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Something very different than "Sin City" ... Eva Green 'Cracks' / See VIDEO Interview bellow

The film was produced in 2008, written for the screen by Caroline Ip, Ben Court and Jordan Scott, based on the novel written by Sheila Kohler, directed by Jordan Scott and produced by Kwesi Dickson, Andrew Lowe, Julie Payne[disambiguation needed], Rosalie Swedlin and Christine Vachon. Ridley and Tony Scott serve as executive producers. The film was mostly filmed in County Wicklow, Ireland.

Set in a strict elite British boarding school in the 1930s, the story centers on a clique of girls who idolize their enigmatic diving instructor, Miss G (Green) (in the film, we learn that Miss G had been a student at the same school where she now works and, in fact, may have even continued on at the school after she graduated). Di Radfield (Temple) has a crush on Miss G, and is the firm favourite and ringleader of her group. When a beautiful Spanish girl named Fiamma Coronna (Valverde) arrives at the school, Miss G's focus is shifted away from the other girls. It becomes a triangle: Miss G gets increasingly obsessed with Fiamma, Fiamma is disturbed by Miss G and also openly disgusted by the teacher's hypocrisies and deceptions, and Di is terribly jealous and makes Fiamma's life hell. In a very telling scene in the film that clearly highlighted Miss G's deceptions, Miss G (who claimed to be a world traveller to her "girls") goes to a nearby parochial town to buy some provisions. She is visibly upset by this trip and after buying her provisions and drawing the unwanted attention of some local louts, she returns to the school in, it would seem, a near panic. The bullying culminates in Di physically throwing Fiamma out of the school but, as she is unable to return to Spain as she hoped, Fiamma ends up back at the school later that night.

When Fiamma is eventually found, the two girls make the first steps towards friendship, and at the following dorm party they all get a bit drunk, and Fiamma faints. Miss G takes her to her own room. Then Miss G kisses her and sexually assaults her while she is passed out; Di witnesses this through the room door, which was left ajar, and then flees.

The next morning, Fiamma is visibly upset, Miss G equally so as she runs around after her. Di is broody, and eventually tells the rest of her gang that Fiamma seduced Miss G. Fiamma presumably tells Miss G that she will report the molestation to the teachers, and horrified, Miss G realises her career will be over. She in turn manipulates Di's affection for her into anger. She says that Fiamma will make up lies about her molesting her (even though it was true) and plan to get her kicked out of school. Di absolutely refuses to allow this to happen. The confrontation between Di's gang and Fiamma turns ugly as Fiamma declines to answer Di's vicious questions and tries to explain what really happened, hinting at Miss G's lies and character defects. Fiamma runs into the forest as things become more violent, but the girls catch up with her and, under Di's leadership, beat her up with their fists and sticks. Fiamma starts to have an asthma attack, and the girls stop, terrified. They run to get help, and Di runs into Miss G (who had been watching the beating and the chase that ensued quietly and with no attempt to stop the beating), who says she'll stay with Fiamma, and directs Di to go get a teacher.

In the forest, Miss G, alone with Fiamma, refuses to give Fiamma her inhaler and calmly watches her die. Di returns just in time to see Miss G placing the inhaler in Fiamma's lifeless hand, and that's when she realizes the truth.

Later, Di tells the other girls what happened and, united, they confront Miss G. They are powerless officially, but they quit the swim team and symbolically turn in their sashes. The headmistress refuses to acknowledge the school's culpability, and seems only concerned with the school's reputation, but releases Miss G from her duties.

The final scene has Di leaving the school to explore the world, as both Fiamma and Miss G had spoken of doing, whilst Miss G, fired from the school, goes to the local village and finds a small room she can live in, presumably closing herself away for the rest of her life. In a scene that perhaps allows the viewer a better understanding of Miss G's very complex personality, we see her put her few personal possessions on her bedside table. She puts one item there and then quickly removes it to make room for another item. After that, she counts the items to make sure there are only five. The viewer is then reminded that when Fiamma arrived at the school, in the dorm room, Di had told her that only five personal items could be displayed on her night table at one time. The audience then realizes Miss G is as much a victim of the institutionalized setting she grew up in (she was perhaps like many of the girls at the school "dumped" there and basically forgotten about by her family) as Fiamma was her victim.

