Elizabeth Kiem

Nanny Lightfoot sits in a too-hot movie house on the Kings Road. Francis has brought her to see a Russian film, a Soviet film, you must call it now. It’s named for a battleship and it’s action-packed, but this scene, filmed on the wide steps with hundreds of moving bodies, this is the scene that Nan recognizes as revolution.  

It’s too hot in the theatre. Her specs are sliding down her nose and there is sweat on the piano player’s brow. All those heavy boots, tramping up and trampling down – Francis likes that. All these dark eyes, kohl-rimmed disbelief and daring – Nan likes that.