To: pml1@yahoogroups.com From: Mark Tomlonson Date: Wed, 11 Jun 2003 22:04:53 -0400 Subject: [PML1] Classic Centerfold: India Allen There are worldviews that differ from the traditional Western/Scientific one, ways of looking at reality that put emphasis on the unseen, on the unproveable, where a dream may reveal as much important truth as the Scientific Method. India Allen talked about how important these non-Western ideals were to her in her PMOM feature so its only appropriate that in her Classic Centerfold form December 1987 Arny Freytag and the rest of the creative staff used an allegorical, surreal dreamlike setting. First - the "scientific" underpinnings of the photo. India is standing nearly straight up and down, just to the right of the centerline of the photo. A major line runs from the part in her hair, down her sternum and then continues on the inner edge of her left leg. Several triangles are arranged along the line to give it stability and balance. There is the triangle formed by her slightly spreading her legs and the floor, the second the larger triangle formed by her face, the nose of the horse and her pubis, and the third is a smaller triangle formed by her bent left arm. The top of this small triangle is directly over the base of the triangle formed by her legs which gives the secondary form of a rectangle and lends a great deal of stability to the composition. Finally, an arch is formed running form an out-of-focus carousel pole, the curve of the collar of her dress (or is it a robe?), her right arm and the horse's head. The doorway behind her echoes this arch over the entire composition. It is certainly one of the most complex compositions I've noticed in any Playboy centerfold. centerfolds. This happened mostly in the fifties. This time around we find the same dense, complex, controlled structure used by Hieronymous Bosch in his allegorical works. Elements of the fantastic dominate the centerfold, and it's possible to interpret this centerfold using some of the allegorical language used by Bosch and others. India's dress is "fantastic" in the original sense of the word, meaning a product of fantasy. Only in the movies can you see a dress like this. You don't buy it at Wal-Mart. It's made from a material that makes the gold threads seem like solid gold. It's lit in such a way that nearly all of the lace trimming has that super-detailed, surrealistic quality that only an 8 x10 camera can give, and this adds to the dream sense in the centerfold. India is wearing the dress in a way that offers little, if any warmth - its role is strictly as an ornament. Its lush gold tones that dominate the foldout, along with the jeweled necklace, belt and shoes, lend a fantastic sense of richness and add to the sensual feeling generated in the photo. The robe is open, revealing India's lovely body. But I don't think this revelation is as important as the decorative aspects. Fir the purposes of the allegory, India is nude, the dress is merely (!) an ornament. Symbolically, a nude woman can mean either innocence (as in "September Morn", the painting that got Tony Comstock's panties in a wad) or sensuality (as in . . . well, I'm sure you can come up with your own example). A carousel as a symbol often means sex, and particularly those sensual parts of sex that make your heart race. Rodgers & Hammerstein open their musical dealing with illicit and forbidden love with a five-minute ballet sequence on a carousel, telling the story that will follow. But it's not the carousel that's of primary importance in India's foldout; it's the carousel horse. The portrayal of a horse in a dream, especially a horse and a woman, also point to the sensual and erotic side of sex as opposed to the romantic or intellectual aspects. It points to a passion where you are swept away not by the brilliance o her legal briefs or the sweet way she finds to flatter you, but the smell of her panties and that unique little grunt she makes during lovemaking. The carousel horse also evokes ties to the unicorn story. Unicorns could only be caught by a young virgin, who would then tame the beast by holding the unicorn's head, gently stroking it, in her lap. The unicorn's horn is, of course, not really a horn at all. The horse as a symbol of sex and sensuality still carries with it the element of a young girl's fantasies and sexual maturing. The position of the horse is important in this foldout. He is sheltered by India's right arm, and she is leaning on him for support. She is not coming toward the viewer as much as much as she is remaining with the horse. But there is doubt on her face, a doubt that is echoed in the ambiguous nature of her nudity. India's transition from a fantasy sex life to a real one will happen, of course, but will it happen this time, in this dream, with this dreamer? The coming of age, sexually, for both men and women is a major, major milestone in personal development. It's not that sex per se is so important, but what it means in terms of the transition from youth to adulthood. The art staff at Playboy has put into one picture, much as Hieronymous Bosch did, diverse elements that point to that complex set of emotions and realities in a very un-real setting. Looking at this I want to say to India "Yes, yes! Make that leap! I'll catch you!" of course, I soon wake up from the dream and India never really jumps into my arms. Or lets me put my head in her lap. India herself has contributions to make to this centerfold. Her long legs and high-waistedness make the composition work. Her smile makes the allegory work. Her natural and abundant beauty makes the fantasy work. Of course, all this about horses and young girls and carousels could be what I'm imposing onto what is simply a good looking picture. Maybe what really happened is that someone found a good looking girl, someone else found a neat looking antique kinda horse and the two together looked pretty good so they went with that. Throw in a killer dress and you've got a great looking centerfold. But then I wouldn't have has as much fun writing this essay! Mark Tomlonson Kalamazoo MI