Issue link: https://digital.copcomm.com/i/1514626
Shug Avery's Memphis House While most of the film is set in muted earthy tones of greens and browns, when Shug Avery comes into the story, arriving at Mister's house a deep, red-painted car, she imbues the warmer and more vibrant red color into the imagery. Costume designer Francine Jamison-Tanchuck dressed Shug in warm shades of rose, burgundy and red. The idea was that Shug's room in Mister's house is a bit of a shrine to her, it's the only room with a deep burgundy tone and pattern, and she keeps some of the trappings there for her visits, such as her gramophone. When Celie finally escapes Mister's hold on her, we arrive at Shug's home in Memphis. The grand home in Inman Park was one of the few locations actually in Atlanta proper. Here, Larry was able to evoke a rich-layered setting of textures and plush fabrics that contrasted with the rest of the film. This was the one setting where we were able to use a more saturated color palette, with a deep burgundy red in our main room. A. SHUG AVERY'S MEMPHIS HOUSE. PARLOR. LOCATION DRESS. SET PHOTO. B. SHUG AVERY'S MEMPHIS HOUSE. EXTERIOR. INMAN PARK, ATLANTA. SET PHOTO. C. SHUG AVERY'S MEMPHIS HOUSE. MUSIC ROOM. SET PHOTO. D. SHUG AVERY'S MEMPHIS HOUSE. ENTRANCE HALL. SET PHOTO. E. MISS CELIE'S FANCY PANTS. STAGE BUILD AT BLACKHALL STUDIOS, STAGE 8. PRODUCTION STILL. F. VIDALIA LABEL. GRAPHIC DESIGN BY JENN MOYE. G. "MISS CELIE'S BLUES" FRONT SLEEVE. GRAPHIC DESIGN BY JENN MOYE. H. GRAMOPHONE SET. STAGE BUILD AT BLACKHALL STUDIOS, STAGE 8. PRODUCTION STILL. A B C D E