Although I think Mirren became sexier as she got older, I've never seen such a remarkably munchable ass on a white woman before. Must have some Brazilian ancestors. Mason is in great shape, too. Most actors of his era really let themselves go. I have to hand it to Powell for ending his career on such a warm and faniciful note, unlike Hitchcock who totally crapped out at the end. If you look at a lot of his pictures many are all about women symbolizing artistic inspiration. Just like the great French impressionists Cezanne, Degas, Renoir, Matisse.... white women today haven't got that same kind of deep pull over men.
It's often been commented that Powell was one of the few directors at the time (1940s) who often and regularly gave strong roles, often the leading role, to women.
Think of Valerie Hobson in
The Spy in Black &
Contraband or Pamela Brown and especially Googie Withers in
One of Our Aircraft is Missing, or Deborah Kerr in 3 roles in
The Life and Death of Colonel Blimp or Sheila Sim (now Lady Attenborough) in
A Canterbury Tale or Wendy Hiller & Pamela Brown in
I Know Where I'm Going! or Kim Hunter in
A Matter of Life and Death or Deborah Kerr & Kathleen Byron in
Black Narcissus or Moira Shearer in
The Red Shoes. He was doing it in his early films through the 1930s as well. One of those (
The Love Test) stars Judy Gunn as a female chemist who takes over the running of the laboratory, despite the best efforts of her male colleagues. Powell was an early feminist, he loved and appreciated women and gave them an equal opportunity in his films.
As for the "artistic inspiration" aspect, that can also be seen in
The Red Shoes,
The Tales of Hoffmann and others
Steve
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