As a case in point, among the long array of photographs of herself that Norma displays in her mansion, there is one that becomes particularly eye-catching: a drawing of Norma Desmond in a style that brings to mind Aubrey Beardsley’s popular illustrations for Oscar Wilde’s play Hence, there is more than meets the eye in Norma Desmond’s obsession to play young Princess Salome. Through Pip’s eyes, Miss Havisham turns into a haunting emblem of aging associated with images of death and decay, as he portrays her in the following terms to the reader:Lincoln, Anne E. and Michael Patrick Allen. Still, all of them were made to look older than their chronological ages through age effects, except for Ann Bancroft, who played the role of Ms. Dinsmoor—a sexualized version of Miss Havisham—at age sixty-seven.Brooks, Jodi. Acting against her age, she returned to show business in her fifties to play the role of Norma Desmond, through whom Swanson did regain access to the spotlight, ironically by means of playing her age on the screen.Joe Gillis’s early allusion linking Norma Desmond and Miss Havisham becomes a pervasive intertextual reference that echoes all through the film. His friend (and biographer) John Forster referred to Dickens’s “dreadful insatiability” on a trip they took together, and this dreadful insatiability extended across all arenas of his life. An interesting side note: In Victorian times, if a household was in mourning, the clocks of the house might be stopped at the time the death occurred and, while the body remained in the house, all the curtains drawn.
His murderer was caught and hanged. The resulting family group is quickly sketched in: The father, “very rich and very proud”; the daughter, ditto; the son, weak and dissolute. On the visit, Pip has met Miss Havisham’s adopted daughter—the proud and beautiful Estella—has played at cards with her at Miss Havisham’s feet and been “beggared.” He has learned from Estella that knaves are not to be called Jacks, that his hands and manners are coarse, and his boots too thick. Both women are unmarried; both wear white; and both are strongly associated with lost love and mourning.Compeyson. She grows tired of children when they reach a certain age. (87)As a case in point, early in the film, on his way to escape from creditors, scriptwriter Joe Gillis stumbles upon a mansion that reminds him of that of Miss Havisham in Charles Dickens’s classic novel The Athenaeum Press at Coastal Carolina UniversityWhen Billy Wilder and the set designer asked me for personal props from my own life, I thought twice but I supplied them: scores of stills in old frames; the Geza Kende portrait; an idea for a large plaid bow on my head in one scene, a bit like those Mother had me wear as a child, a bit like the ones Sennett bathing beauties wore; the fact that Mr. DeMille had usually referred to me as ‘young fellow’ (482).‘Dear Miss Havisham,’ said Miss Sarah Pocket. My favorite in this category is a description of his manner as “floridly Parisian.” Still others said it at a marvelous slant. Miss Havisham’s grotesque physical portrayal at the outset of Dickens’s novel is rendered entirely from Pip’s perspective. Hence Pip’s arrival at her house.After the wedding was called off, Miss Havisham grew very sick and, when she recovered, “laid the whole place waste,” meaning Satis House and its grounds, including the brewery. Miss Havisham’s duplicity becomes even more noticeable by means of the discrepancy between her chronological age and the age she is perceived to be since, in determining how old Miss Havisham is, her notorious aging appearance seems to play a more significant role than her chronological age. Dress coats faced with silk and “aflame with gorgeous brass buttons.” A blue cloak worn with a corner tossed over his shoulder “à l’ Espagnol” and accompanied by “exuberant displays of jewelry on his vest and on his fingers.” Checked trousers. And this tale begins, as so many good stories and therapy sessions do, with parents.A funny but telling aside comes in the recollection of one of his houseguests: “Poor Wilkie Collins who needs rest used to sneak off to the library and go to sleep with his cigar. Then this horrible thing:Edward Walford, “Oxford Street & its Northern Tributaries” from http%3A%2F%2Fthe-toast.net%2F%3Fp%3D44969The novel does not give her a first name. Other times they seem evidence of a depressed, anxious self-made man’s driving need to keep things active and “bright” (another favorite word) no matter what.
He shows up in several scenes over the course of the book, but all we’re told of his appearance is that when Magwitch first met him, long ago at Epsom races, he was “good-looking” and was wearing “a watch and a chain and a ring and a breast-pin and a handsome suit of clothes.” No hair color or height or descriptions of, say, a ruined haunted face are given.

She is resistant to time—and hence aging—and won’t allow her birthday be spoken of. Pip and Miss Havisham walk in this room thrice weekly; the exercise is the reason for his continued attendance at the house. But that was before his time at Miss Havisham’s.

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