Cracks Trailer - HD

GRACE KELLY 4 June to 26 October 2014 Princess and Style Icon / Paleis Het Loo / Apeldoorn, Netherlands

GRACE KELLY

4 June to 26 October 2014

Princess and Style Icon

Paleis Het Loo is mounting a magnificent show in 2014 with the ‘Grace Kelly, Princess and Style Icon’ exhibition presenting the unique story of the fascinating and eventful life of Princess Grace of Monaco. Clothes, accessories, film clips and photographs bring to life again the tale of the princess from one of Europe’s oldest royal houses.

The image of Princess Grace, born Grace Patricia Kelly (1929-1982) in the United States, is indelibly imprinted in our collective memory. As a style icon Grace Kelly was one of the most photographed women in the twentieth century and was avidly followed by the media in her successful life as an American film star, royal bride and princess of Monaco. Her beauty, character, talents and the dedication and discipline she brought to her role as film star and princess made her unforgettable and inspiring.

http://www.paleishetloo.nl/en/agenda/grace-kelly-prinses-en-stijlicoon/

Helena Rubinstein / The Woman Who Invented Beauty', by Michèle Fitoussi.

Helena Rubinstein (born Chaya Rubinstein, December 25, 1870 – April 1, 1965), a Polish-born American business magnate. A cosmetics entrepreneur she was the founder and eponym of company Helena Rubinstein, Incorporated, which made her one of the world's richest women.

Rubinstein was the eldest of eight daughters born to a Jewish couple, Augusta - Gitte (Gitel) Shaindel Rubinstein née Silberfeld and Horace - Naftoli Hertz Rubinstein; who was a shopkeeper in Kraków.

Rubinstein immigrated from Poland and arrived in Australia in 1902, with no money and little English. Her stylish clothes and milky complexion did not pass unnoticed among the town's ladies, however, and she soon found enthusiastic buyers for the jars of beauty cream in her luggage. Spotting a market, she began to make her own. Fortunately, a key ingredient was readily at hand.

Coleraine, in Western Victoria, where her uncle was a shopkeeper, might have been an "awful place" but it did not lack of that ingredient. Sheep, some 75 million of them, were the wealth of the nation and the Western District's vast mobs of merinos produced the finest wool in the land, secreting abundant quantities of a grease, chemically known as lanolin, in the process. To disguise this essential component of her product's pungent odour, Rubinstein experimented with lavender, pine bark and water lilies.

She also managed to fall out with her uncle. After a stint as a bush governess, she got a job as a waitress at the Winter Garden tearooms in Melbourne. There, she found an admirer willing to stump up the funds to launch her Crème Valaze, supposedly including herbs imported "from the Carpathian Mountains". Costing ten pence and selling for six shillings, it walked off the shelves as fast as she could pack it in pots. Now calling herself Helena, Rubinstein could soon afford to open a salon in fashionable Collins Street, selling glamour as a science to clients whose skin was "diagnosed" and a suitable treatment "prescribed".

Sydney was next, and within five years Australian operations were profitable enough to finance a Salon de Beauté Valaze in London. As such, Rubinstein formed one of the world's first cosmetic companies. Her business enterprise proved immensely successful and later in life, she used her enormous wealth to support charitable institutions in the fields of education, art and health.

Diminutive at 4 ft. 10 in. (147 cm), she rapidly expanded her operation. In 1908, her sister Ceska assumed the Melbourne shop's operation, when, with $100,000, Rubinstein moved to London and began what was to become an international enterprise. (Women at this time could not obtain bank loans, so the money was her own.)

