar. This jacket is the Moncler “Cezanne” model, which is unfortunately out of production. Brandon sent me this photo of the jacket, which shows a brand logo on the breast pocket which was evidently removed for the film.
Underneath his winter coats, Mikael typically wears either a cardigan sweater or a sport coat. His sport coats consist of:
- A gray single-breasted sport coat with small-notched lapels, 2-button front, welted breast pocket, jetted hip pockets, and 4-button cuffs. The natural shoulders have roped sleeveheads.
- A black unstructured single-breasted blazer with cran necker-style lapels, a 2-button front, a breast pocket, flapped hip pockets, and unfastened surgeon’s cuffs.
- A chunky dark charcoal ribbed cardigan sweater with a low button stance and large shawl lapels. It just looks like a charcoal gray in the film, but some production photos (including the one at the top of this post) give the sweater a blue-ish tint. Not as blue as the scarf, but a shade darker than his jeans. It likely is a dark charcoal blue, but it appears grayer in the film, so you can be your own judge there. It was made by Maison Martin Margiela.
- A very dark gray cashmere v-neck long-sleeve pullover sweater with horizontally-pleated shoulders and pleats down each arm to elasticized cuffs.
- A gray cashmere cardigan sweater with shawl lapels and ribbed/elasticized cuffs. It has a knit pattern that slightly resembles that of a fisherman’s sweater.
- A charcoal merino wool cardigan sweater with shawl lapels and a high 5-button stance. This isn’t seen until later in the film, but it is noticably thinner than the chunky sweater and has a higher button stance. The Ask Ugeta article mentions a Tom Ford cardigan being worn; as this resembles the black Tom Ford cardigan in Quantum of Solace, it is likely this one.
Mikael also shows a fondness for vests. Since Daniel Craig is British, though, he would probably call them waistcoats. Whatever you call them, they are:
- A gray pick-and-pick (or “sharkskin”) vest with a 6-button front, two welted lower pockets, and a notched bottom. The buttons are black, and Mikael usually leaves the bottom button unfastened.
- A dark charcoal flannel vest with a 5-button front and a notched bottom. The buttons here are also black, and Mikael indeed leaves the bottom button unfastened.
- A light gray vest with 7 black buttons down the front to a notched bottom. There are four welted pockets – two chest and two lower – and Mikael continues to leave his bottom button undone.
Most of Mikael’s shirts are very Columbo-esque wrinkled button-down shirts, including:
- A light gray button-down casual shirt with a narrow double-buttoned collar, button-flapped breast pocket, thin front placket with white buttons, and buttoned barrel cuffs.
- A black soft button-down shirt with black buttons. This appears to be a different fabric and style than the wrinkled utility-style shirts.
- A black button-down shirt with white buttons on the front placket.
- A light blue button-down casual shirt with a narrow double-buttoned collar, button-flapped breast pocket, thin front placket with white buttons, and buttoned barrel cuffs.
- A dark blue (with a green plaid check) long-sleeve button-down shirt with white buttons. The cuffs and gauntlets both have buttons, but Mikael only fastens the gauntlet buttons.
A few commenters have pointed out that most of Craig’s shirts in the film are lightweight cotton poplin work shirts made by the American company Save Khaki United. Although the shirts offered during the filming are no longer available, the site still has very similar and very cool shirts that Mikael would wear. Thanks to Craig Richards and JM88 for pointing this out! The shirts are featured in a Youtube video by David Zarinsky of The Z Lifestyle.
The company also offers t-shirts and cardigan sweaters very similar to the one worn by Dan in the flick.
Mikael wears both t-shirts and henleys as undershirts:
- A blue henley with four shiny black buttons.
- A medium-gray short-sleeve t-shirt.
- A plain white short-sleeve t-shirt.
- A gray long-sleeve henley with four white buttons.
- A dark blue long-sleeve thermal henley with three dark blue buttons.
Mikael has a preference for jeans, although he sports a pair of casual trousers from time to time. The belt situation varies, but when he wears one it is a dark brown leather belt with a dulled silver rectangular clasp. His pants include:
- Dark blue wash straight-cut denim jeans, made by Scotch & Soda in their “Ralston” slim cut. (According to this link and a briefly-seen logo during the climax.) The bottoms are usually cuffed a little bit.
- Dark gray flat front casual trousers with plain-hemmed bottoms and jeans-style 5-pocket layout.
Mikael wears laced leather boots, a wise choice for stomping around in the snowy winters of Sweden. He has at least two pairs in black and brown. According to the Ask Ugeta link above:
[Mikael] also had a great pair of carmel color boots he wore a lot that I also loved; they were like an ankle oxford. These were by Crockett & Jones which you can get at Barneys, or if you’re in NYC or London they have their own stores. He also wore a black leather round toe lace up ankle boot by Fiorentini & Baker and a grey suede lace up boot by Costume National.
Things might look pretty repetitive here, so if you’re looking for a scene in particular, scroll ’til you find it. I wanted to be thorough here, but that can also mean boring. Hopefully the screenshots will liven things up a bit. Here we go!
When he first meets with Henrik in Hedestad, around Christmas 2005, he wears the charcoal overcoat over the gray sport coat, light gray button-down shirt, gray pick-and-pick vest, dark wash jeans with a belt, and black leather boots. He accessorizes (and keeps himself warm) with a thick charcoal blue and gray striped wool scarf, worn in most of his outdoor scenes in Hedestad. He wears his Omega watch and his Mykita acetate glasses, both of which I will discuss at the bottom of this section.
After meeting with Henrik, Mikael goes back to the Millennium magazine office and sees Erika. Not much is seen below the waist here, but he definitely wears the chunky charcoal cardigan and the first blue henley.
Mikael returns to Hedestad, this time to stay for the investigation. He alights from the train wearing his gray wool down jacket, the striped wool scarf, his dark jeans, black leather boots, and – naturally for Dan – his Omega watch. We don’t see anything under the coat since the next scene is him in his pajamas, but we do see an additional outerwear accessory: a dark gray tobbogan (“beanie”) hat. Interestingly, it is this cold with him wearing a hat, scarf, and insulated winter coat, but he wears no gloves? Is this just a Swedish thing or what?
The next day, Mikael meets with Henrik. It is just as cold as the previous day, but he wears his more formal charcoal overcoat with the charcoal blue and gray striped scarf.
Mikael returns to his computer to get some invetsigating done. He wears the chunky charcoal cardigan, a gray t-shirt, and the charcoal flannel vest. He is also sporting his Mykita acetate glasses.
When Mikael meets with retired detective Morrell, he wears the charcoal overcoat, his light gray button-down shirt, and his dark jeans. He again wears his Omega watch and the Mykita glasses. There is a newly seen item here, a dark gray cashmere v-neck sweater. He only wears it in this scene and towards the end when talking to Erika.
For dinner with Martin Vanger and his wife, Mikael wears his dark overcoat and scarf when outside. His dinner attire is a black unstructured blazer, the light gray button-down shirt, dark wash jeans, and dark brown laced boots.
Soon after, Mikael is talking to another Vanger when Cecilia stops by his shack. For this visit, he wears the dark charcoal cardigan, a black long-sleeve button-down shirt, a gray t-shirt, dark wash jeans, and his Mykita glasses.
Evidently in a mood to keep talking to the Vanger kids, Mikael heads off to see Anita via plane. For the plane ride, he wears a soft gray cashmere cardigan sweater, a light gray button-down, and a light gray t-shirt, all paired with the gray pick-and-pick vest, dark wash jeans, and black leather boots. His trusty Omega is on his left wrist, and he also whips out his Mykita glasses from time to time. When he steps off the plane and goes to see Anita, he is wearing his charcoal overcoat and the striped scarf.
When he gets back to Hedestad, Erika visits him. He is wearing his Moncler gray down jacket, the dark gray toboggan, the charcoal blue and gray striped scarf, and the same gray cashmere sweater and light gray t-shirt from his trip to see Anita. He is wearing a black button-down shirt, this one with white buttons, and a dark gray pair of flat front trousers, perhaps feeling more formal with his main squeeze in town.
Mikael the photographer treks into the city to document some of the locations where Harriet had spent her last known day. The photo at the top of this post is a production still from this scene. Mikael is wearing his chunky dark charcoal cardigan, the charcoal blue and gray striped scarf, the charcoal flannel vest, dark blue denim jeans, and black leather boots. His shirt is a light blue version of the light gray button-down casual shrit he’s worn so much of in the film. Naturally, he also wears his Mykita glasses.
