"I think Edith Evans is the most marvelous actress in the world and she can look beautiful. People who aren't beautiful can look beautiful. She can look as beautiful as Diana Cooper, who was the most beautiful woman in the world"
About this Quote
Leigh is doing two things at once: crowning Edith Evans while quietly dismantling the tyranny of “beauty” as a fixed asset. The line starts like backstage gossip in its most delicious form - a peer’s superlative, tossed off with seeming ease - but it’s also a pointed manifesto from a woman whose own fame was inseparable from being looked at. Leigh knows what the industry sells when it sells an actress, and she’s gently refusing the idea that acting is a lesser currency than facial symmetry.
The sly pivot is “and she can look beautiful.” Not “is” beautiful, but “can look” beautiful: beauty as a performance, a tool, an effect. Leigh’s phrasing grants Evans agency. It’s not the camera discovering loveliness; it’s the actress generating it - through presence, timing, intelligence, the way a face changes when it’s carrying a thought. When Leigh adds, “People who aren’t beautiful can look beautiful,” she’s widening the permission structure. She’s also hinting at the cruelty baked into casting: the category of “not beautiful” exists because the profession insists on sorting women that way.
Invoking Diana Cooper - an emblem of aristocratic glamour and interwar elegance - is strategic. Leigh borrows the era’s reigning beauty icon to set the bar absurdly high, then says Evans can meet it on command. The compliment lands as advocacy: Evans belongs in the pantheon not despite lacking conventional beauty, but because her craft can eclipse it. Leigh, a star manufactured as a visual ideal, is tipping the crown to someone whose power comes from transformation rather than surface.
The sly pivot is “and she can look beautiful.” Not “is” beautiful, but “can look” beautiful: beauty as a performance, a tool, an effect. Leigh’s phrasing grants Evans agency. It’s not the camera discovering loveliness; it’s the actress generating it - through presence, timing, intelligence, the way a face changes when it’s carrying a thought. When Leigh adds, “People who aren’t beautiful can look beautiful,” she’s widening the permission structure. She’s also hinting at the cruelty baked into casting: the category of “not beautiful” exists because the profession insists on sorting women that way.
Invoking Diana Cooper - an emblem of aristocratic glamour and interwar elegance - is strategic. Leigh borrows the era’s reigning beauty icon to set the bar absurdly high, then says Evans can meet it on command. The compliment lands as advocacy: Evans belongs in the pantheon not despite lacking conventional beauty, but because her craft can eclipse it. Leigh, a star manufactured as a visual ideal, is tipping the crown to someone whose power comes from transformation rather than surface.
Quote Details
| Topic | Art |
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