In 1908, she married the Polish-born American journalist Edward William Titus in London. They had two sons, Roy Valentine Titus (London, December 12, 1909–New York, June 18, 1989) and Horace Titus (London, April 23, 1912–New York, May 18, 1958). They eventually moved to Paris where she opened a salon in 1912. Her husband helped with writing the publicity and set up a small publishing house, published Lady Chatterley's Lover and hired Samuel Putnam to translate famous model Kiki's memoirs.

Rubinstein threw lavish dinner parties and became known for apocryphal quips, such as when an intoxicated French ambassador expressed vitriol toward Edith Sitwell and her brother Sacheverell: "Vos ancêtres ont brûlé Jeanne d'Arc!" Rubinstein, who knew little French, asked a guest what the ambassador had said. "He said, 'Your ancestors burned Joan of Arc.'" Rubinstein replied, "Well, someone had to do it."

At another fête, Marcel Proust asked her what makeup a duchess might wear. She summarily dismissed him because "he smelt of mothballs." Rubinstein recollected later, "How was I to know he was going to be famous?"

At the outbreak of World War I, she and Titus moved to New York City, where she opened a cosmetics salon in 1915, the forerunner of a chain throughout the country. This was the beginning of her vicious rivalry with the other great lady of the cosmetics industry, Elizabeth Arden. Both Rubinstein and Arden, who died within 18 months of each other, were social climbers. And they were both keenly aware of effective marketing and luxurious packaging, the attraction of beauticians in neat uniforms, the value of celebrity endorsements, the perceived value of overpricing and the promotion of the pseudoscience of skincare.

From 1917, Rubinstein took on the manufacturing and wholesale distribution of her products. The "Day of Beauty" in the various salons became a great success. The purported portrait of Rubinstein in her advertising was of a middle-age mannequin with a Gentile appearance.

In 1928, she sold the American business to Lehman Brothers for $7.3 million, ($88 million in 2007). After the arrival of the Great Depression, she bought back the nearly worthless stock for less than $1 million and eventually turned the shares into values of multimillion dollars, establishing salons and outlets in almost a dozen U.S. cities. Her subsequent spa at 715 Fifth Avenue included a restaurant, a gymnasium and rugs by painter Joan Miró. She commissioned artist Salvador Dalí to design a powder compact as well a portrait of herself.

Freed of her former marriage vows, in 1938 Helena readily married Prince Artchil Gourielli-Tchkonia (1895–1955), whose somewhat clouded materlineal claim to Georgian nobility, as that of Prince Artchil Gourielli-Tchkonia (sometimes spelled Courielli-Tchkonia; born in Georgia, February 18, 1895, died in New York City November 21, 1955), stemmed from his having been born a member of the untitled noble Tchkonia family of Guria, enticing the ambitious young man to appropriate the genuine title of his grandmother, born Princess Gourielli.

Self-styled Prince Artchil Gourielli-Tchkonia, was 23 years younger than Rubinstein. Eager for a regal title to call her own, Rubinstein pursued the handsome youth avidly; coming to name a male cosmetics line after her youthful prized catch. Some have claimed that the marriage was a marketing ploy, including Rubinstein's being able to pass herself off as Helena Princess Gourielli.

A multimillionaire of contrasts, Rubinstein took a bag lunch to work and was very frugal in many matters, but bought top-fashion clothing and valuable fine art and furniture. Concerning art, she founded the respectable Helena Rubinstein Pavilion of Contemporary Art in Tel Aviv and in 1957 she established the Helena Rubinstein travelling art scholarship in Australia.

 In 1953, she established the philanthropic Helena Rubinstein Foundation to provide funds to organizations specializing in health, medical research and rehabilitation as well as to the America Israel Cultural Foundation and scholarships to Israelis.

In 1959, Rubinstein represented the U.S. cosmetics industry at the American National Exhibition in Moscow.

A £300 annual Rubinstein Prize was awarded for portraits by Australian artists from 1958. Prizewinners included Frank Hodgkinson 1958; Charles Blackman 1960; William Boissevain 1961; Margaret Olley 1962; Vladas Meskenas 1963; Judy Cassab 1964, 1965; Jack Carington Smith 1966.

