Victor Hugo’s fanatically misguided police inspector, Javert is described as follows:
“The human face of Javert consisted of a flat nose, with two deep nostrils, towards which enormous whiskers ascended on his cheeks. One felt ill at ease when he saw these two forests and these two caverns for the first time […] and around his nose there formed a flattened and savage fold, as on the muzzle of a wild beast. Javert, serious, was a watchdog; when he laughed, he was a tiger. As for the rest, he had very little skull and a great deal of jaw […] Between his eyes there was a permanent, central frown, like an imprint of wrath; his gaze was obscure; his mouth pursed up and terrible; his air that of ferocious command […] This singular composite of the Roman, the Spartan, the monk, and the corporal.”
I think this picture of Russell Crowe captures the permanent frown in his brow.
According to author Robert Bloch, “The light shone down on his plump face, reflected from his rimless glasses, bathed the pinkness of his scalp beneath the thinning sandy hair as he bent his head to resume reading […] ‘Looking for a room?’ Mary made up her mind very quickly, once she saw the fat, bespectacled face and heard the soft, hesitant voice. There wouldn’t be any trouble […] The puckered lips were beginning to tremble […] The eyes behind the fat man’s glasses seemed vacant.”
Hollywood may have totally missed the physical mark with Anthony Perkins, but the actor has nonetheless left a permanent impression as Norman Bates.
The antagonist of Stephen King’s Misery, Annie is described as follows:
“Her body was big but not generous […] Her hair like some battered helmet […] fungus-frowzy around her face […] The impervious prow of her face […] If he had been a farmer observing a sky which looked the way Annie’s face looked right now, he would have at once gone to collect his family and herd them into the storm cellar. Her brow was too white. Her nostrils flared regularly, like the nostrils of an animal scenting fire […] That stony, obdurate look covered her face like a mask […] Only her eyes, those tarnished dimes, were fully alive under the shelf of her brow.”
Kathy Bates fits this description to a T.