|London. March 17, 1966|
INTERIOR - NIGHT: London. March 17, 1966. The Royal Film Performance of ‘Born Free’. On stage left (in profile) you have Deborah Kerr who, at 45, seems an atavistic Lady Bracknell, a chronological confusion, perhaps a bouffanted levee, holding back Time - at least for a blessed moment - from the startling beauty of Julie Christie, Ursula Andress and Catherine Deneuve, Sirens of the 60s.
|Motion is important|
Deneuve’s sexuality is empowered by a wistful frailty that demands isolation, to be regarded, not explored.
Christie is engaged but follows a silent muse. There’s heat but it’s random. Restless rather than bored.
|So is color|
|The Face - Full Bore|
We can well imagine lyricist Hal David in a darkened film theatre watching an early cut of Casino Royale. And then he sees the Face. And then he writes 'The
|Drifting with moon children through paisley parties|
...The Face, a kind of totemic, ageless apparition of what Beauty was always supposed to remind us of.