Tenfold More Wicked: Arrow Films Unleashes Walerian Borowczyk's THE STRANGE CASE OF DR JEKYLL AND MISS OSBOURNE

"With its throbbing, doomy electronic soundtrack, claustrophobic atmosphere and a genuinely evil performance from Gerard Zalcberg as Hyde, Bloodbath of Dr. Jekyll is a difficult film to forget. It's slow to build, but once it gets there its grip never relaxes. The bloodbath of the title is a literal one; rather than drink a potion to transform himself into Hyde, the good Doctor immerses himself in a bath of blood-coloured liquid to release his evil desires. At the climax of the film his fiancee follows him into the bath and emerges a voluptuous, sparkling eyed femme fatale. As dawn breaks the two of them ride off in a carriage, tearing at each other's flesh." -Cathal Tohill and Pete Tombs, Immoral Tales-

The passage quoted above served as my introduction to Walerian Borowczyk's magnificent and unforgettable 1981 film The Strange Case Of Dr Jekyll And Miss Osbourne.  It was the summer of 1995 and I had just turned 22 years old.  As I have written before the book Immoral Tales and the publication I would discover soon after, Video Watchdog, had a profound impact on my life and by the end of that year I was fully immersed in the grey market VHS tape trading scene along with my movie buddy Dave, who had been a frequent customer at the video store I managed in Lexington, KY. 
Like junkies who were experts at the hustle, Dave and I made an art-form out of finding and trading as many rare films as possible on the limited budgets we had.  At least a few times a month a new update from the likes of Video Search of Miami, Midnight Video, European Trash Cinema, Luminous and countless other mail order companies, we would order from, would show up in our mailboxes.  We'd devour the listings looking for insane new titles we had never heard of, uncut and/or upgraded versions of favorites we already had and films we had read about but had only dreamed about seeing.  To take advantage of the quantity discounts most of these companies offered we'd pool our money together, send off a money order and wait impatiently for our new package of dreams to arrive.  We were pirates and we quickly learned all the pros and cons of each company.  Video Search had the largest selection but they were the most expensive and often had the worst quality.  Midnight Video had the best upgrades and catalogs, E.T.C. had the friendliest and quickest service while Luminous offered those gorgeous custom color sleeves and featured the cool as hell tape intro that copped a memorable moment from Let Sleeping Corpses Lie.   It was a fun and exciting period and it was in this atmosphere of discovery that The Strange Case Of Dr Jekyll And Miss Osbourne first came into my life.

My first copy of Borowczyk's legendary masterpiece came courtesy of one of the companies listed above.  Time has taken away my memory of exactly which one it was but I do remember it was one of the worst quality tapes Dave and I got in that period.  No matter how atrocious the print was, or how much footage it was missing, The Strange Case Of Dr Jekyll And Miss Osbourne was a devastating experience.  Here was a work that more than lived up to its legend and throughout my twenties it became one of the key films that I continually looked for better copies of.  Dave and I invested in several different versions of it with no real satisfying results.  As the nineties gave way to a much darker decade and VHS was phased out by a new digital format, that took up a lot less shelf space, Borowczyk's great late-period shocker became almost like a murky fantasy that a number of dedicated dreamers around the world shared.   
As our twenties became our thirties, our VHS libraries of lost, missing and unknown films were replaced by official DVD versions.  While many of our favorite films were finally given official releases there were some works that just seemed destined to stay lost and Borowczyk's The Strange Case Of Dr Jekyll And Miss Osbourne was one of those films.  We thought we almost had it at one point when Anchor Bay mentioned it as a possibility in the early 2000s but William Lustig deemed it 'too arty' and it was taken out of consideration.  It was extremely frustrating but in hindsight I get Lustig's reasoning as business man because, sadly, for many Euro-Cult lovers Borowczyk's film will indeed seem impenetrable.  Of the many labels given to The Strange Case Of Dr Jekyll And Miss Osbourne over the years the only one that really sticks is that it is indeed an art-film.  More than that, and as others have noted, it stands along with Andrzej Zulawski's Possession (also 1981) as perhaps the last great European Art-Film of the seventies.  It was the end of a marvelous period of film-making that had been marked by daring originality and fierce non-conformity.  

