Following up on conversations about anxiety grooming and the hair-saving power of bobby pins, I’d like to consider the recurring trope of what we’ll call the 'impulse haircut' in film and television—i.e., the shearing of one’s hair with dramatic flourish and preferably one's own hand. When Oscar Wilde wrote, “Life imitates art far more than art imitates life,” he was not commenting on Britney Spears’ infamous post-rehab head shave at Esther’s Haircutting Studio in Tarzana, Calif., back in 2007. However the particular brand of off-the-wall catharsis present in the scene would surely have sparked a knowing twinkle in the writer’s eye. The pop-star reportedly cited a too-tight weave as the offending culprit, but the 'after' photos revealed a familiar expression of relief from more existential woes. Was it Demi Moore in G.I. Jane or Robin Tunney in Empire Records that Britney was channeling? What’s for sure is we’d seen that look before in celluloid. After years of protracted study—or a couple Saturday nights revisiting the classics—I’ve isolated a few core profiles of impulse haircutters in popular culture.
They are as follows... The quietest contingent, their lock-lobbing is induced by acts of selflessness. Winona Ryder’s Jo in Little Women sells a mane of chestnut curls to secure her mother’s train fare after her father is wounded in the Civil War. Though her tomboyish nature makes the sacrifice easier to bear, she nonetheless weeps for a night after the chop. In The English Patient, Juliette Binoche’s WWII nurse Hana breezily snips her way to a no-maintenance bob (mirror-free!) after taking residence in a bombed-out Italian villa. All the better to help her ease the pain of the titular burn victim in her care. Likely the most cited example of the emo buzz cut, Robin Tunney’s Deb in Empire Records shaves her head in the employee restroom, '90s alt-rock soundtrack urging her onward. Bandaged wrists and a bad relationship reveal this makeover is Deb’s decision to make the best of an internal battle and what’s more—it suits her. She looks cool as a cue ball. And to show the anguish-shear is not gender-specific, the heavy-hearted, heavily bearded former-tennis pro Richie Tenenbaum embarks on full depilation before attempting suicide.
It’s The Royal Tenenbaums' most brutal scene. Felicity’s second season climax was a lesson in the fickleness of audience approval. As soon as title-star Keri Russell’s ringlets were cropped, ratings plummeted. The earnest undergraduate went to the salon to release herself from both hair and old hang-ups (oh, that tortured Noel-Ben love triangle), and the plan backfired. The show was nearly cancelled. Meanwhile, in Sliding Doors, Gwyneth Paltrow’s unencumbered Helen goes blonde and blunt post-break up—allowing the actress to twin then-boyfriend Brad Pitt’s style in real life. A 2012 study suggested that bald men were seen as up to “13 percent stronger than those with full heads of hair,” and in the case of Breaking Bad’s Walter White, this poll is proven true. At the start of chemo treatment, the soft-spoken chemistry teacher preemptively shaves, and assumes his Heisenberg persona for the first time—a dead-eyed meth kingpin with serious swagger. And of course, this round-up would not be complete without mention of G.I. Jane’s Demi Moore, who takes the clippers into her own hands, then out-performs her fellow SEALS-in-training with those crazy one-armed push-ups.
And evading all categories (or maybe fitting a little bit into each), is Audrey Hepburn’s incognito Princess Ann in Roman Holiday. Never, ever have impromptu barrel-curled bangs looked so free and easy.Ghost CwfilmnightGhost BobGhost 1990Movie GhostGhost HairstyleHairstyle TimeDemi Moore GhostDemi Moore SHaircuts StylesForwardDemi Moore's Ghost Bob When Patrick's Swayze's character finally declares his love for his leading lady, the world squealed "Ditto!" in agreement—for her bob.-pin it by cardenGwyneth Paltrow's Short Hairstyle Q: I have two questions in one, actually. The first question is: if I wanted Gwyneth Paltrow's short hair style in the movie Sliding Doors, what exactly should I ask my hair stylist to do? The second question is: how do I know if my face shape is compatible with the hair cut? A: Well, the short hairstyle Gwyneth Paltrow wears in Sliding Doors is a modified pixie-cut. Due to her fine hair the layering is kept minimal in the top, crown and parietal ridge area, but the perimeter is cut following the traditional short gamine crop.
