...when the face represented a kind of absolute state of flesh...
[...]
...are two faintly tremulous wounds.
[...]
She herself knew this: how many actresses have consented to let the crowd see the ominous maturing of their beauty. Not she, however; the essence was not to be degraded, her face was not to have any reality except that of its perfection, which was intellectual even more than formal. The Essence became gradually obscured, progressively veiled with dark glasses, broad hats and exiles: but it never deteriorated.
[...]
A mask is but a sum of lines; a face on the contrary, is above all their thematic harmony. Garbo's face representes this fragile moment when the cinema is about to draw an existential from an essential beauty, when the archetype leans towards the fascination of mortal faces, when the clarity of the flesh as essence yields its place to a lyricism of Woman.
[...]
...the passage from awe to charm.
[...]
As a language, Garbo's singularity was of the order of the concept, that of Audrey Hepburn, an event.
[...]
...are two faintly tremulous wounds.
[...]
She herself knew this: how many actresses have consented to let the crowd see the ominous maturing of their beauty. Not she, however; the essence was not to be degraded, her face was not to have any reality except that of its perfection, which was intellectual even more than formal. The Essence became gradually obscured, progressively veiled with dark glasses, broad hats and exiles: but it never deteriorated.
[...]
A mask is but a sum of lines; a face on the contrary, is above all their thematic harmony. Garbo's face representes this fragile moment when the cinema is about to draw an existential from an essential beauty, when the archetype leans towards the fascination of mortal faces, when the clarity of the flesh as essence yields its place to a lyricism of Woman.
[...]
...the passage from awe to charm.
[...]
As a language, Garbo's singularity was of the order of the concept, that of Audrey Hepburn, an event.
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