Finally seeing The Strange Case Of Dr Jekyll And Miss Osbourne the way that it was meant to be seen twenty years after I first viewed that barely watchable VHS copy is like having my distant dream transformed into a shockingly coherent memory.  Arrow Films haven't just released the most important Blu-ray/DVD of the year, they have delivered the art world one of its great lost treasures in a version that is jaw dropping in its execution and presentation.  This exhaustive special edition disc that now houses Borowczyk's once lost film is absolutely stunning and film lovers everywhere owe a sincere thank you to its chief creator Daniel Bird and his entire team, including co-producer Michael Brooke.  Arriving on disc with pristine picture quality and sound,  The Strange Case Of Dr Jekyll And Miss Osbourne can finally be seen as Borowczyk originally intended.  Watching this version was an absolute revelation to me and, while I hate to use this cliche, it really was like seeing it for the first time.

Among the major things that I admire about The Strange Case Of Dr Jekyll And Miss Osbourne is what an incredibly flexible piece of filmmaking it is.  This is Borowczyk at his most ambitious and The Strange Case Of Dr Jekyll And Miss Osbourne vaults, with apparent ease, between a Victorian horror film to a savagely witty satire to a feverish surrealist nightmare.  Borowczyk achieves so much in just 90 minutes and his work here is an awe-inspiring.  Add on to the fact that he was working with a relatively limited budget, on a tight shooting frame, and The Strange Case Of Dr Jekyll And Miss Osbourne becomes an even more remarkable achievement.  Every shot is expertly composed and the amount of thought that is apparent in even the film's most seemingly unimportant moments is astounding.  No filmmaker has ever successfully forced an audience into a more voyeuristic mode than Borowczyk.  Even a key sequence like the reading of Jekyll's will is filmed through a doorway as if we are peaking in to an event that we are not supposed to be privy to. Among the most remarkable achievements on hand in The Strange Case Of Dr Jekyll And Miss Osbourne is that, despite how dialogue driven the mid-section is, it manages to recreate the bewitching spell and mood of a great silent film.  Also, just about an hour in, Borowczyk delivers one of the great 'how did they do that' effects in all of cinema during the film's first transformation scene.  It's one of those moments, like the last shot in The Passenger, that cinephiles will return to again and again. 
Among the things that surprised me the most revisiting The Strange Case Of Dr Jekyll And Miss Osbourne was just how devilishly witty it is in its middle section thanks to Borowczyk's sharply satirical stab at a repressed upper-class and legendary Patrick Magee's wonderfully over the top turn as the bumbling patriarchal General.  Be sure to watch the English dub of the film to see the full power of Magee's delicious turn. 

The whole cast is quite extraordinary and was one of the best ensembles Borowczyk ever got to work with.  While such Euro-Cult favorites as Udo Kier and Howard Vernon will be the most recognizable it is the mesmerizing Marina Pierro, as Miss Osbourne, who commands the most attention.  There is a clear and special bond between Borowczyk and Pierro that only comes around once in a great while in film and this stands as their key work together.  Pierro's final transformation (a resounding feminist statement against male repression and stereotyping) is one of Borowczyk's great moments and no description of Pierro in the film's pulverizing closing seconds will suffice.  No longer keeping us peering through half closed doors, Borowczyk brings his audience inside the frame as The Strange Case Of Dr Jekyll And Miss Osbourne comes crashing to a close to the point where we are no longer just watching but we are actually experiencing the film.  The final half hour of The Strange Case Of Dr Jekyll And Miss Osbourne is, simply put, unlike anything else ever put on the screen and stands with any great cinematic moment you care to name.  

