In March 1961 Luchino Visconti directed a French version of the revenge play ‘Tis Pity She’s a Whore by the English playwright John Ford. Staged at the Théâtre de Paris, Dommage qu’elle soit une p… starred Romy Schneider as the protagonist Annabella and her fiancé Alain Delon as Giovanni.
In these beautiful backstage pictures by Maurice Jarnoux we can take a look at what beauty products the Austrian actress used. In the shot above she was applying Pan Stik compact foundation by Max Factor.
On her dressing table there were many make-up and skincare products, among which a bottle of baby lotion by the French brand Mustela.
When it comes to the perfumes, the first I’ve noticed is a huge houndstooth bottle by Christian Dior, used for several eaux de toilette and eaux de cologne by the French maison, so it’s impossible to tell what fragrance this specific bottle contained. Furthermore, it’s quite surprising to see a Dior fragrance on her dressing table: the perfumes she usually wore were Chanel No. 5, Guerlain L’Heure Bleue [1] and – as explained by Elena Prokofeva – Tubereuse by Jean-Francois Laporte.
The second bottle is a French classic – Roger & Gallet Jean Marie Farina eau de cologne, first launched in 1806.
The third perfume sighting is not a bottle but a white box with black details. It’s a coffret set by Chanel, usually containing a selection of four parfum extraits.
[1] Several Guerlain bottles appeared in the famous portraits of Romy Schneider taken by photographer Helga Kneidl in 1973 in Paris.
In 1983 the popularity of the Italian showgirl Raffaella Carrà was about to peak: in that year she would start hosting Pronto, Raffaella?, one of the most successful tv programmes of the decade. Angelo Deligio took these wonderful pictures of Raffaella in her dressing room, surrounded by beauty products, personal items (see the Louis Vuitton Monogram Canvas box above) and design objects [1].
The first beauty products that have captured my attention are by Lancôme. Raffaella used the classic toner/cleansing milk duo: the toner is Tonique Douceur, while the cleansing milk is Galatéis Douceur.
By the mirror there’s also Max Factor Pan Stik, along with a tiny bottle of Imidazyl eye drops and a box of Chicco cotton buds.
This picture was taken on the opposite side of the room. The Lancôme duo is still visible, but next to Raffaella there’s another intriguing bottle.
Here it is again. It’s a 
If we move to the opposite side of the room, next to Raffaella, there are other two products – Schwarzkopf Taft hairspray and Evian spray mineral water.
Lora Meredith (Lana Turner) has finally achieved her dream of being a famous Broadway actress, but her life is still inextricably connected to Annie Johnson, her maid, who helps her backstage, too. Lora’s dressing room is not particularly fancy, but some objects on her table are.
The big bottle on the left is Caron Bellodgia, a floral fragrance created in 1927 by Ernest Daltroff. This bottle with a prism-shaped stopper was designed by Félicie Vanpouille Bergaud.
The other bottle is Opening Night by Lucien Lelong. Originally launched as Orage in 1935, it was re-named for the English market. The original bottle had a 
As for the make-up, one item is immediately recognizable – Max Factor Pan Stik, the revolutionary foundation in stick form launched in 1947.
Lana Turner was among the Hollywood stars who served as testimonials for Max Factor products. The 
Later in the film, Caron Bellodgia can be seen on Sarah Jane’s vanity. I can imagine Lora giving a bottle of her perfume to her maid’s daughter, because she really cares about her. Despite providing for both of them all through the movie, there’s an undercurrent racism in the actress’ attitude towards the girl: she often reprimands her for rejecting her “blackness”, but ends up with reinforcing her being “different”.
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