Mikael’s daughter comes to visit him after his adventure in the city. After she leaves, Mikael knocks back some Cragganmore with Dirch Frode. During this whole sequence, he wears the chunky dark charcoal cardigan, a light gray t-shirt, dark wash jeans, and black leather boots. He wears a light gray vest under the cardigan, but it is lighter than his pick-and-pick vest and has 7 black buttons as opposed to 6. He also wears his Mykita glasses and Omega watch. When outside, his outerwear is the gray wool Moncler down jacket, his dark gray toboggan, and the charcoal blue and gray striped scarf.
After Mikael discovers that Lisbeth Salander has been investigating him, he goes into Dragan “Serbian Guy from ER” Armansky’s office wearing the dark charcoal cardigan, the charcoal flannel vest, dark jeans, and the light blue casual button-down shirt.
When he finally goes to meet Lisbeth Salander for a memorable scene in her apartment, he wears the black unstructured blazer from his dinner with Martin, paired with a gray scarf, the light gray 7-button vest, dark jeans worn with a dark brown leather belt, and a black long-sleeve button-down shirt with white buttons.
Mikael heads back alone to the Vangers’ island, wearing his dark charcoal overcoat, light blue wrinkled button-down shirt, a white t-shirt, the light gray 7-button vest, and dark jeans, again with the dark brown leather belt. Black leather boots appear to be his footwear of choice here.
In mid-April 2006, Henrik is hospitalized and Salander finally arrives to help Mikael with the investigation. He heads to the hospital to visit the family in his gray cashmere cardigan, a medium gray t-shirt, his dark charcoal overcoat, and the charcoal blue and gray striped scarf.
Mikael runs some mostly photo-related errands wearing his dark charcoal cardigan, gray pick-and-pick vest, and dark wash jeans. The new item here is a gray long-sleeve henley. The standard items here are the Mykita eyeglasses and his black and stainless Omega watch.
The action really starts picking up when Mikael is shot at! For this, he wears a newly-seen thin charcoal cardigan (not the chunky one!) with the light gray t-shirt, dark jeans, and black leather boots.
The next day, Mikael goes to meet Martin and Frode at the Vanger office. His outerwear is the charcoal overcoat, dark gray tobbogan, and the charcoal blue and gray scarf. Inside the office, he sheds his layers and wears the gray cashmere sweater, black casual button-down with white buttons, medium gray t-shirt, dark blue jeans, and black laced leather boots.
After this, we get to the climatic day as Mikael faces off against the film’s big villain! If you want a spoiler, highlight this: Martin Vanger. If you didn’t want a spoiler, I hope you didn’t highlight that…
In this sequence, Mikael wears his dark charcoal overcoat. Since it’s getting slightly warmer, probably around late April or early May around this time, he isn’t wearing a sweater or a vest. Instead, he layers a dark blue long-sleeve button-down shirt with a green plaid check over a dark blue thermal henley. He wears his dark blue Scotch & Soda jeans without a belt as well as his brown boots and Mykita acetate glasses.
Chances are, it’s gonna be tough for me to avoid spoilers here, so read with caution if you haven’t seen the film. Mikael (he lives, yay!) takes a return flight to Anita wearing a gray-ish unstructured overcoat with peak lapels and surgeon’s cuffs. I can’t tell much about this coat, as it’s only seen in one shot, so fuck that coat. He also wears a black long-sleeve casual button-down shirt with black buttons.
When he goes to confront Anita with the truth, he shows up on her doorstep at night wearing a newly-seen scarf. The scarf looks like it is gray cashmere with a dark gray and blue check. The jacket is his dark charcoal overcoat, paired with dark wash jeans and he is wearing a a pair of brown leather laced calfskin split-toe medallion bluchers. The confusion doesn’t end for me when he is seen talking to Anita in the park. Here, it looks like he wearing a black windbreaker with upturned collars.
However, some production photos exist of him wearing the brown shoes with a black peacoat and gray scarf. Can anyone shed light on this? By this point, I’d been screencapping the film for about four hours, so I may not have been thinking straight as I took notes.
For Henrik’s reuniting with Anita/Harriet, things finally get back to normal for me sartorially as Mikael wears his thin charcoal cardigan, light blue wrinkled shirt, long-sleeve gray henley, gray casual trousers, and Omega watch.
Later, possibly around June 2006, Mikael is talking to Erika. He wears the light blue wrinkled shirt under the dark pleated-shoulder sweater worn for the Morrell interview. He appears to also have a thin dark-colored cardigan over this whole affair. Mikael’s accessories here are his loyal Mykita glasses and Omega watch. A production photo shows that he is also wearing his dark jeans.
Finally, around Christmas 2006, Mikael is watching the news with the Millennium staff. He is wearing his gray cashmere cardigan, the light gray 7-button vest, the black button-down shirt with white buttons, dark gray casual trousers, black laced boots, and his Mykita glasses, which dangle from his face.
Well, that was an adventure.
Mikael has three accessories that he wears nearly all the time. One, which he is never seen without, is a silver pendant on a thin silver chain throughout the film. I don’t know the significance of this, and I have yet to actually read the books (I know, I know!) so I don’t know if it were mentioned there.’
Since Dan Craig is an Omega man, his watch in the film is an Omega Seamaster Aqua Terra Chronometer 220.127.116.11.06.001. It has a 38.5 mm round stainless steel case, a teak-gray dial with a domed scratch-resistant sapphire crystal, and a black leather strap. If you’re interested, check out Omega’s site and see what you can get.
Mikael also wears a very cool set of eyeglasses, a pair of Mykita Collection No. 2 “Helmut” acetate eyeglasses with brown tortoiseshell (“Peridot”) frames.
Just for shits and giggles, and since he spends a good bit of time in them, let’s quickly talk about Mikael’s pajamas. He wears a set of dark red and blue flannel pajamas with a button-down top and elastic-waisted bottoms. Since it’s cold as heck, he wears light gray wool socks and almost always has an undershirt, whether it’s a dark blue henley or a gray t-shirt. He often wears his dark charcoal cardigan over the pajamas, even sleeping in it. For pajama investigations, he puts on the Mykita glasses, and when he has to step outside, he wears a pair of black leather boots with orange lining.
Go Big or Go Home
For a badass movie that takes no prisoners, Mikael is a pretty mild-tempered character. He is more like Daniel Craig’s pragmatic gun-hating drug dealer from Layer Cake than James Bond and is very dedicated to his work and doing a good job. While this may land him in hot water when he goes too far, it also endears him to women and friends.
Speaking of badass, the title sequence immediately sets the stage for the disturbing film, with a rendition of Led Zeppelin’s “Immigrant Song” by Trent Reznor of Nine Inch Nails and vocals from Karen O. of the Yeah Yeah Yeahs.
The Product Placement Gods have also made it very easy to replicate Mikael’s style. In addition to the clothes above, you can nab a 2nd generation Apple MacBook Pro and hook it up to a Lacie d2 Quadra external hard drive and an Epson Stylus Office BX320FW printer and – voila! – you’ll be able to solve forty-year-old murders!
He also smokes Marlboro Reds, but the Philip Morris folks frown on product placement and probably aren’t too crazy about his habit of buying a pack just to smoke one cigarette and toss the rest away.
Was anyone else surprised by all the Apple product placement in a Sony movie? Sure, they gave Mikael (and Lisbeth) a Sony Ericsson Cybershot phone and a black flat screen Sony TV, but using an Apple computer was a pretty big surprise. If you’re gonna fill your cabinet like Mikael, have some nutella and Felix Rårörda Lingon jam on hand. Now when it comes to booze…
What to Imbibe
Mikael himself keeps Cragganmore 12-Year-Old single malt Scotch whisky in his home on the Vanger grounds, drinking it neat when Dirch Frode visits.
When he heads to Martin’s household, first for a social visit, he drinks a glass of Château Clinet red wine from Pomerol with Martin and his wife.
When he returns a few months later, for a decidedly more sinister visit, he is offered a glass of Mackmyra Brukswhisky, a very appropriately-placed Swedish single malt whisky. Due to the bottle, many people mistake this for Bruichladdich (which is also awesome), but it is indeed Mackmyra.
