Meanwhile, in films, her characters were often too tortured (the abused nightclub singer Dorothy Vallens in David Lynch’s Blue Velvet), too cool (the sardonic bad girl Perdita Durango in Wild at Heart) or too macabre (the sultry sorceress Lisle Von Rhuman in Death Becomes Her) to smile naturally.
As the face of Lancôme, Rossellini represented an ideal – dreamy, desirable, distant. In 1982, she signed an exclusive deal with Lancôme and became the world’s highest-paid model. The younger Rossellini rarely seemed to smile. The only thing that surprises me is the warmth of her smile. She is dressed in black – trademark pixie haircut, dash of red lipstick, big yellow glasses, elegant as ever. Rossellini is on the farm when we video-call.
Rossellini introduces us to snakes with two penises that use their spare member to produce a gelatinous plug, barring entry to the female for the next male Pacific salmon that spawn just before they die hermaphrodite earthworms and limpets that are happily self-sufficient strategically promiscuous chimps that have sex with as many males as possible to protect their babies from infanticide and drones that bleed to death after their penis ruptures while they are mating with a queen bee. Then there are the hens who eject sperm if they don’t rate the rooster the fun-loving dolphins who explore any orifice going the polyandrous Prunella modularis (AKA dunnock), which breeds with multiple males because it makes economic sense. ‘I was a beauty, thank God! So I went into the family business’.
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