Almost (or pretty much) unseen is the narratrix and author of the titular *Letter to Three Wives*. I believe it's Celeste Holmes' rather divine voice, but we never see her face, although I think we see her from the back at one point. And--not to avoid the obvious--let's not forget the reporter in *Citizen Kane* who's trying to find out what "Rosebud" means and whose back is to the camera, whose body is on the edge of the frame and whose face is cast into shadow 9/10ths of the time. Again on the obvious side is the hero of *Lady in the Lake*, whom we glimpse in mirrors a few times and whose hands we end up knowing a lot about. I suppose these are all examples of films which are either organized around or focalized in a subjectivity can't quite become an object of its own consciousness. Descartes, anyone? Edward R. O'Neill UCLA ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]