Henry Cass directed a screen test for an unmade feature in 1952, with a young, impossibly slender, ballet-trained Audrey Hepburn waiting repeatedly, partially concealed behind a clapper-board. Bathed in a green-tinged Dufaycolour wash, and instantly vital, Hepburn’s animated features formally enunciate silent dialogue amid scenic columns and draped fabric; the wasp waists of tailored skirt suits; the close flitting contours of hats; a repeated kiss of the hand.