Mikael also chugs vodka when he needs it, pouring two mini-bottles for a double vodka on the plane and drinking straight from the bottle after he is shot at.
Thanks to blog commenter Roman, who has identified the “bathtub” vodka as the Swedish brand Vanlig, which I was unfamiliar with before this post. The mini-bottles on the plane are likely Absolut, another Swedish brand to keep things regionally accurate.
How to Get the Look
This is pretty much what I did up there. Go up and read it again if you wanna look like Mikael so badly.
Do Yourself A Favor And…
Buy the film.
The last time I reported on something without being absolutely sure I lost my life savings.
George Clooney as Jack (aka “Edward”), weary paid assassin/hitman and gunsmith
Rome, April 2010
George Clooney is the titular hitman in The American, a 2010 film directed by Anton Corbijn based on Martin Booth’s novel A Very Private Gentleman. Though he’d played gun-wielding badasses before, The American was the first role placing Clooney in the now mythic film profession of paid assassin. (Syriana doesn’t count since that was more of a CIA gig…)
Humorously enough given the actor’s politics, Clooney’s character is also a knowledgeable gunsmith who is able to sneak around an old garage and find enough parts to modify a Ruger Mini-14 rifle (not an “M14″ as the film calls it) for an assassination.
However, I’m getting ahead of myself. The film opens with Clooney holed up – not unexpectedly – with a good-looking broad in Sweden. There is some gunplay, and I won’t give anything away, but he ends up heading for Italy, hopping on a train to Rome.
What’d He Wear?
Clooney steps off the train at Rome’s Termini Train Station looking very cool and comfortable, which is ideal for traveling, isn’t it? The look is mostly brown, with just enough gray peppered in to keep things from getting too monochromatic. Additional gray comes from Clooney’s hair, which is more silver than ever.
Given that he’s coming from a chilly-ass place like Sweden in April, Clooney’s character Jack (or Edward or whatever his name really is) wears several practical and easily removable layers for his journey. The top layer is a dark brown overcoat that extends down to his mid-thigh. At first, it looks like the coat is worn with a sportcoat underneath, but the extra set of lapels are actually from the coat’s gray lining. This is known as a “double coat”, and it means exactly what it sounds like.
The heavyweight coat has natural shoulders and notch lapels that roll down to a 2-button front. The front darts extend down each side to the flapped hip pockets. There is also a ticket pocket on the right side of the coat.
Underneath, Clooney wears a dark brown herringbone half-neck zipped cardigan sweater. Unlike “half-zip” or “quarter-zip” sweaters, like the rusty orange one worn by Matt Damon in The Bourne Identity, this zips all the way down and can be worn open like a jacket. The sweater cuffs are elasticized to fit snugly but comfortably around each wrist. He also wears this in plenty of later scenes, so I don’t want to ruin any fun by talking about it too m much now.
Underneath the sweater, Jack/Edward/George Clooney wears a short-sleeve heathered gray t-shirt. Since Zegna provided a lot of the wardrobe, it probably costs about $250, so just go find yourself a nice one at Nordstrom for $7, and you’ll be fine.
The trousers are only seen in long shots, but they’re definitely dark brown with flat fronts and plain-hemmed bottoms. If later scenes are any indication, they’re likely worn with a brown belt. Based on the rest of this outfit, I don’t think that’s too much of a gamble to say.
Jack also wears a pair of well-traveled brown leather hiking boots. They have four eyelets for the laces and two additional hooks, which Jack seems to ignore in some scenes, tying the boots lower on his feet.
Jack’s watch is a very beautiful Omega Speedmaster Professional. It has a stainless round case worn on a black crocodile strap. The black face has three sub-dials at 3:00, 6:00, and 9:00. We get a view of it while Clooney is driving from Rome to Castel del Monte, but it is best seen later while he is gunsmithing and test-shooting. Clooney is a fan of Omegas in real life, having recently worn a De Ville Hour Vision to the premiere of Gravity.
Another brand often associated with Clooney is Persol, and he doesn’t let them down here either. For his arrival in Rome and drive to Castel del Monte, he wears a pair of Persol PO2883-S sunglasses with tortoiseshell “havana” frames and chrystal gray green lenses, color code 24/31 if you’re interested. Like I said earlier, Ermenegildo Zegna provided a ton of costumes for him in this, so he later switches from the Persols to a pair of Zegna’s SZ3174 sunglasses.
Go Big or Go Home
When traveling abroad, especially in Europe – and especially in Italy, the last thing you want to do is look like a tourist. (Well, second to last… the last thing you probably want to do is get thrown in prison.)
Clooney’s Jack manages to avoid a touristy look, even though he is clearly an outsider in the small Italian village. His dress is simple but fashionable – no bulky hoodies, no fishing hats, and no goddamn fanny packs. He quickly assimilates into the culture, drinking Montepulciano d’Abruzzo – a favorite red DOC of mine. It is also very regionally correct, since Jack is in Abruzzo and “when in
He also appropriately drinks a Caffè Americano, which is just hot water added to espresso. The Clooney-espresso caused me to chuckle after I remembered this commercial from one of my advertising classes in college where Clooney overhears two women discussing the intense, rich coffee they are drinking and mistakes the subject of their conversation to be him. Anyone else remember these ads?
How to Get the Look
Clooney makes the most of layering with a functional brown and gray motif. I bet you could do the same if you tried hard enough.
- Dark brown thigh-length single-breasted “double coat” with gray lining, notch lapels, 2-button front, flapped hip pockets, and ticket pocket
- Dark brown zip-up cardigan sweater with elasticized cuffs
- Heathered gray short-sleeve t-shirt
- Dark brown casual flat front trousers with plain-hemmed bottoms
- Dark brown laced hiking boots
- Persol PO2883-S sunglasses with “havana” tortoiseshell frames and chrystal gray green lenses (color code 24/31)
- Omega Speedmaster Professional wristwatch on a black crocodile strap
Do Yourself a Favor and…
Buy the movie.
Mel Gibson as Martin Riggs, suicidal LAPD detective
Los Angeles, Christmas 1987
In a way, Lethal Weapon is too entertaining for its own good. It’s a bit corny, it’s a bit ’80s, and it’s a bit over-the-top, but it set the standard for the “buddy cop comedy” with its bizarre but efficient mix of neo-noir (a sax soundtrack in L.A.) and The Three Stooges. Over the years, it has been constantly compared to Die Hard, often unfavorably. While they both involve “loose cannon” left-handed cops in L.A. at Christmas, both armed with Beretta 92F pistols, the two films are radically different.
Lethal Weapon‘s main character (partnership be damned) is Martin Riggs, an LAPD narc who is very good at his job, mostly because he doesn’t care if he lives or dies. The film follows Riggs as he is partnered with the older and wiser Sgt. Roger Murtaugh. They both learn from each other and manage to solve the case by throwing smoke grenades in the desert, getting electroshocked, and beating the shit out of Gary Busey. Now if that doesn’t sound entertaining, what does?
* Before proceeding forward, realize that BAMF Style is endorsing the attire as a comfortable and utilitarian look, especially if you’re going for a “rugged urban cowboy cop” style. The attire is OK; the hair is not. A mullet like Mel’s is never a good idea.
What’d He Wear?
For the first half of the film, including his first day as Murtaugh’s partner, Riggs wears a gray casual jacket and jeans with a button-down shirt and undershirt.
The jacket is a gray cotton unstructured blazer that is a smart choice for an L.A. winter. While not warm enough to combat snow and heavy wind, an unstructured blazer like Riggs’ is a nice extra layer for a boost of warmth, style, and – good for a plainclothes cop – concealability. Riggs’ has plenty of seams throughout, over the shoulders, down the arms, and across the back.
Riggs’ jacket is single-breasted and the lapels have large notches, as well as an extended buttonhole on the left. There are two large black buttons located centrally in the front, but Riggs wears his coat open at all times, likely to make his draw easier. There is a slanted pocket on each hip, covered by a narrow flap. The plain cuffs have no buttons or zips, keeping the jacket lighter and less cumbersome when Riggs is forced into action.
The other staple of Riggs’ wardrobe is a pair of light blue denim jeans with straight legs that fit snugly over his boots.
Riggs wears his jeans with a brown leather Western belt that closes in the front with a smaller brass-tipped sub-strap that fastens through a brass buckle. This very distinctive belt is indeed known as a “ranger belt” and you have absolutely seen it in Westerns and cowboy movies. (Thanks to Omar for the ranger belt ID!)