The Strange Case Of Dr Jekyll And Miss Osbourne has been granted a Criterion Collection style release and contains a number of absolutely essential bonus features, most of which were created by Daniel Bird.  First up, the disc has an engrossing and fascinating commentary track made up of a 1981 archival discussion with Borowczyk and new interviews with cinematographer Noel Very, editor Khadicha Bariha, assistant Michael Levy and filmmaker Noel Simsolo.  Expertly put together by Bird, this is one of the most rewarding commentary tracks I have heard in ages. 
Two short films can be found on Arrow's disc including a newly discovered Borowczyk animated work called Happy Toy, a charming and surprising film from 1979.  Also on hand is the startling Himorogi, a 16 minute 2012 homage to Borowczyk by his greatest muse Marina Pierro and Alessio Pierro. 
A number of interviews are included on this special edition as well including a touching chat with Udo Kier and a thought-provoking talk with the fiercely intelligent and intense Pierro (who appears off-camera).  We are also treated to a discussion with Alessia Pierro on Himorogi and the charming collaborator Sarah Mallinson.
Rounding out the superlative extras on The Strange Case Of Dr Jekyll And Miss Osbourne are a number of featurettes including a terrific 30 minute introduction to Borowczyk, which is both wonderfully informative and personal, by the disc's co-producer Michael Brooke.  An insightful video essay on Borowczyk by Adrian Martin and Cristina Alvarez Lopez entitled Phantasmagoria of the Interior follows as well as two terrific Daniel Bird works, Eyes That Listen (a profile of the daring composer Bernard Parmegiani) and Return To Melies:  Borowczyk and Early Cinema (an ingenious look at how silent cinema helped shape Borowczyk and especially The Strange Case Of Dr Jekyll And Miss Osbourne).  The theatrical trailer and a long booklet is also included.
Arrow's special edition The Strange Case Of Dr Jekyll And Miss Osbourne is not only an absolutely essential purchase for Borowczyk fans but also for art and cinema lovers in general.  The Strange Case Of Dr Jekyll And Miss Osbourne is one of the most important films of the past fifty years and with Arrow's Blu-ray/DVD combo it has finally been given the proper release and respect it has been deserving of for such a very long time.  A distant dream no more, The Strange Case Of Dr Jekyll And Miss Osbourne is finally a reality for us.  Please open your eyes and see...

-Jeremy Richey, 2015-

***My stills above are taken from the DVD and do not represent the amazing quality of the Blu-ray.  Read More About this release at Arrow's site and please order/review at Amazon or your favorite retailer.

A Recent Interview with Marina Pierro

A very kind reader notified that Moon in the Gutter favorite Marina Pierro had recently appeared at an Italian Convention, and that an interview had been posted at YouTube. It's remarkable to see Pierro again, and it makes me wish I could speak Italian! If some kind soul who happens to be fluent in Italian wishes to watch and translate the highlights in the comments I would be most appreciative. For my older related posts on this remarkable figure in European film history, please click here.



An extremely kind Italian reader was nice enough to offer a translation in the comments and I wanted to share it here as well. Thanks so much to him for taking the time to do this:

"How did you meet with Borowczyk?

I've met Borowczyk after his famous films "the Beast" and "Immoral Tales", when he came in Italy. I already knew him and his movies and I thought of him "he's crazy or a genius" and actually he was both. He was looking for me cause he was impressed by a picture portraying me; I wasn't so famous at the time so it was hard for him to find me. I was wondering why he looked for me and after a while he told me that, as a fan of Italian renaissance painters, he found in me the classic Italian figure.

Borowczyk and animation?

I discovered during our working collaboration that he was a master of animation pictures. After the first movie together I understood why his pictures where so controversial: people loved him or hated him but hardly understood his way of doing cinema. I suggested him to do a short movie to be seen before his films to explain to the audience what they will be see: I studied arts when I was young and I get easily that his way to tell a story was unconventional.

(This part is not so easy to understand in Italian too maybe cause I don't know exactly what she's talking about [Borowczyk and animation])

Then she praise the Trieste Film Festival as she finds the Borowczyk retrospective very interesting and respectful of the director production."

The Great Video Store in the Sky: A Walerian Borowczyk Double Feature

My video store in the great beyond will have a full section dedicated to the complete works of Polish Master Walerian Borowczk, with a special shelf dedicated to the different versions of these two astonishing films:

An Introduction To Walerian Borowczyk

Recently I did a presentation on Walerian Borowczyk for a film class I am taking. To go along with it we were asked to submit a short paper acting as an introduction to their life and work. Here is a version of mine (with most of the cited page number listings removed to make it more readable) that I thought I would share here. Fans familiar with Borowczyk will find this tiring, but hopefully anyone reading who isn't familiar with his work might get something out of it.