Called "Madame" by her employees, she eschewed idle chatter, continued to be active in the corporation throughout her life, even from her sick bed, and staffed the company with her relatives.

Mme. Rubinstein died April 1, 1965, and was buried in Mount Olivet Cemetery in Queens. Some of her estate, including African and fine art, Lucite furniture, and overwrought Victorian furniture upholstered in purple, was auctioned in 1966 at the Park-Bernet Galleries in New York.

One of Rubinstein's numerous mantras was: "There are no ugly women, only lazy ones."

A scholarly study of her exclusive beauty salons and how they blurred and influenced the conceptual boundaries at the time among fashion, art galleries, the domestic interior and versions of modernism is explored by Marie J. Clifford (Winterthur Portfolio, vol. 38). A feature-length documentary film, The Powder and the Glory (2009) by Ann Carol Grossman and Arnie Reisman, details the rivalry between Rubinstein and Elizabeth Arden.

Her methodology has been described thus:

She was "the first self-made female millionaire, an accomplishment she owed primarily to publicity savvy. She knew how to advertise—using 'fear copy with a bit of blah-blah'—and introduced the concept of 'problem' skin types. She also pioneered the use of pseudoscience in marketing, donning a lab coat in many advertisements, despite the fact that her only training had been a two-month tour of European skin-care facilities. She knew how to manipulate consumers' status anxiety, as well: If a product faltered initially, she would hike the price to raise the perceived value."

In 1973, the company Helena Rubinstein, Inc. was sold to Colgate Palmolive, and is now owned by L'Oréal.

'Helena Rubinstein: The Woman Who Invented Beauty', by Michèle Fitoussi - review

BOOKS 0 Comments Nicky Haslam 13 April 2013 / http://www.spectator.co.uk/books/8883751/park-avenue-princess/

Helena Rubinstein: The Woman Who Invented Beauty Michèle Fitoussi

Gallic Books, pp.497, £8.99, ISBN: 9780730496502

In New York, in the 1960s, in a sleek, silvery elevator, I rose from the marble halls of Helena Rubinstein’s gleaming emporium up towards the top floor office of a new friend who worked for that legendary beautician. Suddenly, unexpectedly, the lift stopped, the doors slid open and a tiny, squat figure with oily, inky hair scraped back and livid carmine cheeks above violently purple tweed capes stabbed with a jagged, surreal brooch, stood peering up at what I hoped was my youthful, English-rose complexion. A short, intense scrutiny. Then, imperiously: ‘Oy vey! But I sink ve can help. Tell Patrick he needs gif you our XXX recipe. Now, out of my vay’, she elbowed past me; we descended, not a word more, but not exactly in silence, for she was loudly sucking on a Lifesaver, and, by your leave, let go a none too discreet fart.

My unique encounter with the woman Cocteau called — not, given her machinations, without a touch of irony — the ‘Byzantine Empress of Beauty’, encapsulated her self-made aura: her battle against blemishes, her extravagant style, canny acumen and her famously brusque manner.

The friend I’d been meeting was a tall, elegant and extremely witty Irishman named Patrick O’Higgins. To say he ‘worked’ for this monstre maquillée is not the half of it. He walked her, arranged her contracts, travelled the world with her, was the shoulder she cried on, made amends for her manners, held the heavily jewelled hand when husbands and sons died. And he wrote an amusing, touching, critical but finally sympathetic book, simply titled Madame, about his many years with Helena Rubinstein.

Michèle Fitoussi’s biography of the same subject puts much factual flesh on Madame’s funny-bones. It is credibly researched, fairly accurate, without too many invented conversations and written in powder-pink, though somewhat cliché-ridden, prose. Exclamation marks dot paragraphs like beauty-spots, and there are more ‘such as’s followed by lists of long-forgotten rivals than you can shake a lipstick at.

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