Furthermore, Riggs is definitely a “cowboy cop”, so his choice of wearing boots is very characteristic. Both sets of boots seen are cowboy-style leather boots with raised heels. The first boots, worn with a striped shirt, are dark brown leather, and the second boots, worn with his red shirt, are a light brown leather. Although I couldn’t get a definite make, many have suggested Tony Lama as the manufacturer. A pair of these might do the trick if you’re looking for a close match.
Underneath his boots, Riggs wears a pair of thick white calf socks, which clearly have the yellow-tinted toes identifying them as GoldToe®, which are a very inexpensive brand of durable, reliable socks. This might be the first brand identification of a pair of socks on BAMF Style, so… yes, I need to get out more.
Riggs wears two different shirt combinations with his gray jacket and jeans.
The first shirt combination is a white long-sleeve button-down with gray stripes. Each stripe is, upon closer examination, one single dark blue-gray stripe flanked by a white stripe and a thin blue-gray stripe on each side.
The striped shirt is a heavy cotton and has a front placket and an open patch pocket on each side of the chest. Riggs often wears this shirt with the barrel cuff sleeves rolled up, pairing it with a dark gray short-sleeve t-shirt. The t-shirt is a standard crew-neck cotton t-shirt.
The next day, Riggs shows up at the office for his meeting with his new partner. Here, he wears a large-fitting red utility shirt, worn untucked and half-unbuttoned, with an off-white henley underneath. He would later sport this exact same look in Lethal Weapon 3, albeit with a different jacket.
The red shirt has seven brown horn buttons down a front placket, of which Riggs only fastens the bottom three. Like the other shirt, it has two open patch pockets – one on each side of the chest – and is made of heavy cotton. This time, Riggs wears his cuffs buttoned at the wrists.
Underneath, Riggs wears an off-white short-sleeve henley. This has three large buttons, with only the bottom button fastened. It is definitely short-sleeve, extending to just above the elbow, as we see when Riggs and Murtaugh climb out of a suspect’s swimming pool. He also wears it the next day with a khaki jacket and a blue shirt.
Riggs wears a few accessories for his various investigations, including a black wristwatch on his right wrist and a wedding band on his left ring finger. The watch is all black, with a black dial, black case, and black bracelet in a silver clasp. For Lethal Weapon 2 and Lethal Weapon 3, Riggs wore a TAG Heuer, but I’m not sure of the make of this watch.
Riggs’ wedding band, worn symbolically to honor his deceased wife, is gold with two ridges.
The most curious of Riggs’ additional accessories is a very dark blue baseball cap he wears when meeting Murtaugh for the first time. There is a patch on the front of the hat’s crown, which appears to have been blacked out, either by the character or by the filmmakers to hide a logo. It seems that the hat’s primary purpose is to make Riggs look like a dirty gunman for the ensuing confrontation with Murtaugh. Only wear this hat if you want to be mistaken for a dirty gunman in a police station.
Go Big or Go Home
Riggs doesn’t show off many traits to be desired in the first few scenes of the movie. While his courage is admirable, it is a false courage that is just a result of not caring at all about his health and safety. He bravely goes up against well-armed snipers and drug dealers but only because he is the one guy on the force who doesn’t care if he lives or dies. He even tries to help a suicidal businessman, but encourages him by actually jumping with him. The suicide scene is pretty similar to the “jumper” scene from Dirty Harry, where Harry uses unorthodox methods to save a potential man on a ledge. Although their methods are different, both Riggs and Harry manage to get the jumpers down while also managing to get the jumpers to hate them.
Riggs is also one of the last major movie characters to be shown as an unapologetic smoker, chain-smoking Winston Reds from a packet in his shirt pocket. Winstons, the most popular cigarette brand in the late 1960s, were also the cigarette-of-choice of Henry Hill of Goodfellas fame.
What to Imbibe
The first thing Riggs does after jumping out of bed is to grab a cold Coors Banquet from his fridge. This is not Coors Light, mind you. Coors Light is glorified water. Coors Banquet, on the other hand, is one of the great American “skid row” beers, right up there with Budweiser and Miller High Life. It is a good choice for Riggs because, like his Winstons, the popularity of Coors Banquet was declining as light beers and microbrews began dominating the landscape. Coors was very popular in the mid-1970s, especially after Smokey and the Bandit, as people enjoyed its lack of stabilizers and preservatives, with even Gerald Ford hiding it in his luggage after a trip to Colorado when he was vice president.
Coors Light was introduced in 1978, during the Coors boom of the mid-70s and a year after the Bandit and Snowman brought it from Texas to Georgia in 28 hours. Coors Light is now one of the most common beers to find in the U.S., which is a real bummer for guys like Riggs (and me) who don’t drink the light stuff. At 4.2% ABV, Coors Light is 0.8% lighter than the Banquet, but the lack of ABV also seems to indicate a lack in taste and quality. Luckily, a few neighborhood bars – and my girlfriend’s father – always keep some of the original Coors Banquet around.
How to Get the Look
Riggs, as a policeman prone to action rather than desk work, has to dress to be both comfortable and ready for action. You can get a few tips from his wardrobe if you’re a similar line of work, or if you just like to feel like you are.
- Gray unstructured single-breasted blazer with notch lapels, 2-button front, plain cuffs, slanted flapped hip pockets, and a ventless rear
- Button-down long-sleeve shirt, either:
- White with gray stripes, with a front placket, unbuttoned barrel cuffs, and two chest patch pockets
- Red utility shirt with a front placket, buttoned barrel cuffs, and two chest patch pockets
- Short-sleeve shirt, either:
- Gray crew neck t-shirt
- White henley
- Light blue denim straight leg jeans
- Brown leather Western ranger belt with a brass buckle and trim
- Cowboy boots with raised heels
- Riggs wears both dark brown and light brown boots, possibly made by Tony Lama
- White GoldToe® calf socks
- Black analog wristwatch
- Gold double-ridged wedding ring
- Dark blue baseball cap with a blackened patch
Now one of the most commonly seen handguns in films (and in real life), the Beretta 92F was very fresh to American audiences in 1987, unless they had seen John Woo’s A Better Tomorrow films. In Lethal Weapon, Riggs carries a Beretta 92F as his main sidearm, described by Murtaugh as:
Nine millimeter Beretta, takes fifteen in the mag, one up the pipe, wide ejection port, no feed jams.
Well done, Murtaugh, that’s exactly what it is. Riggs carries his Beretta with a full magazine of 9×19 mm Parabellum full metal jacketed (FMJ) bullets. He tells Murtaugh that he keeps a special hollow point round for his eventual suicide, but a close-up of the round (a Remington-Peters round, BTW) reveals that is also an FMJ.
Riggs is very proficient with his Beretta, shooting a smiley face onto a target while on the police range. His model has a gold finish on the Beretta logos on the grips, something not typically seen on most pistols of this model. Riggs eventually got an early issue; the LAPD didn’t formally issue the Beretta 92F to its officers until 1988. Issuance of this pistol to the LAPD was phased out in 2010 in favor of the polymer-framed Smith & Wesson M&P9.
As an “old timer”, Murtaugh carries a .357 Magnum Smith & Wesson Model 19, very emblematic of Murtaugh’s age and status as a detective. If this movie were filmed today, it’s very likely that the older cop would carry the “older” Beretta and the young nut would have a polymer-framed pistol or something else more befitting of the common trends.
Do Yourself A Favor And…
Buy the series… and make sure you get the Director’s Cut.
Let’s just cut the shit. Now, we both know why I was transferred. Everybody thinks I’m suicidal, in which case, I’m fucked and nobody wants to work with me. Or they think I’m faking to draw a psycho pension, in which case, I’m fucked and nobody wants to work with me. Basically, I’m fucked.
David Duchovny as Hank Moody, womanizing novelist with substance abuse issues
Venice Beach, Fall 2007
It’s been almost three months since BAMF Style has checked in with Hank Moody, the hero of Californication. In “California Son”, Hank had just come to terms with the death of his father with the help of a roll in the sack with ex-girlfriend Karen. He departs LAX for a brief exodus home to JFK, returning a few weeks later. Upon his return in the next episode, Hank is pleasantly surprised to find Karen waiting outside LAX but soon discovers that she is there to meet boring dial tone Bill – her fiance – rather than Hank. Hank makes the best of this uncomfortable situation.
