Her eyes were glazed as if she didn't hear or even see him.

) Her Nicolas lay curled in the sun like a fawn, black hair falling over his eyes.

Her eyes had opened, she had caught a glimpse of a new faith.

Her face was pale but set and her dark eyes smoldered with blame for Ben.

Her brother Karl was a very gentle soul, her mother was a quiet woman who said little but who had hard, probing eyes.

Her eyes flashed angrily.

Her eyes became bright as she talked about her father and mother, aunts and uncles, cousins.

Her eyes were bright with anticipation.

Her bright eyes were twinkling.

Her little brown face wrinkled up, her brown eyes gleamed, and with her little gestures she said all the courteous things.

Her eyes were wild.

Her eyes opened as soon as she heard me, though, and once again, I felt an inward shiver.

Her eyes were smiling, too, but so sadly, and there was tiredness and infinite wisdom in them.

James Hadley Chase wrote a few novels with private eyes as the main hero, including Blonde's Requiem ( 1945 ), Lay Her Among the Lilies ( 1950 ), and Figure It Out for Yourself ( 1950 ).

Her long, fine hair was dyed pale blonde, and her eyes, " brown as fir cones in autumn, scattered laughter ".

" Her combination of attractive appearance – centered around her large eyes – and somewhat distant and understated manner made her hard at first for MGM to cast and publicize.

" Her mouth is too large and her eyes too prominent and colourless for beauty ", wrote a Venetian envoy as Catherine approached forty, " but a very distinguished-looking woman, with a shapely figure, a beautiful skin and exquisitely shaped hands ".

Her face narrows between the eyes, and the lower part of her face is still more narrow and slender than the forehead.

Her eyes are blackish-brown and deep.

Her eyes had filled with tears.

In My Life, Chagall described his first meeting her: " Her silence is mine, her eyes mine.

Her image was considered with more care ; although she continued to play character roles, she was often filmed in close-ups that emphasized her distinctive eyes.

Her eyes were grey, and her mouth was small ; her smile allowed her to demonstrate her wry humour, her wit, and her graciousness.

Her wavy hair was light brown in colour, and she had grey eyes and fair skin.

Her legs were the full, sexy kind, full bodied like a rare wine and just as tantalizing to the appetite ; ;

Her heart, her maternal feeling, in fact her being was too busy expressing itself, as quietly thrilled by this sight of her Nicolas curled asleep under a blanket, in a park like a scene from Poussin.

Her temper sparked like charcoal when it first lights up.

Her `` Rockabye Your Baby '' was as good as it can be done, and her really personal songs, like `` The Man That Got Away '' were deeply moving.

Her tanned foot, whose arch swept high and white, pointed artfully toward tapering toes -- toes like fingers, whose tips glowed white.

Her cough sounded like cloth ripping.

Her Cousin Emma Carraway had written it, in her loose high old lady's script -- t's carefully crossed, but l's inclined to wobble like an old car on the downward slope.

Her attire often consisted of " thrift shop " babydoll dresses, and her face adorned with smeared makeup ; MTV reporter Kurt Loder described her as looking like " a debauched rag doll ".

Her image with the dead Memnon across her knees, like Thetis with the dead Achilles are icons that inspired the Christian Pietà.

Her familiar Homeric epithet Boôpis, is always translated " cow-eyed ", for, like the Greeks of Classical times, its other natural translation " cow-faced " or at least " of cow aspect " is rejected.

Her ideas also inspired other writers, ranging from horror authors like H. P. Lovecraft and Dennis Wheatley to Robert Graves.

Her outspoken defense of capitalism in works like Capitalism: The Unknown Ideal ( 1967 ), and her characterization of her position as a defence of the ' virtue of selfishness ' in her essay collection of the same title published in 1964, also brought notoriety, but kept her out of the intellectual mainstream.

One character, identifying him, says that it is " just like On Her Majesty's Secret Service ", which was Lazenby's only Bond film.

Her justification for the action, " I don't like Mondays ," inspired the Boomtown Rats to make a song of the same name.

Her mother rejected her at birth, and she was hand-raised by the zookeepers like a human child, dressed in clothing and fed from a bottle.

Her cousin Stephen of Blois was, like her, a grandchild of William ( the Conqueror ) of Normandy ; but her paternal line meant she was senior to Stephen in the line of succession.

Her speeches became rambling and incomprehensible, and even her enemies lamented that debating her had become " like playing squash with a dish of scrambled eggs ".

Although Caine also took better roles, including a BAFTA-winning turn in Educating Rita ( 1983 ), and an Oscar-winning one in Hannah and Her Sisters ( 1986 ) and a Golden Globe-nominated one in Dirty Rotten Scoundrels ( 1988 ), he continued to appear in notorious duds like the thinly veiled skin flick Blame It on Rio, the Dick Clement and Ian Le Frenais comedy Water and the critical-commercial flop Jaws: The Revenge ( 1987 ) ( in which he had mixed feelings about the production and the final cut ) and Bullseye!

For example, in Love ( 1927 ) a title card reads, " I like to be alone "; in The Single Standard ( 1929 ) her character says, " I am walking alone because I want to be alone "; in Susan Lenox ( Her Fall and Rise ) ( 1931 ) she says to a suitor, " This time I rise ... and fall ... alone "; in Inspiration ( 1931 ) she tells a fickle lover, " I just want to be alone for a little while "; in Mata Hari ( 1931 ) she says to her new amour, " I never look ahead.

It was a relationship he explored repeatedly, particularly in films like Manhattan ( 1979 ) and Hannah and Her Sisters ( 1986 ).

Her father liked the idea of having daughters named Olga and Tatiana, like the sisters in the famous poem.

Her specialty is naïve young girls – much like myself … Once she sank her teeth into me, she didn ’ t let go.

Her influence extends to contemporary filmmakers like David Lynch, whose film Lost Highway ( 1997 ) pays homage to Meshes of the Afternoon in his experimentation with narration.