Rarely has an important filmmaker fallen from critical and popular grace as hard as Polish director Walerian Borowczyk. Once included in the same league as filmmakers like Bunuel and Fellini, Borowczyk now hardly occupies even a footnote in mainstream film studies. Still, his work resonate and his themes of “casual brutality, malignant direction by superior forces” and perhaps especially “the fragile, elegant past represented by faded snapshots and piecemeal lithographs” (Strick, 145) continue to haunt generations of maverick filmmakers inspired by Borowczyk’s wildly independent spirit.
Born in Kwilcz, Poland in the late summer of 1932 (some reports list the date as 1923), controversial director Walerian Borowczyk’s earliest influence was his father who was a painter. All of Borowczyk’ works would be marked profoundly by this early influence as all of his films have a very painterly quality about them. This quality is weaved in well with the other themes that continually occupy his films such as voyeurism, obsession with antiquity and a distrust of the wealthy and the church.

Borowczyk did indeed begin his career by studying painting at the prestigious Krakow Academy Of Fine Arts as a teenager. This led to his first entry into the film world, as a poster designer in Poland in the early fifties, which would prove to be a very fruitful and important period for him. Borowczyk’s poster designs got him immediate recognition and many of the images he painted in this period would turn up in his later career, marking him as an auteur before he even stepped behind his first camera.

Borowczyk’s attentions soon turned from painting to the world of animation, an art-form he thought had been misused by the likes of Walt Disney and other children’s animators. Shortly before moving to Paris in 1959 Borowczyk began making his short animated films, first with Polish artist Jan Lenica and then by himself.
His animated shorts were immediately acclaimed as the work of a visionary and they all focused on the problems of modernization and were known for Borowczyk’s inter-cutting of live action (shots often including his wife Ligia) and for his habit of drawing directly onto the film frame. His most famous early-animated works include Dom (1958) and Les Astronautes (1959), a collaboration with his friend acclaimed French filmmaker Chris Marker.

Borowczyk continued making animated shorts throughout the early and mid sixties and garnered numerous awards for his efforts. His work Renaissance (1963) was a major hit and won many accolades from his peers. Raymond Durgnat said that the film was “a remembrance of things past” and a “meditation…on what is life-affirming” and “life-denying”. After a couple of more years of short animated works Borowczyk would deliver his first and only full-length animated feature in 1967 with Mr. And Mrs. Kabal’s Theater before switching to live action films in 1968.
The first two live action films from Walerian, Goto, Island Of Love (1968) and Blanche (1971), garnered him a lot of acclaim from the critics and public. Goto, Isalnd of Love continued many of the themes he had began with his animation and set in motion the obsessions that would haunt the rest of his career. Critic Christian Kessler noted that Goto, Island Of Love “was a simple but forceful examination” of when “sexual ignorance leads to ultimate doom”.
Blanche, another period piece, was an even bigger popular and critical hit than Goto, Island of Love and like that film it would star his wife Ligia. The film would play at many festivals and Pete Tombs would note twenty-five years after its release that Borowczyk’s look at the “destructive power of sexuality and sexual repression” has lost none of its resonance. However, despite the success of his first two live action features, Borowczyk’s time as a critical darling was about to end as his next feature would scandalize his reputation and his career.
1973’s Immoral Tales would be a smashing popular success upon its release in France (it would be the second biggest money maker of the year there) but the conservative press rather viciously attacked Borowczyk’s work as a pandering to the adult film market with its emphasis on sexuality and nudity. Tombs noted that some critics looked upon the film with outrage and suggested that it was “a slide away from art and a move towards grubby pornography”. Hurt by the caustic critical reception granted to a film that the public loved, Borowczyk returned to Poland briefly to film his one feature there, 1974’s The Story Of Sin.
The Story Of Sin, the most financially successful Polish film of 1974, would go a little ways towards reestablishing Borowczyk’s reputation with the critical community. Thomas Kessler described it as “an extraordinarily understated movie” and Borowczyk described it as an attempt as a “popular film” but the brief return to critical favor would be destroyed for good with The Beast, a 1975 satire that would get him in trouble with the censors, the public, the critical establishment and the authorities.
The Beast caused a major scandal upon its release and Borowczyk was nearly brought up on obscenity charges. The film was subjected to major cuts all over the world and the uncut version didn’t appear on home video legitimately appear until just a few years ago. Pete Tombs described its reception as being a complete “fallout” and that it was “profound as nobody who saw it was untouched”.
The furor caused by the film would hurt Borowczyk’s career beyond repair and he would have trouble getting funding and distribution for the rest of his career.
Borowczyk attempted to save his career in 1975 by working on his first modern day film, La Marge, which featured two of the biggest stars of the seventies (Sylvia Kristel and Joe Dallesandro). The film was mis-marketed though as a follow up to Kristel’s Emmanuelle (1974), cut and universally ignored by critics causing Borowczyk’s works to become more cynical, angry and at time violent. La Marge has its fans though (myself included), such as Video Watchdog critic Brad Stevens who called it a “masterpiece” and it is notable as being one of the only modern day films in Borowczyk’s canon.

