“Without any question the most beautiful woman in the history of the silver screen,” said Darryl Zanuck, or words to that effect, and he ought to know, having slept with most of them. (He HAD to sleep with several at a time, honestly, otherwise he could never have racked up such a total. It’s not troilism, it’s just efficiency.)
Gene Tierney moved from early incompetence as an actor, through decent performances, and into really good work, aided by a truly amazing face that made her a pleasure to watch even when she sucked. Those distinctive features could suggest madness and evil in LEAVE HER TO HEAVEN, innocence and decency in HEAVEN CAN WAIT, wisdom and goodness in THE GHOST AND MRS MUIR.
I now list the features, and excuse me if I get overcome and have to go lie down:
The eyes: large, long, and very wide apart. I have a vision of walking up to Gene and putting my hand over the centre of her face, and of her looking back at me from around either side of my palm. THOSE EYES IS WIDE APART.
The big pale moonlike forehead. I am a man who likes a forehead. (Paulette Goddard, what a forehead that is! An eighthead, in fact.)
The nose, apparently hand-shaped from some soft, wonderful material — butter, perhaps — by tiny master craftsmen.
The cheekbones, beautifully defined, as if constructed especially to receive Von Sternberg’s light.
The mouth, completely redesigned by ambitious lipstick in these images, but in reality a wide, full and elaborately flared labial sculpture, balancing the eyes, and containing slightly erratic teeth which add charm to what could otherwise be chilly perfection.
In THE SHANGHAI GESTURE Tierney has moments of strange, erratic, embarrassing emoting that rival Elizabeth Berkeley’s mad flailing in SHOWGIRLS, but who’s to say what’s appropriate in a Sternberg menagerie such as this? Her perfect nose tilting under the lights, which seem to be dissolving into a dew the all-butter mannequin that is Victor Mature, she shows no trace of the control and grace that focus her best performances, but she certainly throws herself into the spirit of the thing. A gutsy, dynamic, original and deeply dreadful performance that’s never less than eye-catching. More decorous work was to come, but with the high frontal key-light shading her cheekbones, and the very hot backlight on the top of her head, Tierney showed she could be lit like Dietrich and come out just as well.