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Perhaps the most startling thing, on first viewing the 1930 silent film Borderline, is the image of H. D. (as Astrid), her face worn and gaunt, her frame looming and cadaverous, her hairline reaching precipitously toward the frowsy crown of her head.3 Telephone receiver in clenched hand, H. D. appears frenetic and mechanical in her first frame. Paul Robeson (as Pete), on the other hand, wears the smooth mask of celebrity, his face registering little emotion, Garbo-like in its frozen iconicity. (Figs. 1 and 2) Of course, Robeson is, already by this, his second film, a screen celebrity and more widely a celebrity of the sound media. He is [End Page 687] 153554b96e