If you’re heading home for the Thanksgiving holiday, take a few style nods from Hank Moody to travel comfortably and fashionably.
What’d He Wear?
Hank’s flying attire (in season 1, at least) consists of his staples: his brown smoking jacket, a black shirt, and dark jeans, all paired with Hank’s usual slip-on boots. With modern security regulations calling for the removal of jackets and shoes, Hank’s attire is smart and reasonable. He can toss all of his belongings into his jacket, move it through security, and slip his shoes on and off. In the meantime, the octogenarian in the other line is pulling his keys and coins out of various pants pockets and holding up the line trying to untie his ancient white tennis shoes.
Hank’s smoking jacket is his tried-and-true chocolate brown sueded thin wale corduroy sport coat from Yves St. Laurent with a single-breasted 2-button front and notch lapels. There is a breast pocket, but the inside pockets and flapped hip pockets would be best for Hank to store his accessories – including cigarettes, a lighter, sunglasses, and keys – to avoid setting off the metal detectors and to make security check-in a breeze. The jacket also has a single rear vent and 3-button cuffs.
His denim jeans are very dark blue with a boot cut to allow a comfortable fit on the plane and to be worn with boots. Hank never wears a belt with his jeans, making these a practical choice for walking through security.
Hank’s shirts are both black – a plain t-shirt for the trip to New York and a rumpled button-down for the return to L.A. The button-down shirt has long sleeves with squared cuffs – that are worn unbuttoned – and a placket-less front.
On his feet, Hank wisely wears his loyal pair of brown Timberland “Mt. Washington” sueded leather Chelsea boots. As a pair of comfortable but sturdy slip-on boots, the Timberlands are ideal for air travel, both casual enough to work with dressed-down travel attire and dressy enough to be worn with a sport coat or suit if traveling to a more formal occasion. A pair of all-purpose shoes like these are wise to give you more space when packing for a trip, since footwear is a very heavy and space-consuming item to include in your baggage. Hank wears black socks with his boots.
Hank’s other accessories are his sunglasses, his ring, and his studded wrist strap. The sunglasses are Izod 725, a compact and fashionable pair that folds down to fit into a pocket without creating a bulge or breaking easily.
His ring is a silver spinner, worn on his right index finger and a good choice for the borderline-ADD Hank who needs something to play with. Since cell phones and electronics have to be off during takeoff, at least he would have his ring to distract him.
He also wears his black leather bracelet with silver hexagonal studs, strapped to his left wrist and paired with his usual black braided leather bracelet.
Go Big or Go Home
Hank travels lightly, with just one nondescript black duffel bag that he’s able to check onto a plane. Personally, I prefer to just carry one medium-sized bag as well, fitting it either under the seat or into the overhead bin; the cost and worry of checking luggage is hardly worth it, especially for shorter trips that don’t require excessive clothing changes. Of course, even for a longer trip you can pack lightly by keeping everything to one major color motif.
Before you leave, make sure you take care of a few things around the house. Dump any cups that aren’t full, especially glasses of Scotch used for depositing cigarette ashes. If you’re prone to a Cezanne-like setting with fruit on your table, toss any exposed fruit to prevent mold. These seem like obvious tips, but they weren’t too obvious for Hank.
Once on the plane, you don’t want your entertainment to be at the mercy of the flight crew. Sure, you might be able to fit three seasons of Breaking Bad on your iPhone not to mention hours of music, but a) You could run out of battery, and 2) Flights are pretty tough on people with electronics, making you wait until after takeoff and turning it off before you land. The best tip – and one Hank would agree with – is to take a book or two and read. Or, of course, you could sleep. Either way, Hank would say to do it with a cocktail in hand. Although unseen in the finished episode, the script for “Filthy Lucre” called for Hank to step off the plane and down a mini bottle of Jack Daniel’s.
How to Get the Look
- Dark brown sueded corduroy single-breasted smoking jacket with notch lapels, 2-button front, 3-button cuffs, welted breast pocket, flapped hip pockets, and a single rear vent
- Black long-sleeve button-down shirt with a placket-less front and rolled-up sleeves
- Black short-sleeve t-shirt
- Dark blue bootcut denim jeans
- Brown suede Chelsea boots – Hank wears Timberland “Mt. Washington” boots
- Izod 725 sunglasses with brown lenses
- Silver ring with two ridged bands, worn on the right index finger
- Black leather bracelet with silver hexagonal and round studs, worn on the left wrist
- Thin black braided leather bracelet, also worn on the left wrist
Do Yourself A Favor And…
Buy the first season.
Hank: And this is where I think we should part company. I think I see a cab with my name on it.
Bill: Don’t be ridiculous.
Hank: No, uh, Bill, it’s just a figure of speech. There’s not really a cab with my name on it.
As usual, you can find Hank’s bracelets at Urban Wrist.
My girlfriend is a big fan of Brad Pitt, and her birthday is today so – as one of my gifts to her – I’m breaking down one of his more recent BAMF looks.
Brad Pitt as Jackie Cogan, freelance mob hitman
Boston*, November 2008
* The movie – like the source novel – was indeed set in the Boston area but was filmed in New Orleans.
Although it met with mixed reviews, fans of George V. Higgins appreciate the recent film version of his 1974 book Cogan’s Trade, released as Killing Them Softly based on a line from the novel’s titular protagonist, Jackie Cogan:
They cry. They plead. They beg. They piss themselves. They call for their mothers. It gets embarrassing. I like to kill ‘em softly, from a distance. Not close enough for feelings. Don’t like feelings. Don’t want to think about them.
Cogan, a mob hitman by trade, is portrayed by Pitt who manages to make Cogan both ruthless and likable. The film, although some cars and clothes are nods to the original 1974 publication, was updated to parallel the current state of the U.S. economy, set against the backdrop of the 2008 presidential elections. This parallel drew many of the complaints leveled at the film, but it is still a stylistic and darkly comedic interpretation of Higgins’ novel.
For anyone unfamiliar with George V. Higgins, he was an ex-prosecutor who began writing crime fiction in 1970 with one of his most famous works, The Friends of Eddie Coyle. Higgins relied on his law profession to write with a realism unlike any of its genre predecessors. The dialogue particularly stands out in his books, including the great line from Jackie Cogan himself in Cogan’s Trade:
He’s as soft as a sneaker fulla shit.
The film subtly takes on an Archer-like ambiguity with its setting. Although clearly taking place in November 2008, Cogan looks like he could’ve walked straight out of 1974 with his black leather jacket, his black Toronado, and his non-PC badassery.
Killing Them Softly was also one of the seven films that James Gandolfini acted in during the last two years of his life, and he turns in a terrific performance as a washed-up alcoholic hitman, Mickey.
What’d He Wear?
The most obvious thing about Cogan’s style is the abundance of black. From his jacket to his boots to his car, everything is black. This was not unintentional, as you could imagine. In November 2012, GQ magazine spoke with the film’s costumer designer, Patricia Norris, who explained:
I always thought of his character as a shadow. He’s not terribly noticeable, which is a hard thing to say about Brad Pitt. He’s a guy who walks into a bar without drawing attention to himself, because that’s not what hitmen do. So I kept him in that color… With the black-on-black, he can hide in an alleyway or disappear into a crowd, and no one will be thinking, “Gee, who’s that good-looking guy over there?”
Cogan, though affable and talkative, is an enigma. Thus, he wants to get in and out quickly and unnoticed. What better way to remain in the shadows than to wear black-on-black? Not much description is given of Cogan’s attire in the book, only making mention of a pilled suede car coat and a pair of unlined leather gloves.
Interestingly, Pitt wore much of his own wardrobe, which leads me to wonder if he doesn’t take on some contracts in his spare time. Think about how bittersweet it would be to find out you were marked for assassination, and then it turns out Brad Pitt was hired to kill you. Would you ask for an autograph first?
The most notable item of Pitt’s that was borrowed for his role of Jackie Cogan is his black leather jacket. The jacket was so unique that Norris tried to find replicas of it in New Orleans but to no success. According to her:
There were no other jackets that looked great and said a lot. They just seemed precious next to whatever was going on and wouldn’t leave him alone… We simply talked for two minutes on the phone before I saw him, just about the shadow idea and the black-on-black. We didn’t know it at the time – because I had other jackets picked out – but he had already been wearing the one we’d use all along.
