![]() ![]() ![]() ![]() The pulse points that most fascinate me are relations between Hepburn and other female luminaries, including Colette, Edith Head, Deborah Kerr, Leslie Caron, Ava Gardner, Grace Kelly, Judy Garland, Elizabeth Taylor, Marni Nixon, Julie Andrews, Mia Farrow, Jeanne Moreau, Merle Oberon, Capucine and Cher. The new biography of Audrey Hepburn, by Barry Paris, a writer already praised for his books on Louise Brooks and Garbo, is an acute, tender-hearted and entertaining dish of Hepburn facts – he interviewed friends and family, and has a sharp eye for her film-work’s idiosyncrasies more important, he offers a grid for dream inquiries into star consciousness. Rather, we may use star chronicles as springboards for philosophical investigations, however careless and impromptu, into our own sightlines. Such moments dominate a certain 20th century, and so it is a mistake to consider a star biography as merely the linear tale of a performing life’s progress. Few writers have tried to describe ineffable instances of stars perceiving other stars and stars perceiving their own stardom. Huge gulfs divide a star in daily life from a star on screen the style in which a star executes an action (film role, household chore, errand, ambassadorial mission) is not the style in which she secretly contemplates her colleagues. Though I am interested in their behaviour, I am more interested in the curves and austerities of their cognition. I read star biographies to find out how stars see themselves and how they see each other. ![]()
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