and crown sections, the hair is cut to approximately 4.5-5.5 inches, and gradually tapers toward the bottom perimeter. Well, without knowing your face shape and the balance of your facial features and build, I cannot make a determination on whether this haircut would suit you. However, it's best to remember that the purpose of a hairstyle is to create a balanced flattering look for the individual. If your hair is similar in texture, density and wave pattern to that of Ms. Paltrow, and you are of the same general face shape and build, you can probably wear the style with no fear of looking bad. You should avoid this style if: A) You have a heavy-set face or your face is jowly or bottom heavy. B) Your jawline is wider than your forehead or you have prominent features - such as a large or long nose, overly wide or full lips, or small and close-set or widely-spaced overly large eyes. C) You are very tall and angular in build, or you have a bulky physique.
A good stylist will be willing to give you an objective assessment of your face shape and feature balance, and will be best able to tell you if the style you want is going to be unsuitable for you. He/she can also make suggestions that might give you the appearance you are seeking, that take into account the individual needs of your face/features/build. Gwyneth Paltrow with shorter hair Hairstyles for the different face shapes How to choose the right pixie cut for yourself The facial features needed for very short gamine haircuts: One of the main characters is just standing there, having what would have perhaps been the most important conversation in a long and happy life. Suddenly a car runs over her. Downer Ending in one time line, but it is indicated that the trauma of her own death helps her to get a happy ending in the other time line. This article is about the film. For non-vehicular sliding doors, see Sliding door. For sliding doors on vehicles, see Sliding door (vehicle).
Sliding Doors is a 1998 British-American romantic drama film written and directed by Peter Howitt and starring Gwyneth Paltrow and John Hannah, while also featuring John Lynch, Jeanne Tripplehorn, and Virginia McKenna. The film alternates between two parallel universes, based on the two paths the central character's life could take depending on whether or not she catches a train, and causing different outcomes in her life. Helen Quilley (Gwyneth Paltrow) gets fired from her public relations job. As she leaves the office building, she drops an earring in the lift and a man picks it up for her. She rushes for her train on the London Underground and misses it. The plot then splits into two parallel universes, the other detailing what would have happened had she caught that train. In the timeline in which she boards the train, Helen sits alongside James (John Hannah) (the man in the lift) on the Underground and they strike up a conversation. She gets home in time to catch her boyfriend, Gerry (John Lynch), in bed with his American ex-girlfriend, Lydia (Jeanne Tripplehorn).
Helen dumps him and moves in with her friend Anna (Zara Turner), and changes her appearance to make a fresh start. James continues to serendipitously pop into Helen's life, cheering her up and encouraging her to start her own public relations firm. She and James fall in love despite her reservations about beginning another relationship so soon after her ugly breakup with Gerry. Eventually, Helen discovers that she is pregnant. Believing it is James' child, she goes to see him at his office. She is stunned to learn from James' secretary that he is married. James finds her on a bridge and explains that he was married but is now separated and planning a divorce. He and his soon-to-be-ex-wife maintain the appearance of a happy marriage for the sake of his sick mother. After she and James declare their love, Helen walks out into the road and is hit by a van. In the timeline in which Helen misses the train, subsequent services are delayed; she exits the station and hails a taxi. A man tries to snatch her handbag and injures her, so she goes to hospital.
She arrives home after Lydia has left and remains oblivious to Gerry's infidelity. Unable to find another PR job, she takes two part-time jobs to pay the bills. Gerry continues to juggle the two women in his life. Lydia, wanting Gerry for herself, makes increasingly aggressive attempts to torment Helen and dropping clues of their affair to her. Helen suspects Gerry of infidelity, but later discovers that she is pregnant. She receives a phone call, allegedly for a job interview with an international PR firm. She tells Gerry the news, but does not manage to tell him of her pregnancy. Lydia calls Gerry to her apartment, apparently to break up. Thinking Helen is at her interview, Gerry goes to see Lydia. While at Lydia's, Gerry answers the doorbell and sees Helen standing at the door. Helen is stunned to see Gerry, and Lydia drops the news of her own pregnancy to both. Distraught, Helen runs off and falls down Lydia's staircase. In both storylines, Helen is taken to hospital and loses her baby.
