Word: lipstick
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...also a moneyed widow, is romanced by Charlie Hopeland, a conniving young lawyer. Emily has had cosmetic surgery, but her wardrobe and behavior remain staunchly conservative. Irma, who appears "mean, as if she unconsciously wanted revenge for what she had missed," abruptly turns into a grotesque, misapplying bright red lipstick and drinking old-fashioneds with catastrophic results...
...today's fragmented pop culture, she remains virtually unknown to anyone over 30--and whose punk-flapper fashion sense is imitated by thousands of "Ringlets," her very own girl groupies. They pay tribute by dyeing their hair orange (as she does, from her natural dark reddish brown), smearing lipstick from nose to chin and dressing in Molly's unique designer-junk shop couture. Her normality makes her something more resonant than this month's Madonna. Molly Ringwald is both hip enough to be the style setter of Right Now and traditional enough to be any American teen of the past...
...generation's is mall town: cruising the stores and the guys for a little post-innocent fun. Today's purchase is a portable tape player, a present for Mom. We detour to glom some sweaters, to pet the hamsters in the pet shop, to try on some beige Shiseido lipstick. Molly resists (and transcends) the Valley Girl stereotype, though she lives and speaks a variation of it. During a photo session she'll say, "This pose is, like, totally uncomfortable...
...quintessential small-town girl, Connie is beautifully portrayed by Laura Dern. She's a shimmery blonde with the kind of natural, unfinished all-American good looks that an Eileen Ford talent scout would spot beneath all the pancake powder and lipstick. But Dern plays Connie as a girl who has not yet come into her own. She's tall and thin and leggy, but she walks with a knock-kneed self-conscious slouch. When she tries to be sexy, the worst of Valley Girl fashion comes out of the closet. Too much hairspray, too many jiggly bangles, plastic colorful earrings...
...quickly seen, iconic, coercive imagery of mass media, which he then modifies and softens with high-art references. His main subject is the human face, close up and cropped by the frame, a pearly or tanned mask of flat paint with schematic shading, great swacking eyelashes and lipstick-colored lips: it is the face of advertising, the size of an image on a '50s highway billboard shifted into the context of domesticity. Much of the time the face belongs to his wife Ada, whose liquid brown, slightly melancholy eyes and handsomely curved nose recur in image after image, making...