Central to Lee Remick's complex and fascinating screen presence during the first phase of her career is a sense of erotic warmth, an irreducible sensuality, capable (when combined with her remarkable gifts as an actress) of the most diverse inflections, depending on the degree to which it is allowed or denied free expression. Consider two of her finest performances, in the two finest films in which she appeared, made within a year of each other: Anatomy of a Murder and Wild River. The former is built upon the character's sexual knowingness, seductiveness, promiscuity, the latter on the character's sexual deprivation and subsequent reawakening. Preminger uses Remick's sensuality as one aspect of his detailed, multifaceted exercise in sustained ambiguity: she plays a woman ready deliberately to exploit her attractiveness as a means of manipulation, yet the erotic charge she communicates is so strong that its genuineness is never in question. The character's uninhibited sensuality, which might have been presented as merely degenerate (the Hollywood stereotype of the "nymphomaniac"), becomes in Remick's performance engaging, oddly touching. ROBIN WOOD
Breasts and bottoms look boringly alike. Faces, though, can be quite different and a damn sight more interesting! Lee Remick
I make movies for grownups. When Hollywood starts making them again, I'll start acting in them again.
Lee Remick
I'm not an oddball.
Lee Remick
You can compare me with Greta Garbo. I have big feet, too.
Lee Remick
Lee Remick became my imaginary girlfriend the moment I saw Otto Preminger's "Anatomy Of A Murder".
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