So what about the jacket made it so worthy of inclusion in the film? Norris certainly has a point when she calls leather jackets “precious”. Pitt’s well-worn example still looks good and, being his own, he is comfortable in it, almost unaware of just how cool it looks. Supposedly, he had picked it up around 2004 or 2005, so it had gone through seven years of solid wear before he brought it to the production of Killing Them Softly. Internet rumors claim the jacket was designed by Martin Mangela, but I can’t confirm this as factual.
It certainly is a unique jacket. It’s not the usual zip-front, nor is it a standard blazer. It buttons down the front with four black buttons, extending just past the waist. There are camp collars and plenty of detailed stitching, with seams down the rear, Western-style shoulder yokes, and double-pointed rear shoulder yokes. There are plain cuffs, with neither snap not button tabs, keeping the jacket simple and sleek-looking. There is a large patch pocket on the right side and a vertical side pocket on the left.
You can buy a supposed replica of the coat for $150 at Leathers Club, but I haven’t ordered it so I can’t comment on its authenticity. It certainly looks more like the jacket than anything I’ve been able to find though.
Under the jacket, Pitt’s standard shirt is a black v-neck short-sleeve t-shirt, purchased by Norris while filming on location in New Orleans to keep the look simple but familiar to Pitt. This was intentional, according to Norris:
When you’re working with someone as good as Brad in this type of role, the clothes that the actor’s most comfortable in work best; that way, the character won’t look self-conscious.
The soft cotton shirt has a very moderate v-neck, unlike the “deep v” preferred by that asshole guy drinking vodka and red bull at the club. You know who I mean.
The trousers, a pair of heavy black flat front slacks with seams down the sides, belt loops, and plain-hemmed bottoms with a full break, were also purchased in New Orleans by Norris. They are worn with a thick black alligator leather belt, fastened in the front with a squared brass 1-eyelet clasp.
When dressing up for a night at the bar, Cogan ditches the t-shirt and goes for a button-down. Both of Cogan’s button-down shirts, including the dark charcoal one he wears when meeting Mickey and the dark blue one when meeting his driver, are long-sleeve with large spread collars and a plain, placket-less front. They are a lightweight material that is very prone to wrinkling. The shirts fasten at the cuffs with a single button, but Cogan prefers to wear the sleeves rolled up to his elbow, even under his jacket.
Cogan meets his driver (played by a very dryly fun Richard Jenkins here) in the last scene wearing a black-on-black tonal striped 6-button vest. The vest – or waistcoat, you Brits – has a notched base, but the bottom button is worn unfastened anyway. There are two welted lower pockets.
Supposedly, the large black leather boots worn in the film are also Pitt’s personal footwear. They are plain with no laces and slightly raised heels. The top of the boots rise up the calf.
Cogan wears plenty of accessories, all gold. The first time we see him, we also see his sunglasses, a pair of gold-framed rimless aviators with squared amber-gradient lenses and straight frames. I’m not sure who the manufacturer or designer is, but Pitt has a tendency to wear Oliver Peoples, so this may be their doing.
His watch is all-gold, with a lightweight band and a squared case and face.
Cogan doesn’t skimp on jewelry, with a diamond gold pinky ring on his right hand and two thin gold necklaces worn under his shirts.
The hair is also worth mentioning too. Since Pitt is on a different playing field than the rest of us mortals, he is able to comb his long hair back without looking like an ’80s prepster, as well as pairing it with a goatee. Costume designer Norris explains it perfectly:
That’s how Brad wanted to be. He was very happy with that. He had that look already and we tweaked it a bit, but that’s what he felt comfortable with. I thought it was nicely sleazy.
Before moving ahead with the Jackie Cogan hair, trim your beard (if you plan on shaving it), into a goatee. Ask your girlfriend if she thinks you look like Brad Pitt. Her answer will tell you if it’s worth attempting a goatee.
Go Big or Go Home
Cogan is more complex than the usual mob hitman, even by Higgins’ standards. He is cool, assertive, and professional without being uptight. As a fellow “Man in Black”, Johnny Cash was an obvious choice for Cogan’s introduction song. Appropriately, given his character’s profession, “The Man Comes Around” was chosen to introduce the audience to Jackie Cogan.
Norris comments on this:
I think it’s a correlation of convenience. Andrew Dominik and I always talked about the music that would be used, but I never thought about the character from the music.
Dominik – the director in case you didn’t know – retains Cogan’s preferences from the book, keeping him a beer drinker, a cigarette smoker, and an Olds Toronado driver. There are, however, a few differences in the translation from page to screen.
Even Cogan’s car is black, and – of course – it is a badass one. Cogan drives a 1967 Oldsmobile Toronado coupe, almost definitely a reference to the silver Toronado (with a black vinyl roof and “Hydramatic” automatic transmission) from the book. The difference is that, in the book, this was the car that Cogan was chauffeured in by the mob driver Albert.
As a surprising (in this era) but refreshing choice, Dominik doesn’t change Cogan’s smoking habits from Higgins’ book. He does, however, change Cogan’s preference of cigarettes from Salem Menthols to Parliament Lights, lighting up with a gold Dunhill-style lighter. It’s possible that this change was a result of the filming location; when I was in New Orleans last April, everyone smoked Parliament Lights. I don’t know what the cigarette of choice is in Boston as the last time I was there I was four years old.
Perhaps as a nod to its reputation for durability, a Nokia “candybar”-style cell phone finds its way into Cogan’s pockets. The Nokia 3310 has gained a modern cult following as an “indestructible” phone, even with an Internet meme celebrating it. This was likely not Dominik’s intent, but Cogan’s roughness and ability to survive in a film where nearly everyone else has died doesn’t differ from the Nokia legacy.
What to Imbibe
Cogan is a beer guy all the way, drinking standard American lagers. In the film, he drinks both Budweiser and Michelob Lager. Note that he drinks Michelob Lager and not Michelob Ultra, the latter of which is for underage sorority girls or slightly overweight mothers of two who think they’ve still got it.
He also drinks Michelob Lager in the book, but the film replaces the literary Heineken with Budweiser. At the time Higgins wrote Cogan’s Trade, Heineken was the epitome of a classy gentleman’s beer, preferred by JFK and even mentioned by Jack Nicholson in The Last Detail:
Heineken? Why it’s the finest beer in the world! President Kennedy used to drink it!
Of course, the beer had a different reputation 13 years later when Dennis Hopper mentioned it in Blue Velvet:
Heineken? Fuck that shit! Pabst Blue Ribbon!
To stay safe, keep it American and make sure it ain’t light.
How to Get the Look
Be a Man in Black. You’ll make Johnny Cash and Jackie Cogan proud.
- Black leather jacket with camp collars, 4-button front, right patch pocket, left side pocket, Western-style yokes, and detailed stitching
- Dark lightweight button-down long-sleeve shirt with large collars, a placket-less front, and rolled-up button cuffs
- Black-on-black tonal striped vest with 6-button front, notched base, and 2 welted lower pockets
- Black soft cotton v-neck short-sleeve t-shirt
- Black flat front trousers with belt loops, open side pockets, and plain-hemmed bottoms on a full break
- Black plain leather calf boots
- Black alligator leather belt with a squared brass 1-eyelet clasp
- Gold-framed aviator-style sunglasses with amber-gradient lenses
- 2 thin gold necklaces, worn under the shirt
- Gold lightweight analog wristwatch
- Gold diamond ring, worn on the right pinky
As a hitman, Cogan uses plenty of firearms to achieve his kills. He cycles through several throughout the film, including a Browning Hi-Power semi-automatic pistol, a Smith & Wesson .38 snubnose, and a Mossberg 500 Cruiser shotgun, with the latter receiving attention today.
The first hit we see Cogan carry out is on Markie Trattman, the troubled gambler. In the book, Cogan uses a “.30-06 Savage semi-automatic rifle” during a drive-by to achieve his kill. The film opts for a handgun, giving Cogan a Browning Hi-Power, a Belgian 9 mm semi-automatic designed in the 1920s and 1930s and still in use by many agencies today. I myself have a 1975 model, and it is one of the most reliable firearms I’ve ever had my hands on. The sequence is very stylistic, in slow motion with heavy focus on the pistol as it chambers and fires each round.
