Tag Archives: Glasgow Film Festival

The Beauty of Bergman

IngridIs there a more radiant screen smile than Ingrid Bergman’s? It lit up the scenes she appeared in, and it is infectious even now when you watch her movies. And what a diverse bunch of films she made – something that’s obvious from the retrospective that the Glasgow Film Festival has put together for this, her centenary year.

Bergman was like a breath of fresh air when she arrived in Hollywood, already a successful actress back home in Sweden. Her natural beauty and the air of vitality and wholesomeness she exuded were in contrast to the heavily made-up glamour pusses who populated Hollywood studios in the early 1940s when Ingrid as Mariaher career took off. Audiences loved her in such hits as Casablanca (1942), Gaslight (1944), The Bells of St Mary’s (1945) and Notorious (1946). Her short cropped, curly hair in For Whom the Bell Tolls (1943) launched a trend, and her androgynous appearance in that film was ahead of its time.

She was also somewhat ahead of her time in her determination to be the master of her own career path, rather than relying on others or waiting to be offered parts. When, in the late 1940s, she saw Rome, Open City she decided to write to its director, Roberto Rossellini, in Italy and tell him that she would like to be considered for a role in one of his films. He offered her a part and she went to Italy to work with him.

They fell in love and, not yet divorced from her husband back in America, Bergman bore him a son – and went on to have more children with him (among them the future model/actress Isabella Rossellini). They were married
by then but the relationship had been an international scandal, with Hollywood horrified by Bergman’s behaviour and the press outraged by it. Even Congress weighed in; she was denounced there as “Hollywood’s apostle of degradation”.

But she went on to win her second Best Actress Oscar (the first was for her brilliant portrayal of a young woman Ingrid in Notoriousbeing driven to the brink of madness in Gaslight) for her “come-back” performance in the title role of Anastasia
(1956), an Oscar that was widely interpreted as evidence of Hollywood forgiving her for her “sins”. In 1974, she won her final Oscar, the Best Supporting Actress statuette, for her turn as the apparently simple Swedish nanny in Murder On the Orient Express. By that time she had been diagnosed with breast cancer, which would kill her eight years – and several more acclaimed performances – later.

* The Glasgow Film Festival runs until March 1


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My Week in Beauty


I got ahead of myself quite a bit last week as I couldn’t resist trying out some exciting beauty products which won’t be launched for some time.

On Monday, I gave the next addition to Chanel’s mascara collection an early outing. I’d say “a trial run” – but one thing that the marvellously versatile (it lengthens and curls) Chanel Sublime de Chanel (£22.50, from April 15) didn’t do was run, even though I was very watery-eyed during the Glasgow Film Festival’s Monday matinee showing of the romantic epic Out of Africa, with Meryl Streep (pictured) and Robert Redford. The real test, however, will be to see how it fares when I next watch my favourite-ever romantic weepie, Somewhere in Time, which – like Out of Africa – has an achingly beautiful John Barry score.


The lovely ladies from the Origins press office hosted a lunch in Glasgow on Tuesday, to brief local beauty journalists on the latest must-try serum.

Plantscription (£45; from March 3 at department stores and www.origins.co.uk) is its name, and if that sounds a little bit medical then that’s because it seems to be the ideal prescription for ageing skin since it enables it to repair itself. The test results and before-and-after photos which we were shown were pretty impressive – so much so that I started using my tube that very same night!

The medical-sounding name also alludes to the fact that this serum was designed to take on America’s leading prescription wrinkle ingredients, retinoids, and to do so without producing any of the associated unpleasant side effects – photosensitivity, burning, redness, dryness and stinging among them.

I can report that after using the serum religiously for just five days, I’m impressed – not by any line-reducing activity (yet – though the clinical tests showed significant improvement after just four weeks!) but by the brightness and evenness of my complexion.  And this from a rosacea sufferer … Watch this space.


On Tuesday after lunch – and feeling somewhat mischievous after quaffing champagne in the middle of the day – I sneaked through to Edinburgh to see one of my favourite romantic comedies at The Filmhouse cinema – the sublime, Snow White-inspired Ball of Fire.

When I wasn’t lusting after Gary Cooper (who, to paraphrase a colleague, “does things to my innards”), I was hankering after Barbara Stanwyck’s glossy locks. My own hair was still not 100% cured of its dryness and tangledness so I was very relieved to discover that there’d been an Aveda delivery while I’d been in Edinburgh.

