(I wanted to catch this again before it leaves cinemas.)

Thinking this time about the convex mirror (known as both a butler's mirror and witch eye mirror) that Losey shoots so many key moments through. Acts displayed backwards, the fairground distortion of image. It's transformative effect as it shows the relationships between master, servant, their fiancées, and their battle within the stultifying space of the house.

How, through obscure angles, Losey's mirror reveals hidden assignations, lending a voyeuristic thrill –…

If it was myself, why does it frighten me so much, why? (Libel, 1959)

If it was love, why should I want to stamp it out? Why would I do that if it was love? (Victim, 1961)

I've been meaning to rewatch this one for ages – it works as such an interesting companion to Victim (1961), centered on identity, wearing a false public-face, the terror of exposure, and a marriage that might be built on a lie.

The plot…

Listen to me. Look at me, look at me. All that I am is us. All that could be, you already are. You're so strong. You're so wise. You're so powerful. You're so grumpy in the mornings. You're so... you're so close to god without even having to utter his name. I want to make you laugh and make you safe. I'm not gonna live in a world where our children's children don't get to make you laugh when they…

RIP Monica Vitti – I had to fire up Modesty Blaise for a tribute.

Some tidbits below that I enjoyed from the commentary featurette based on interviews with the cast and crew:

- Vitti and Bogarde were very close before they started shooting, having 'wonderful lunches' together. But as things started to sour onset, he would do impressions of her to Tony Forwood ("Monica Vee-tee is kind of petty, petty, pet-tee") news of which got back to her and he…