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How entertaining? ★★★☆☆
Thought provoking? ★☆☆☆☆ 8 September 2011
This article is a review of VIDAL SASSOON THE MOVIE. |
“How one man changed the world with a pair of scissors,” so says the title at the beginning of this documentary on one of the most famous hair stylists.
Those words epitomised the tone. It feels like a hagiography. Most of the talking heads are or were within his circle – family and (ex) co-workers, who have nothing to say but praise. Even his second ex-wife practically blames herself for the divorce. So don’t expect some intriguing analysis, or a critique specifically of him or what he represents. But if you’re a fan of THE SEPTEMBER ISSUE (on Vogue, if you didn’t know), then you will probably find similar enjoyment – a look at fashion from a certain perspective.
Those words epitomised the tone. It feels like a hagiography. Most of the talking heads are or were within his circle – family and (ex) co-workers, who have nothing to say but praise. Even his second ex-wife practically blames herself for the divorce. So don’t expect some intriguing analysis, or a critique specifically of him or what he represents. But if you’re a fan of THE SEPTEMBER ISSUE (on Vogue, if you didn’t know), then you will probably find similar enjoyment – a look at fashion from a certain perspective.
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This is basically the history of a sprightly 81 year old, mostly from himself, a good raconteur – who talks about the highs and lows of his whole life; from growing up extremely poor in the East End before the Second World War to building his mini-empire. Even if you don’t know much about him, you’re probably aware of the brand Vidal Sassoon. His rise is inspirational and presented engagingly. Talking heads are shown in black & white with colour credits, which looks stylish; and Vidal is interviewed in various locations, from his striking pad in Beverly Hills to wandering around the South Bank of London.
It is interesting when the movie starts to delve into what he changed about the salon industry, and his collaboration with the ilk of fashion designer Mary Quant and model (and American Vogue Creative Director) Grace Coddington. He also did Mia Farrow’s hair in ROSEMARY'S BABY and is even name-checked in Polanski’s work. Sassoon’s motivations are admirable in many respects, demonstrating hard work, vision and ambition. What undermines proceedings is the sycophantic eulogising, with comparisons to Einstein and Apple (when it comes to hair). The material is slight, but frothy.
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