Cogan’s carry piece appears to be a blued Smith & Wesson Model 36 “Chief’s Special” snubnose .38 Special revolver with a 2″ barrel. He keeps this in his rear waistband, using it for his final kill of the film. This one is pretty much straight from the book, which described a “Smith & Wesson thirty-eight Police Special, two-inch barrel… revolver.” The Model 36 is ubiquitous in films, often in the hands of plainclothes detectives or mobsters, such as the guys from Goodfellas.
Finally, for Cogan’s hit on Johnny “The Squirrel” Amato, he packs a Mossberg 500 Cruiser. The Cruiser is an interesting variation of the standard 12-gauge Mossberg 500 pump-action shotgun, as it is a factory-made “sawed-off” shotgun with a pistol grip, carrying seven rounds of 3″-chambred 12-gauge shells in the under-barrel tubular magazine. The barrel length is typically 20″, just over the legal 18″ length for shotguns, with synthetic pistol grips and a blued finish. Some models have a heat shield over the barrel, but Cogan’s does not.
Cogan also outfits his Mossberg with a Surefire 323 series foregrip and a LaserLyte ADP-TRIR-140 tri-rail adaptor fitted to the magazine tube. These show that Cogan is a professional who knows exactly what he wants for his firearms.
Cogan did indeed carry a shotgun for the Amato hit in the book, but it was a “five-shot Winchester semi-automatic shotgun”. The Mossberg wasn’t nearly as popular in 1974 as it is now, so the updated weapon is a very practical choice for the film’s setting.
Do Yourself a Favor and…
My friend, Thomas Jefferson is an American saint because he wrote the words “All men are created equal”, words he clearly didn’t believe since he allowed his own children to live in slavery. He’s a rich white snob who’s sick of paying taxes to the Brits. So, yeah, he writes some lovely words and aroused the rabble and they went and died for those words while he sat back and drank his wine and fucked his slave girl. This guy wants to tell me we’re living in a community? Don’t make me laugh. I’m living in America, and in America you’re on your own. America’s not a country. It’s just a business… Now fuckin’ pay me.
GQ’s article with Ms. Norris is a great read and provides insight into many of the film’s costumes, not just Pitt’s. It can be found here.
Jeremy Renner as Kenneth J. Kitsom, aka Aaron Cross, U.S. Department of Defense agent who does not have amnesia
Maryland and the Philippines, February 2005
People anticipated the release of The Bourne Legacy with nervous excitement. Most people I knew were very satisfied with the initial Bourne trilogy, ranking it among the better movie trilogies out there. People always ask for more until they actually get it. Case in point – Star Wars, Episode I.
However, Jeremy Renner surprised many by capably filling the gigantic shoes of taking on the role of Not Matt Damon. Like Damon was in 2002, Renner is a very likable and capable actor who is getting into the meatier parts of his career, from superhero movies (The Avengers) to crime drama (The Town). Furthermore, he doesn’t have a pre-Argo Ben Affleck dragging him down!*
Thus, The Bourne Legacy was a worthwhile follow-up in a good franchise, wisely not trying to Bond-ize the series. The story is cleverly continued by overlapping the new story of Aaron Cross with the familiar story of Jason Bourne. Also, we have the only appropriate title in the series since the first installment as we are truly seeing the effects of Bourne’s legacy. I don’t recall any sort of supremacy or ultimatum in the second or third movies, so points to this one for having a title that actually makes sense.
* I have to specify pre-Argo because Argo was pretty goddamn awesome.
What’d He Wear?
Like his predecessor, Jeremy Renner’s protagonist wears one main outfit during the film, with some variation depending on extreme climates (Bourne in India, Cross in Alaska) and differing tasks. Perhaps trying to tell the audience something about CIA agents, the filmmakers also choose for Aaron Cross a dark jacket, neutral t-shirt, and dark jeans, paired with boots.
The film’s costume designer, Shay Cunliffe, is quoted with saying that Cross’s attire needs to be multi-functional. He needs “to be able to put it on, live in it, and do everything [he] needs to do.” (Thanks to “The Superbite” for the quote and a great page about Cross’s jacket.)
The staple item of Cross’s character, which he takes with him from Maryland to Manila, is a black jacket. At first, I thought this was a leather biker’s jacket, especially given the extended stunt on the motorcycle. Evidently, I wasn’t the only one, nor was I too foolish for my mistake. Rather than the cool-looking but stifling leather, Aaron Cross wears a wax cotton jacket, notably a Belstaff H Racer Cardigan Jacket, made by the British brand Belstaff. Belstaff is known for their all-weather motorcyclist’s jackets and this, a wax cotton biker’s jacket, is the perfect example. After all, wouldn’t leather be a bit restricting for all of the running, jumping, fighting, and additional badassery that is required of a Bourne movie hero?
The jacket was so popular after the film that Belstaff quickly reissued it, but other retailers that jumped on the boom after the movie came out are also still selling versions, including Accent Clothing in the UK.
Cross’s Belstaff jacket acknowledges the new direction of the series. Whereas Bourne’s attire was slightly more traditional, albeit still cool, Cross’s jacket is a very modern-styled garment with its slim fit and short length while still not as tight as the oft-criticized (unfairly, IMO) costumes in Skyfall.
As mentioned, the black-on-black Belstaff jacket is lightweight – moreso than it looks – due its waterproof and “rubberized” wax cotton material, layered with an internal jersey lining on the collars, cuffs, and waistband. Unlike the smoother lines of Bourne’s jackets, there are seams aplenty here, down the arms, on the yokes, and down the center of his back.
Although atypical for a biker’s jacket, it does have the articulated sleeves to enhance riding posture with aerators under the pits to add breathability without sacrificing wind protection. The sleeves fasten at the cuffs with snaps, identical to the snap tabs that offer an adjustable fit at the waist.
Further up the sleeves – or at least just the left sleeve – the Belstaff logo stands out proudly. Some may argue product placement, but I say it’s realism; how many of you take the time to cover up any potential logos on your clothing before going out for a bit of world-saving?
Although never used by Cross as he never wears the jacket closed up to the neck, the jersey-lined collar offers additional wind protection, further enhanced with a buckle-fastened archival throat latch, which fastens through a 1-eyelet silver clasp.
The jacket, as a biker jacket should, also has plenty of pockets. There is a slant chest pocket on the left side that closes with a zip, meant to carry – according to Belstaff – “personal essentials”. The zip pockets on the hips are vertical to keep the modern slim silhouette streamlined.
According to the Belstaff site, the H Racer Cardigan Jacket currently retails for $695. Some may consider this a lot to spend on a jacket, but it is actually comparatively low in the men’s designer outerwear market. Additionally, if you’re going to have one good all-purpose jacket, it’s worth the minor investment for quality.
Like Bourne, Cross layers his shirts to be climate-appropriate. When running through the woods of Maryland in February, Cross wears a dark gray thermal long-sleeve t-shirt with a thermal grid pattern and rib knit cuffs for warmth.
After traveling to Manila, the capital of the Philippines, Cross is now in a much warmer climate. It may be February, but the daily mean temperature in Manila in February is still 81°F. The average low? Just over 69°F. This is when it’s a good time to not be wearing a leather jacket. Or a thermal long-sleeve t-shirt.
Cross quickly ditches the thermal and runs around the Philippines in a much more comfortable light gray short-sleeve cotton t-shirt. It’s definitely a t-shirt, as we see both in the film and on the DVD cover art, but one stunt reveals that Renner actually wears a sleeveless shirt in some scenes. Even though they were filming in January, the weather was so warm that they needed to switch out his t-shirt. Of course, it doesn’t help that they stuck poor Renner in a jacket, jeans, and heavy boots with a black backpack on.
Cross also changes his pants from the Maryland scenes to the Philippines. In Maryland, after his quick change in the woods, Cross wears a pair of comfortable black cargo pants with large snap-fastened pocket flaps on the rear pockets and the box-pleated side cargo pockets. These trousers also have belt loops, but Cross wears them with no belt.
Once he gets to Manila, after changing out of his suit, Cross wears a pair of Paige Denim’s Normandie slim straight leg denim jeans in a very dark blue “Manchester” wash. The jeans have a distinctive white stitching and the usual 5-pocket setup with large rear patch pockets. The Manchester wash doesn’t appear to be available from Paige anymore, but there is still a variety of Normandie style slim jeans on their site in the $169 to $229 range. There are some very good-looking styles in practical blue denim, as well as more… unique styles ranging from mustard to camouflage to hot pink.