I started using the three key products in Aveda Damage Remedy – Aveda Damage Remedy Restructuring Shampoo (£18; www.aveda.co.uk); Aveda Damage Remedy Restructuring Conditioner (£19.50) and Aveda Damage Remedy Daily Hair Repair (£18.50) – on Wednesday and have been thrilled with the results. I’d already tried the Dry Remedy range and, although the condition of my hair had improved, it was still not back to where it had been pre-Aveda colour. One of the Aveda hair experts at James Dun’s House salon in Glasgow then advised me that the range I should be trying was, in fact, Damage Remedy as I do not have naturally dry hair. So far, so brilliant. I haven’t yet dared try just using the shampoo and conditioner; I’ve been using the Daily Hair Repair – a leave-in conditioner-cum-styling cream which protects the hair from heat damage when you’re blow-drying it.  This trio of products seems to be working so I’m going to stick with it …


I do love a proper, old-fashioned liquid or cream eyeliner which you can use to create a fifties-style flick… I’ve been using eyeliner pens and brushes for years, since I realised that pencilled-on eyeliner just did not stay put and always seemed to give me panda eyes.

The latest eyeliner in my make-up bag is No7 Spring Limited Edition Gel Eyeliner (10.50; www.boots.com), part of No7’s lovely, Riviera-inspired, spring collection. I’ve got the navy blue shade (it also comes in black and turquoise) and it’s really easy to use, though if you want a fairly well defined line, you need to build it up with a few layers.

Oh, and if the flicked-up eye line is a style you might want to commit to, shop around for a longer brush than the awkward little one that comes with the eyeliner…


Great excitement here on Friday when I received a sneak preview of the new colour collection from Chanel for summer 2011. The arrival of Les Fleurs d’Ete de Chanel could not have been better timed as Friday was a glorious spring day here in Glasgow, the first hint that winter might be over.

This being a Chanel collection, I immediately looked for the nail varnish destined to be the next must-have (people are still searching this blog regularly for information on the greeny shade from last year’s Nouvelle Vague range) – and I didn’t have to look far… All I am going to say just now is that it’s not a colour I expected to like on my nails, but I am smitten. Oh, and the little chick on the right is a bit of a clue …

P.S: Before the summer collection comes out, Chanel is launching a new hydrating and sheer lipstick collection called Rouge Coco Shine.  If you live in Glasgow, book yourself in for a complimentary mini-makeover using the range, followed by a unique photographic experience in a Chanel photo booth. This event is taking place at Frasers on Friday, March 11, and Saturday 12. To book a place, call 0141 221 3880, ext 2038.

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My Week in Beauty


Appropriately enough for Valentine’s Day, I tried out the romantic and pretty new spring colour collection from Clarins – a company which has never really been a contender in the cosmetics stakes. Until now.

Clarins Neo Pastel Collection comprises some of the loveliest and most delicate pastels around this spring – and the key product is the limited edition Clarins Neo Pastels Eye Colour and Liner Palette (£30; www.clarins.co.uk), six suits-all shimmering shades that can be used in any number of combinations.

I’ve been on the look-out for a peachy-coral colour of eyeshadow to replace a Guerlain one I wore out last summer – and may well have found it in this sleek new compact which – along with the Clarins Blush Prodige Illuminating Cheek Colour (£24), that I tried last week – is likely to be a staple of my makeup routine for some time.


‘Tis spring (well, allegedly), and beauty companies’ thoughts turn to perfume. So, evidently, do luxury shoe designers’ … One of the first new fragrances of 2011 is the debut scent of the celebrated Jimmy Choo.

Simply named Jimmy Choo (from £39; available from Harrods, Selfridges and selected Jimmy Choo boutiques), it’s officially described as “a modern, fruity chypre” , with green top notes, a creamy heart of Tiger Orchid and a base which blends “sweet toffee and patchouli”. Oh, and it comes in a python-inspired bottle (which could be confused with Flowerbomb’s similarly shaped pink bottle).

Given that I don’t much care for fruity, and the thought of sweet toffee in a fragrance brings to mind such sickly perfumes as Thierry Mugler’s Angel, I was surprised, on Tuesday, to find that the scent actually reminded me more of leathery, old-school, chypres and wasn’t overly sweet or sickly at all. It does have a heady – bordering on the cloying – quality and undoubtedly evokes the sophisticated sex appeal of a pair of Jimmy Choos, leather and all!


Looking for something new to try out for the opening night of the Glasgow Film Festival on Thursday, I had a session with the gorgeous new Milly for Clinique Limited Edition Pretty in Prints Compact (£25; www.clinique.co.uk). Containing an eyeshadow quad in shimmering pinks and browns, as well as a blusher, this covetable compact and its lovely pouch were designed by Michelle Smith of fashion and accessories label Milly.