His next film, 1977’s Behind Convent Walls, would be an all out attack on the conservative press and religious groups that had had him all but blacklisted from the mainstream film world. While not one of his most noteworthy films, it is of massive importance as it was the first time Borowczyk had worked with Italian actress Marina Pierro, a performer who would feature in nearly every film he shot after. Behind Convent Walls is an angry and unsettling satirical work set in a convent. It would prove even harder to market than La Marge and was little seen at the time of its release, something that would plague all of his work from this point on.
After contributing the short film L’Armoire for the 1979 anthology film Private Collections, Borwoczyk delivered his next film Three Immoral Women (1979) (often looked upon as a companion to Immoral Tales) which was quickly followed by a re-imaging of Pabst’s Pandora’s Box, 1980’s Lulu.
1981’s Docteur Jekyll et Les Femmes is today regarded by many top critics (Sight and Sound recently listed it as one of the seventy five greatest under the radar films in history) as perhaps Borowczyk’s masterpiece. A cold and savage retelling of Stevenson’s classic tale starring again Pierro and German star Udo Kier, Borowczyk’s film despite all of its obvious attributes also failed to find any real audience and legal disputes have kept it out of public view for the past three decades. A pity as Kessler points out the film is clearly Borowczyk’s “most personal” and Tom Milne referred to it as “splendidly apocalyptic”.
After the mystifying failure of Jekyll, Borowczyk only managed to complete two more films, The Art Of Love (1983) and Love Rites (1988) both of which starred Pierro. He was briefly assigned to the production Emmanuelle 5 (1987) but walked off the set disgusted and unhappy after the producers refused to let him do what he wanted with the film. With the exception of some TV work, Walerian Borowczyk’s career ended with the failure Of Love Rites in 1988.

Borowczyk’s name began to come up in the early nineties as both Terry Gilliam and The Brothers Quay named him as an influence on their work. In 1994 Video Watchdog ran a major story on him that re-introduced an entire new generation to his films and life. The Tohill and Tombs book Immoral Tales followed in 1995 and their chapter on Borowczyk managed to introduce even more to his then hard to find films.
The past decade has seen the home video debut of many of Borowczyk’s key works in America and Europe. As of 2008, only four of his films are not available on either Region One or Region Two DVD. It is a pity that the four are Blanche, La Marge, Lulu and Docteur Jekyll Et Les Femmes, which are major works.
Walerain Borowczyk died in Paris in 2006 with his wife and key collaborator Ligia at his side. While his career will probably never gain the recognition it deserves by the mainstream, more adventurous film fans will continue to find much to value in his very distinct body of work.

Who's That Lady?

Note: I have since changed the picture in teh template above, but invite you to please read my tribute to Mariana that is linked below.

I have gotten several emails in the past couple of weeks inquiring as to who the striking lady is that is currently gracing my template above. For those who don't know and are wondering, that is Italian actress Marina Pierro in a still from Walerian Borowczyk's THREE IMMORAL WOMEN. Pierro is best known for her wonderful work with Borowczyk, surely one of the great partnerships in all of modern cinema, and she can also be seen in Jean Rollin's unforgettable THE LIVING DEAD GIRL and briefly in Dario Argento's SUSPIRIA.
I wrote a bit on Marina early on in this blogs history so if anyone would like to read that tribute please click here.

Marina's official website has some of the most breathtaking pictures online and it is linked above as well. I plan on switching the template design pretty regularly but I must admit that this one hasn't even began to grow old yet. Thanks to the people who inquired.

