“The extraordinary mystique of hers made you think she lived on rose petals and listened to nothing but Mozart, but it wasn’t true. She was quite funny and ribald. She could tell a dirty joke. She played charades with a great sense of fun and vulgarity, and she could be quite bitchy.”
They began giggling the moment they were introduced, and they didn’t stop until the end of the shoot. It took acting like children to make them feel like grown-ups, and sometimes, it didn’t feel like acting at all. They entered that blurry realm after acting called surprise, when actors let go of their own thoughts and feelings and, as if through intravenous transfusion, fade into each other.
In those few months of production on Two for the Road, Audrey and Albie lived a brief lifetime of romance. Whatever happened to them in the hushed moments before a take, or privately, in seaside alcoves away from the set, can only be extrapolated from what they left on film: a dictionary’s worth of silent shorthand, realized in split-second nuance. And then their romance ended quickly, as soon as it had begun.