I loved the natural, delicate tones – though, with my pale colouring, couldn’t possibly team them with the Clinique Limited Edition Long Last Glosswear SPF15 in Milly Pink (£14) – but my favourite Clinique lipstick, Clinique Butter Shine in Pink Toffee (£15) completes the look perfectly.


Lovely as it was, the Clinique palette wasn’t glam enough for the purposes of an opening gala, so I reverted to an old favourite – the purple smoky eye and nude lips – partly because I love it, and also because it always reminds me of Catherine Deneuve in the 1960s. And Deneuve was the star of the Glasgow Film Festival’s opening film, Potiche.

The film was really quite disappointing – a typical French farce which spoofed 1970s style and mocked male chauvinism. Catherine Deneuve still looks beautiful but she was dressed in the most vile clothes, and there were none of the expected sparks flying between her and her co-star, Gerard Depardieu (whose portliness has finally put paid to his sex symbol status).  My disappointment didn’t end there: someone pinched my goody bag (which was stuffed with gifts from Urban Outfitters). I went home and treated myself to a viewing of one of my favourite Deneuve films, the gloriously OTT 1967 musical Les Demoiselles de Rochefort (available on BFI DVD), in which she starred with her equally stunning sister, Francoise Dorleac (both pictured above).


I learned a lesson on Friday: never experiment with nail polish if you only have a tiny drop of nail polish remover left in the house …

Inspired by the simplicity of the instructions from Topshop on how to create the “marbled” nail look – which involves mixing two nail varnishes together in a bowl of room-temperature water – I blithely took the plunge using a Topshop Nail Duo (£9; www.topshop.com). As Holly Golightly would have said: “Quel desastre!”.

Having added drops of the two varnishes pictured to the bowl of water, I’d used a cuticle stick to swirl them together. Instead of creating a pool of marbled pink and gold, the two varnishes rolled into a ball and stuck to my stick! I tried again, this time (as Holly would have said) sans swirling, and when – as directed – I dipped the nail beds into the colours floating at the top of the water, I ended up with gold and pink all over my hands and nothing much on the nail beds. Never has one tiny drop of nail polish remover had to cover so much ground ….

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Style File: Ginger Rogers’ Hair

Ginger Rogers was one of the most popular stars of the 1930s and early 1940s – and she appeared in an astonishing number of films, five of which are being screened at the Glasgow Film Festival, which starts next Thursday. What was particularly striking about Ginger was her hair, which seldom looked the same twice and which set one trend after another. She was best known as a blonde, with curls or waves – this was the look she sported in most of the eight wonderful musicals she made with Fred Astaire in the 1930s.

For the most glamorous dances in the Astaire-Rogers musicals, the ones where Fred donned tails, Ginger complemented her evening gowns with a series of much-copied up-do’s, including this pleated style – one of my very favourites – which she wore to dance Cheek to Cheek in the classic 1935 musical Top Hat (showing at the Glasgow Film Festival). It’s still inspirational – and fashionable again – over seven decades later..

The Astaire-Rogers films were made virtually back-to-back though Ginger often crammed in other movies in-between. This meant that the same styles were in vogue from one film to the next. The following photo was taken in 1935, during the filming of Follow the Fleet (showing in the Glasgow Film Festival), which was released less than six months after Top Hat. The picture shows a style which RKO Studios’ hair and make-up department christened “The Golden Plaque”, and Ginger sported it during the big romantic number Let’s Face the Music and Dance (complete with fur-trimmed gown).

By the late 1930s, Ginger had begun experimenting with a sleeker, straighter bob, which can be seen in two 1938 films – the Astaire-Rogers musical Carefree and the romantic comedy Vivacious Lady (showing at the GFF).

Here’s another take on this late 1930s bob.

A bit like Meryl Streep – who, coincidentally, is the subject of the main retrospective at the Glasgow Film Festival – Ginger received the most critical acclaim and was taken most seriously when she dramatically changed her appearance for a part. In Kitty Foyle (showing at the GFF), the 1940 melodrama about an unwed mother which won Ginger her Oscar, the blonde bombshell wore her hair long and brunette.

Just a couple of years later, Ginger was favouring a straight style and a colour that was somewhere between the extremes of bright blonde and dark brunette. Here she is in 1942.

And, that same year, she sported curls and an updo in the comedy Once Upon a Honeymoon. She was only 31 at the time but Ginger’s movie career had clearly peaked: most of the roles she played after that were inferior to her earlier parts – and the memorable hair-do’s became a thing of the past.

* The Glasgow Film Festival runs from February 17-27. Visit www.glasgowfilm.org/festival for more info.


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