"I believe in pink. I believe that laughing is the best calorie burner. I believe in kissing...kissing a lot. I believe that happy girls are the prettiest girls."
Wednesday, April 14, 2010
'Diamonds and Dames' Episode 8~ 'Irene Jansen'
This style, worn by Lauren Bacall in the 1947 film 'Dark Passage', was one of the first I received in the 'Diamonds and Dames' request series. I like it, principally because it is not Lauren's typical soft waves. Most directors were afraid of pulling her hair back since her face was considered very mature for her years. But she wears this sleek style beautifully and oddly enough, a very similar style is worn by Agnes Moorehead in the same film.
To achieve a semblance of this style, I started w/ a pageboy base. I have a great diagram for a pageboy pin curl setting but I cannot for the LIFE of me get it to copy and paste! So suffice it to say that the setting requires larger pin curls aimed towards the face around the perimeter of the hairline. Two rows should be adequate. Since I have 'Bettie bangs', I aimed them away from my face w/ gel while they were still wet and then set them in a curved pin curl aimed in the same direction as the rest of my hair. After drying, I brushed the whole set into a pageboy and clasped it at the nape w/ a classic tortoise shell barrette, being careful to reshape the pageboy after doing so. It is a classic look that says 'sexy secretary' but also works well for evening.
Below is a the video tutorial I made yesterday for the Youtube Channel. The songs used are actual hit songs from the year the film was released. The Mills Brothers 'Across the Alley from the Alamo' doesn't really fit the film's mood but it's such a great song!
Dark Passage (1947)
Directed by: Delmer Daves
Starring: Humphrey Bogart and Lauren Bacall
Vincent Parry (played by Humphrey Bogart, but only after a long opening portion which is told almost entirely from his first person perspective), is a escaped convict who was wrongly accused of his wife's murder. While hiding out, he meets beautiful Irene Jansen, a woman who has personal reasons for being sympathetic to his plight. After receiving facial surgery to conceal his identity, Vincent endeavors to find out who really killed his wife, narrowly escaping recapture along the way. Following a few twists and turns, both Vincent and Irene are able to find closure for their personal crises by turning to one another. A great example of Film Noir with an uncharacteristically happen ending.