I had always viewed myself as something of an ugly duckling. In grade school, I was always close to being the shortest kid in class. Also, I was always a bit on the scruffy side—and I still am. So when I wound up in college, some six hundred miles from home (and me never having been more than a few miles from home before), I found myself gravitating toward the movies.
The first film I saw projected at Dartmouth’s Fairbanks Hall was Carl Dreyer’s Day of Wrath (1943), a film about witchcraft that got me started thinking about film as an art form. I was particularly impressed by the Danish actress Lisbeth Movin, who plays a young witch married to a minister. I don’t think I had ever seen an actress quite so beautiful. Now, some sixty years later, I still think of her as radiant.
I was always enthralled by the beauty of certain actresses, even though I felt like Caliban in front of most girls. At the time, Dartmouth College had only male students; so I was relatively safe from making a fool of myself.
My next “muse” was Rita Tushingham who made a big impact on me during the 1960s.
Her eyes were so close together under her bangs, and her nose was the perfect ski jump, but I was enthralled. She had been described by some in the press as “ugly,” but I did not think so. According to an article in the guardian, “A New York Times reporter who met her described her as ‘a slip of a girl, her uncosmeticised face framed in straight dark hair, wearing a sweater and jeans, with those enormous eyes incessantly expressive even when the rest of the small face disappeared behind a big yellow coffee cup.’”
I think it was the eyes that did it. I have always been a sucker for women with eyes that seemed to come to life. Today I saw her first film, Tony Richardson’s A Taste of Honey (1961). She was to appear in other 1960s productions such as The Girl with Green Eyes (1964) and Doctor Zhivago (1965), but it was that gamine Rita of the 1960s that I so dearly loved.