The Great Ones Vol.1 (Side B Track 3)

The IMDB has very little to say about Marina Pierro. It lists her as just having ten credits, that she was born in 1960,although a specific date and location aren't given, and when you click on contact information it shows you a blank. There is no trivia concerning her or photographs. Do an Internet search and you will turn up little else. You might find some sites listing her as appearing in Argento's SUSPIRIA or Bido's WATCH ME WHEN I KILL but good luck locating her in either one of those films.
Marina Pierro becomes even more mysterious when you start looking at that filmography. Her first three roles, including one with Visconti, were just bit parts supporting more well known people like Stefania Casini and Laura Antonelli, which leaves us with just seven credits left. Why should you care about an obscure actress with only seven roles credited to her that hasn't been heard of since 1990? I'm not totally sure if I can answer that but I know that I have seen, and continue to see, something truly incredible and unique in her that would cause me to call her one of the great ones.

I have often wondered how Walerian Borowczyk and Marina Pierro met. I am sure this is recounted somewhere but I have never read of it. I have wondered if Borowczyk knew right away, the way Godard must have felt the first time he saw Anna Karina or Pabst when he layed eyes on Louise Brooks.
Borowczyk is the only director that Pierro would work with, one exception will be discussed later, and it's their collaboration that continues to stick with me. Pierro was only 17 when she first worked with the 54 year old Borowczyk yet something clicked. I have started a series on this blog focusing on artists and muses because it seems to be something that is increasingly misunderstood and undervalued. There is an equality in these rare relationships until finally the line is blurred and they are both the artist seeking and finding answers in their discovery. Pierro's stare is just as important as Borowczyk's images, just as PANDORA'S BOX belongs to Louise Brooks as much as Pabst. A true muse is an artist.
Pierro thrived in Borowczyk's period settings, looking impossibly beautiful and almost alien like. Her astonishing face seemed tailor made for his obsessive painterly framing. She is so alive in these early period pieces like BEHIND CONVENT WALLS and THREE IMMORAL WOMEN that you almost forget you are watching a film, it's almost like you are watching some strange documented time capsule. It's only when she is placed in modern roles that her mystery begins to fail, her brutal fetishistic performance in her final feature LOVE RITES is as difficult to watch as it is engrossing.

Borowczyk wasn't the first director to take her out of the past, Jean Rollin would do that with his disturbing THE LIVING DEAD GIRL. Rollin, in his commentaries for LIVING DEAD GIRL speaks of how honored he was to work with her but it's in his fantasy that strips Pierro of her magic. Separated from Borowczyk she was capable of giving a good performance but, much like Irene Jacob away from Kieslowski, something was missing. Marina Pierro is literally torn apart at the end of Rollin's film and in a way she never recovered.

Borowczyk would make one more period feature with her, the beautiful ART OF LOVE, but even here Borowczyk would add an odd coda set in the present. The dream was over and LOVE RIGHTS would mark the final feature for each of them. The TV series that followed, SERIE ROSE, is the final mark in both their filmographies.
I have left out one film. The greatness of Browczyk and Pierro is evident in all of their work together but it is 1981's DOCTEUR JEKYL AND HIS WOMEN (Bloodlust) that stands as their greatest achievement.
Borowczyk's surreal take on the Stevenson novella is one of the great films of the 80s and one of the finest works of his influential career. He would pair Marina with another one of cinema's greatest faces, Udo Kier. Borowczyk creates the only film I have ever seen that feels like an hallucination. I have watched it many times and I still can't shake it's strange dreamlike quality. Watching it is like that moment right before sleep, when everything is almost as it should be but isn't. Borowczyk's cutting back and forth between close ups of Pierro and Kier's faces in the film's final moments literally feels like they are breaking the film apart. It's a film I can't shake and, like Anger's LUCIFER RISING or Roeg's BAD TIMING, even repeated viewings can't take away it's mystery and magic.
Watching these films today I always find myself wondering where Pierro is. I wonder if she is aware, or cares, that some of these films are finally getting DVD releases and some respect. I wonder what her thoughts were when Borowczyk passed away almost a year ago, had they kept in touch or had she disappeared from his life too? I wonder in her 47th year what she looks like, I can't imagine that she has lost much of her beauty. I can imagine her face is as before and her stare could still dismantle not only any camera filming her but any audience watching.

****MAJOR UPDATE****
A kind soul left a comment pointing that Marina has an official website, and I urge everyone to check it out. It's a nicely designed site with some of the most beautiful photos you will find on the web, and shots of Marina in Argento's SSUSPIRIA so that mystery is solved for me.
It's so nice to see that she apparently has fond memories of her film career and I'm glad to see she is involved in stage work. She still retains all of her mystery and I am really thankful to have had this site pointed out to me.