In a departure from the usual style of asketchofthepast.com, I have decided to write a post not only in a far more personal tone, but also about someone who is still very much alive. This is a response to the rather churlish little piece in yesterday’s Daily Mail, and the hackneyed ‘revelation,’ that Max Mosley’s 2015 autobiography, Formula One and Beyond, describes events from half a century ago with ‘selective memory.’ I have yet to come across an autobiography that would not face a similar charge.
The passage in the book which struck me most was Mr Mosley’s description of a particular conversation with his father, in which he compared their struggles and achievements at the same age. Sir Oswald, whose political career was effectively finished at the age of 34, replied ‘Well, that just shows what a mistake it is to start too soon.’ For his son, one doubts the fight will ever be over.
I met Max Mosley in September 2015. He had kindly agreed to meet me, in order to speak about his family as well as his own remarkable life. I had heard that he was impossibly charming in the flesh, and he did nothing to dispel such assertions. With the gait and appearance of a man several decades younger, and impeccable manners straight from the pages of Debrett’s guide to etiquette, Mosley embodied the sort of genteel Englishman I had always secretly hoped still existed.
After ordering tea – a macchiato for Max, I enquired about his celebrated aunts, the Mitfords. Honest to a fault, he ventured up amusing personal recollections without hesitation. Having written my thesis on the Bloomsbury Group, the most self-aggrandising and cliquey set one could possibly imagine, I found Max’s own modesty and the complete candour with which he described his famous, and in some cases notorious, relatives, as simply being ‘ordinary people,’ incredibly refreshing. He seemed genuinely confounded by the continuing interest in them. Continue reading →
In the early hours of 2nd November 1975, a mutilated body was discovered on theLido di Ostia, a district of Rome by the Tyrrhenian Sea. Badly beaten, burnt and crushed, having been repeatedly run over by a car; it was a violent and ignoble end to the life of a man whose artistic and intellectual valour had made him an Italian cultural icon. Pier Paolo Pasolini was born in Bologna on 5th March 1922, his mother was a teacher and his father an Italian army lieutenant with Fascist sympathies, who was credited with identifying and capturing Anteo Zamboni, a 15 year-old anarchist who attempted to assassinate Mussolini during a March on Rome celebration parade in Bologna on 31st October 1926. The shot fired by Zamboni missed the Prime Minister, and the teenager was set upon and lynched by a Fascist squad. Today, the Mura Anteo Zamboni a street in Bologna, bears his name, and a plaque marks the spot where he was found.
Like many scholars and poets before him, such as René Daumal and Roger Gilbert-Lecomte, Pasolini idolised Arthur Rimbaud and began writing poetry as a way of coping with the family’s frequent relocations. Returning to the city of his birth to enrol at the Literature College of the University of Bologna in 1939, Pasolini developed a passion for the cinema as well as poetry after attending a film club. Failing to establish his own poetry magazine with his friend and fellow poet Roberto Roversi, Pasolini self-published a volume of his own works in 1941, entitled Versi a Casarsa. Written mostly in Friulian, a language spoken in the Friuli area of North-East Italy, where his family were then living in the commune of Casarsa, Pasolini developed a lifelong affinity with the unique identity and culture of the Friuli-Venezia Giulia region.
A trip to Nazi Germany in 1941 gave Pasolini further cause to question the political regime in Italy, and he concluded that his own outlook was best represented by Communism. In September 1943, Pasolini was drafted and taken as a prisoner of war by the Germans. However, he soon escaped and made his way back to Casarsa. To make ends meet, he began tutoring students whose educations had been disrupted by the war, and it was with one of these students that he engaged in his first love affair, having previously suppressed his homosexuality. Continue reading →
Soledad Rendón Bueno was born in Seville, the capital of Andalusia, a region on the southern coast of Spain, on 9th July 1943. The eldest of six children, her Portuguese father and Spanish mother of Triana gypsy ancestry, struggled to support their family, but her maternal aunt, in whose footsteps she longed to follow, was the well-known singer and flamenco dancer Paquita Rico. Encouraged by her parents, Soledad joined a flamenco troupe in 1951 and performed at the Seville Fair and at the city’s famous San Fernando Theatre, before touring the country.
Though she loved to dance, Soledad’s real ambition was to become an actress, and she moved to Madrid at the age of 16, where she adopted the stage name Soledad Miranda in homage to her idol Carmen Miranda. At 17, she was offered a role as a dancer in the musical comedy La Bella Mimí. Set in Madrid upon the outbreak of the First World War, thanks to the film’s elaborate period costumes and high-profile it was a success, despite Soledad later dismissing her own performance as, ‘very bad.’
Above: Soledad Miranda in La Bella Mimí (1960)
Minor roles ensued in the 1961 fantasy epic Ursus, directed by the Italian Carlo Campogalliani, and the nineteenth-century drama Canción de Cuna (1961), for which Soledad received second billing and was also required to put her considerable vocal talents to use. She would do so again when she released two EPs in 1964 and 1965, singing popular Spanish hits such as Amor Perdóname, Lo Que Hace A Las Chicas Llorar, El Color Del Amor and La Verdad.
Born in Buffalo New York on 20th February 1929, Beverly Louise Neill was a descendent of Kate Berry, the celebrated American Revolutionary War heroine, who warned the Continental Army that the British were approaching shortly before the Battle of Cowpens in 1871. Relocating to California with her parents, she started a course at Pomona College, but decided to quit a year later to pursue a career as an actress after becoming involved with a local community theatre.
At the age of 20, having changed her name to Amanda Blake and touted as ‘the young Greer Garson,’ she won her first movie role in Stars in My Crown (1950) a drama about a Civil War Veteran’s who becomes the gospel minister of Walesburg, a lawless town where he struggles to gain acceptance. In 1950, she also featured in Duchess of Idaho with Esther Williams and Lena Horne, as well as the film noir Counterspy Meets Scotland Yard. A string of minor film and television appearances ensued in productions such as Scarlet Angel (1952), Sabre Jet (1953), A Star is Born (1954), The Glass Slipper(1955) and High Society (1955). It seemed that in spite of her feline beauty and seductive husky voice, Blake was never to be a major leading lady or a huge Hollywood star.
Above: Gunsmoke – Miss Kitty Season 7 Episode 3 (1961)
In 1955, she accepted a part on a new television series called Gunsmoke. Originally a radio programme, set in Dodge City, Kansas during the 1870s, Blake was cast as Miss Kitty Russell, the feisty dancer and later, the proprietor, of the Long Branch Saloon. She would appear on small screens across America as Miss Kitty for nineteen seasons until she asked to be written out in 1974, remarking that, ‘nineteen years is a hell of long time for someone to be stuck behind a bar.’ The show ran for one more season after Blake’s departure, with the final episode airing on 31st March 1975. Continue reading →