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The Face of Garbo
The face of garbo
RolandBarthes

Garbo still belongs to that moment in cinema when capturing the human face still plunged audiences into the deepest ecstasy, when one literally lost oneself in a human image as one would in a philter, when the face represented a kind of absolute state of the flesh, which could be neither reached nor renounced. A few years earlier the face of Valentino was causing suicides; that of Garbo still partakes of the same rule of Courtly Love, where the flesh gives rise to mystical feelings of perdition.

It is indeed an admirable face-object. In Queen Christina, a film which has again been shown in Paris in the last few years, the make-up has the snowy thickness of a mask: ...

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