A showgal’s dramatic ‘do … Anastasia was one of the the Ziegfeld Girls for five years running… all the talk of Broadway.
Did I say that Hitchcock only used blondes? Turns out he used a brunette too, and what a fine choice. Bergman (Alicia Huberman) is such a wonderful leading lady, she makes this film sparkle despite its mostly mundane plot. Her hair is wonderfully, elegantly, unwaveringly 1940s. What a joy to watch! I counted seventeen different ‘dos throughout the film!
Oh, if I could still get my hair to do this! Gracious, it is an elegant upsweep. She uses several hair pieces, hats, barrettes and accessories throughout the film. Seen above is a fabulous black sequined … well, I’m afraid I just don’t know the name of it, but it sure is a sight! The many accessories were very typical of the time. The fact is we just put more into the looks of our hair back then. Now it’s all gone to pots.
She’s rolled it upwards on both sides, sleeked it back through the middle section, pinned it at the nape in back with a diamond barrette and added pin curls to each side of the back bun. Nothing short of a momentous sight!
My favorite look comes in the second scene of the film, Miss Huberman’s “perfectly hideous party” in her Miami bungalow. I think it really is most flattering.
I don’t want to spoil the film, for you really must see these hairstyles in action, and it’s available for viewing online. However, I suppose I really mustn’t neglect Bergman’s leading man, Cary Grant (Mr. Devlin). His hair is neatly parted and gelled in place throughout the whole picture–– a real upstanding man of the ’40s, he is. He keeps a razor to that square face, doesn’t even let his sideburns down. It’s quite surprising that the good-timing, good humoured Miss Huberman falls for such a straight arrow. I oughtta just let you watch the rest, though.
A Memorable Quote:
Miss Huberman: “What does the speedometer say?”
Mr. Devlin: “65”
Miss Huberman: “I want to make it 80 and wipe that grin off your face.”
In Hitchcock’s The Man Who Knew Too Much (1956), Day wasn’t too ornate. She was sensibly dressed, moderately adorned. Her hair maintained the same practical style throughout the film, much to my disappointment. It isn’t a very feminine look. Most of the top hair is short … shall we say, “The Hairstyle That Knew Too Little”? Her short bangs fall just at the top of the forehead.
She also wore this short flat hat on the top for much of the film. In my opinion, the look is not too flattering for Doris’s full moon face. It’s hard to see in the above shots, but she also has a tight bun at the nape of her neck, no flair, no pretty pins or bows. You can see it here in this shot from behind.
Hitchcock only used blondes, you know. Day is one of the least interesting of the whole slew in my opinion, but she has two great moments in this picture. The first is an unforgettable scream at the opera house. You really must watch it just for this. The second is her distressed performance of “Que Sera, Sera” at the height of the film. She does such a lovely job at singing beautifully and expressing affliction at the same time. She made a record of the song, which you might have if you’ve kept your record collection and can get your grandchildren to come dig around in the attic for you.