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HomeEntertainmentThe Traditional Movie Collective: All for Magnificence | Get hold of US

The Traditional Movie Collective: All for Magnificence | Get hold of US

 This was initially printed within the former The Traditional Movie Collective Patreon.

 

All for Magnificence
Make-up and Hairdressing in Hollywood’s Studio Period
by Adrienne L. McLean
Rutgers College Press
Paperback ISBN: 9780813563589
326 pages

Ever since I began following make-up artist and historian Erin Parsons on TikTok (watch her full-length vintage makeup collection tour on YouTube, it’s superb!), I’ve been fascinated about studying extra about make-up in outdated Hollywood. So after I noticed that Rutgers College Press was publishing Adrienne L. McLean’s new e-book on studio period make-up and hairdressing, it was a no brainer that this e-book would discover its method into my analysis library. 

All for Magnificence: Make-up and Hairdressing in Hollywood’s Studio Period by Adrienne L. McLean is a scholarly textual content that examines the enterprise of make-up and hairdressing inside Hollywood (silent movie period to the late Nineteen Sixties), the emergence of artists inside the business and the strategies applied. McLean primarily focuses on “straight make-up” which is to say it excludes costume make-up that’s made to magnify, depict a historic interval or to remodel an actor right into a fantastical creature. We’re speaking basis, blush, lipstick, eyeliner, mascara, false eyelashes, some contouring, physique make-up. Hairdressing is much less of a spotlight however the writer does study the usage of wigs in movie and the way among the prime make-up artists started as wigmakers.

McLean’s e-book is heady stuff and never a light-weight learn. Should you’re fascinated about the subject material, I like to recommend studying the e-book slightly in a different way. The ultimate chapter Cosmetics, Coiffures, Characterization is the one it’s best to begin with first. That is the place film star make-up is examined at size when it comes to intent, technique and finish consequence. Then if you end up wanting extra data on the enterprise aspect of issues or wish to be taught in regards to the particular person artists, then learn the introduction and first two chapters.

The writer’s intent with the e-book was to look at, in her phrases, “why individuals in studio-era Hollywood films, normally however not at all times stars, look so unnaturally excellent on the display.” Beginning within the silent period, there was a pushback in opposition to exaggerated make-up on display. There was a shift in direction of a extra pure look however one which depicted an actress (and actors too) as completely flawless. McLean additionally discusses at size how patriarchy, capitalism, sexism and racism had been the strongest forces behind make-up and hairdressing as a enterprise and as a science within the business. Key figures embrace: Max Issue, the Westmores, Sydney Guilaroff, Vic Meadows, William Tuttle, Robert Stephanoff, Dot Ponedel, Jack Daybreak, Ben Nye, and so on.

There are a quite a few coloration and black and white images all through in addition to some make-up charts from particular film productions. It’s a comparatively brief e-book at round 300 pages (229 pages of precise studying materials earlier than you get to the backmatter). But it surely’s fairly dense as its filled with numerous data.

Listed here are some fascinating quotes from the e-book:

“Movement footage are sometimes invoked as main components in turning abnormal girls’s beauty use into normative, certainly indispensable, parts of public femininity fairly than indicators of ethical looseness or depravity.” 

“any software of coloration or shading was prone to learn as a darkish blotch or a stark line. Filmmakers working with orthochromatic had been subsequently unable to make use of both basis or rouge to symbolize primary states like sturdy well being, a tan, youth, or a bloom on the cheeks. (As Kevin Brownlow remarks, silent actors are ‘surprisingly pale; there aren’t any olive skins or tanned complexions’ due to the quantity of greasepaint and powder used.)” 

Robert Stack wrote in his autobiography “of the efforts studio head Jack Pierce and the ‘make-up boys’ at Common made to show him right into a ‘younger Robert Taylor’ for his first starring position, reverse Deanna Durbin, in 1939, which included darkening and straightening Stack’s hair and giving him a hair lace widow’s peak.”

Lauren Bacall, a former mannequin, needed to elicit Howard Hawks’s assist to maintain Perc Westmore from straightening her enamel, plucking her eyebrows, shaving her hairline and typically ‘redesign[ing her] face’ for her first take a look at in 1943 for To Have and Have Not.” [Hawks wanted her exactly as she was.]

“It was the primary cease of the day for many if not all Hollywood actors and make-up artists and hairdressers grew to become some stars’ trusted, and sometimes influential, mates and companions. This was actually the case with Rita Hayworth and Robert Schiffer and hairdresser Helen Hunt; Barbara Stanwyck and her hairdresser Hollis Barnes; and Marlene Dietrich, Joan Blondell, and Judy Garland and Dot Ponedel.”

“In response to [Donald] Bogle, actor Herb Jeffries, who ‘had experimented with make-up for Black Individuals,’ additionally had a considerable impression on the seems of [Lena] Horne and Dorothy Dandridge of their movies and private appearances, though white make-up artists labored on each.”

Cary Grant made himself very tan so he may keep away from the usage of cosmetics for his movies. For North by Northwest (1959), “Eva Marie Saint needed to put on basis, based on [makeup artist William] Tuttle, ‘in all probability two or three shades darker than we’d placed on the common man to get a more in-depth relationship between the 2.’”

[Esther Williams] needed to look completely groomed underwater in addition to on dry land… The physique make-up that WIlliam Tuttle finally settled upon for Williams, a mica-laced powder with the salubrious identify of Texas Grime… Finally easy Vaseline blended with child oil (Sydney Guilaroff later claimed it was olive oil) was used for the upkeep of her hair in studio tanks and swimming pools.”

Some of the well-known of Lena Horne’s tales about her early days at MGM within the Nineteen Forties has to do with the Max Issue firm’s growth of a ‘Gentle Egyptian’ Pan-Cake particularly for her (there have been different shades of ‘Egyptian’ as effectively), which Horne claims was as an alternative used on white actors (like Ava Gardner as Julie LaVerne in Present Boat) who had been taking roles that Horne herself was not allowed to play.”

“The lengthy scar on her left cheek that Carole Lombard suffered as the results of a 1926 car accident was acknowledged in interviews and fan magazines on the time, however disguised by make-up in addition to cautious framing in her movies and publicity photographs.”

In Mary Astor’s e-book A Life on Movie she wrote “There was eyebrow shadow, brown, and mascara, black after which one thing that was known as ‘cosmetique,’ a black cake of guck that was melted over a spirit lamp after which utilized to the ends of the eyelashes with a match or a toothpick. This was ‘beading’: It completed what false eyelashes do right this moment…”

#Traditional #Movie #Collective #Magnificence

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