For his international adventures, Cross sports a pair of blackened gore-tex Timberland Chocorua Trail hiking boots with rubber soles. They have four eyelets for laces and two adjustable hook and loop straps to keep them tightly fit on Cross’s feet. The boots are built with premium leather uppers and a contoured EVA footbed with an antimicrobial cover to stifle foot odors. These boots are still available on the Timberland website for $140, but only in brown. Older pairs in black – like Cross’s – can be picked up on other sites like Amazon for a few bucks less. Let’s go ahead and say he wears a pair of black socks with these. I don’t think we see his socks, but black makes sense, right? Okay, we’re going with that.
While we’re on the subject of undergarments (which socks kind of are), Cross flashes a pair of white boxer briefs with a black elastic waistband while rolling across the roofs of Manila. I can’t make out the logo on the waistband, but someone with eagle eyes (or a computer hooked up to a Blu-Ray player) might have more success.
Cross takes Dr. Marta to the airport for their flight to Manila wearing a new and decidedly un-Bourne-like layer, a simple but cool Steve McQueen-style khaki trench coat. The raincoat is single-breasted with large shirt-style collars, button-tab cuffs, and a horizontal seam across the upper back. We don’t see the trench coat before or after the airport scenes, but it adds a neat dimension to an already cool look.
Adding to the cool factor is a pair of Ray-Ban RB 2140 Wayfarers, worn by Cross during the final chase. These are the genuine Ray-Ban sunglasses made iconic in the ’80s and undergoing a revival now. Cross’s are a set of RB2140-02s with black plastic frames and G-15® XLT Polarized lenses. If you want a pair, and I know you do, you can head to the Ray-Ban site and pick up yours today for $200.
Or, if you’re a lucky bastard like me, you’ll find a pair and not have to pay a dime for them. It was a particularly cold February day in 2010, a few days after the legendary “snowmageddon” that stranded many Pittsburghers in their homes for days on end. I was in my marketing classroom, having just heard a presentation about the new Consol Energy Center which was six months away from opening. The lecture ended and I was lingering, flirting with some sorority whats-her-name, when I noticed a pair of sunglasses on a neighboring desk. My first thought was, “Hey, cool, sunglasses!” My second thought was, “Holy shit, these are Ray-Bans.” I still have them three years later. The poor sucker who lost them never had a chance.
Finally, Cross wears the accessory that no modern spy movie is complete without – a wristwatch. Cross’s is a black IWC Pilot’s Watch Double Chronograph Edition TOP GUN, #IW 379901, with a black ceramic 46 mm case and matte gray titanium crown, buttons, and rear cover. It’s a beautiful watch and you can spend 12,700 beautiful dollars to obtain it.
Go Big or Go Home
Although he has cool accessories with his watch and sunglasses, the rest of Aaron’s inventory is pretty simple. His laptop is a standard black Toshiba, he uses a red Sharpie, and – in the most anti-Bond fashion – his camera is a disposable Kodak FunSaver Flash. This rings pretty true for the film’s supposed setting of 2005, when digital cameras were just emerging onto the marketplace and the quickest way for a guy on the lam to snap a photo was with a disposable camera. I myself went through probably twenty disposable cameras during the summer of 2005 alone. Cross also carries a silver Zippo, utilizing it to move the film into its second act.
Also, unlike Bourne who seemed to have bottomless pockets for his equipment much like a video game character, Cross carries a large backpack around Manila, ostensibly filled with his belongings. Hopefully for Jeremy Renner, it wasn’t actually full in real life.
How to Get the Look
Cross may have some expensive taste, but you can find some inexpensive (or just plain cheap) options since you don’t need the durability of a man who has to leap across roofs or get into life-or-death motorcycle chases. It might be fun to think that this is your life, but let’s be practical here.
- Black lightweight wax cotton biker’s jacket with slash zip left chest pocket, vertical zip side pockets, jersey-lined collar with silver buckle-fastened throat latch, snap cuffs, and adjustable waist snaps – Cross’s jacket is a Belstaff H Racer Cardigan Jacket
- Light khaki single-breasted trench coat with large shirt-style collars and button-tab cuffs
- Dark gray thermal long-sleeve crew neck t-shirt
- Light gray cotton short-sleeve crew neck t-shirt
- Very dark blue denim jeans with white stitching – Cross’s jeans are Paige Denim’s Normandie in Manchester wash
- Black cargo pants with belt loops and large flapped rear and cargo pockets
- Black gore-tex hiking boots with leather uppers, rubber soles, 4 eyelets, and 2 hook straps – Cross wears Timberland Chocorua Trail boots
- Black socks
- White boxer briefs with a black elastic waistband
- Ray-Ban RB 2140-02 Wayfarer sunglasses with black plastic frames and polarized lenses
- IWC Pilot’s Watch Double Chronograph Edition TOP GUN (#379901), with a black ceramic 46 mm case and matte gray titanium crown, buttons, and rear cover
This is a badass Jason Bourne action movie, so there are gonna be plenty of guns. In this movie, Aaron Cross handles a Nemesis Arms Vanquish sniper rifle, a SIG-Sauer P229, a Glock 19, a Beretta 92FS, and a Smith & Wesson Model 10 revolver – the first notable revolver in the Bourne series. He may use all of these guns, but right now I’ll focus on one we haven’t seen before on this blog, the SIG-Sauer P229.
SIG-Sauer seems to be the CIA’s manufacturer of choice in the Bourne series; Jason kept a SIG Pro in his Swiss safety deposit box and carried a P225 throughout The Bourne Supremacy, The Professor used a SIG SG 550 rifle to take out his targets, and Paz armed himself with a SIG SG 552 and a P229 in the last installment of the original trilogy. In The Bourne Legacy, Cross packs the P229 when he heads into battle in Dr. Shearing’s Maryland country home. He eventually gets his hands on Dr. Dowd’s Glock 19 and carries both akimbo, but it is the P229 that is Cross’s weapon of choice.
The SIG-Sauer P229, which you can still check out on SIG-Sauer’s online catalog, was introduced in 1991 as a compact version of the P226. Two years earlier, SIG-Sauer had developed the P228 for the same purpose, but the P228 was already nearly obsolete as it would chamber only 9×19 mm Parabellum. The P229, on the other hand, was made to handle the higher velocity .357 SIG and .40 S&W rounds also offered in the larger P226 due to the heavier CNC Machined steel slide unavailable on the P228. Once the P229 was also offered in 9×19 mm, the P228 sadly bowed out of production after a short but glamorous life as the “M11″ in U.S. government service.
The P229 marked a new generation for SIG-Sauer’s prominent place in U.S. law enforcement. While the P226 and P228 had been adopted by some agencies, the P229 was meant to be an American pistol and was the first SIG to be manufactured in Exeter, NH. The U.S. Secret Service now carries P229R DAK in .357 SIG, and both the Department of Homeland Security and the Coast Guard carry .40-caliber P229s. The P229R DAK (the R indicates an accessory rail in front of the trigger guard) uses SIG-Sauer’s Double Action Kellerman system, a DAO system with a smoother, lighter pull and two reset points.
The P229 carried by Bourne has a traditional DA/SA system, with a trigger pull of 10.0 lbs. in double action and 4.4 lbs. in single action. His is the non-rail P229, except for one brief shot when he is hiding in Marta’s closet and the pistol becomes a P229R due to a continuity error.
The P229 is 7.1 inches long, 5.4 inches high, and 1.5 inches wide. The barrel length of 3.9 inches makes it a fine weapon for both concealment and combat, especially with its relatively light 32 ounce weight when loaded with 13 rounds of 9×19 mm ammunition (or 12 rounds of .40 S&W/.357 SIG). SIG-Sauer offers the pistol for $993, a high price when there are similar pistols on the market, but SIG-Sauer has built a reputation for quality that can stand behind its price.
On film, the P229 first appeared on screen in the hands of Jonathan Pryce as the villain Elliot Carver in Tomorrow Never Dies. The P228 is still much more common in film, as it was developed earlier and is only chambered in 9×19 mm Parabellum, which is much more common in Hollywood blank ammunition arsenals.
Do Yourself A Favor And…
Buy the movie.
Now, I’ve got a plan, and it’s just not that complicated. What I’m going to do is wait for the next person to show up to kill you. Maybe they can help me.