In the timeline where she originally boarded the train, she dies in the arms of her new-found love, James; in the timeline in which she missed it, she recovers and tells Gerry to leave for good. Before waking, she sees brief visions of the alternate Helen's life in a dream. In the final scene (now taking place in the original "missed train" universe), James leaves the hospital after visiting his mother, and Helen leaves after ending her relationship with Gerry. They meet in the lift, and Helen drops an earring which is picked up by James, mirroring their first encounters. Before the doors close, James tells Helen to cheer up, and repeats his line, "You know what the Monty Python boys say..." Helen (who, in the beginning of the film, assumed the rejoinder to be "always look on the bright side of life.") says, "Nobody expects the Spanish Inquisition". The frame freezes as she and James stare at one another, each surprised by her response. The scenes on the London Underground were filmed at Waterloo tube station on the Waterloo & City line and at Fulham Broadway tube station on the District line.
Helen's flat is in Leinster Square. The American Diner is Fatboy's Diner at Trinity Buoy Wharf. The scenes by the Thames were filmed next to Hammersmith Bridge and in the Blue Anchor pub in Hammersmith. The bridge featured is the Albert Bridge between Battersea and Chelsea. The late-night scene when Paltrow and Hannah walk down the street was filmed in Primrose Gardens (formerly Stanley Gardens) in Belsize Park. The final hospital scene where Helen and James meet in the lift was filmed at Chelsea and Westminster Hospital on Fulham Road. British singer Dido's song "Thank You" made its appearance on the soundtrack, becoming a hit three years later. It was a commercial for this film featuring "Thank You" as background music that inspired rapper Eminem to use Dido's voice for his song, "Stan".[] The song eventually hit no. 3 on the Billboard Hot 100 chart. Aqua's song "Turn Back Time" was released as a single in 1998 and topped the UK Singles chart. The music video is heavily based on the movie and featured scenes from it.
This soundtrack is notable as the last from a Paramount film to be released by MCA Records, which, as successor to Paramount's former record division, continued to release soundtracks for some Paramount films starting in 1979. In 2003, when Geffen Records absorbed MCA and became another successor to the former record division of Paramount, it began to share the duty of issuing Paramount film soundtracks with sister labels Interscope and A&M. An important omission from the soundtrack is the Patty Larkin cover of "Tenderness on the Block" that plays during the final scene. Due to copyright and recording issues, this track was never released and is only available in the movie. The film opened at number 17 at the box office with $834,817 during its first weekend but increased by 96.5% to $1,640,438 on its second weekend. It ended up with a total gross of $11,841,544 in the United States.[3] It also saw success in the United Kingdom with a total box office gross in excess of £12 million.
[4] The film's total world takings totaled over $58 million. Rotten Tomatoes gives the film the film a score of 63% based on 48 reviews, with the site's consensus saying that "[d]espite the gimmicky feel of the split narratives, the movie is watch-able due to the winning performances by the cast".[5] Metacritic gives the film a score of 59 out of 100 based on 23 reviews, indicating the reaction as "mixed or average". Time Out described the film as "essentially a romantic comedy with a nifty gimmick".[7] Angie Errigo of Empire magazine gives the film 3/5 stars.[8] Roger Ebert gives the film 2/4 stars, and was critical of the screenplay. Film director Agnieszka Holland considers the film to be a botched copy of the 1981 Polish film Blind Chance, directed by Krzysztof Kieślowski, with all the "philosophical depths and stylistic subtleties stripped away". ^ Sliding Doors at Box Office Mojo ^ Sliding Doors at Rotten Tomatoes ^ Sliding Doors at Metacritic ^ Time Out Film Guide: 17