'Tell me, Mr Russell, what sort of acting do you like best?' This was Lady Uckfield. She was always careful to address strangers, especially those younger than herself as 'Mr' and 'Miss' or by their correct title. The main reason for this, indeed the reason for her whole vocabulary, was to underpin her image of herself as a miraculous survival of the Edwardian age in modern England. She liked to think that in her behaviour and manner people had a chance to see how things were done in the days when they were done properly. How matters would have been managed by Lady Desborough or the Countess of Dudley or the Marchioness of Salisbury or any of the other forgotten fin de siècle beauties who made their lives their art, which consequently perished with them. As part of this carefully studied performance, everything she touched was credited with uniqueness. She would speak of 'receipts' and 'luncheon' as she made a special point of her Irish ham ('dry and delicious and quite unfindable in England') or her French cherries ('I'm simply stuffing myself with them') or her yellow, American paper ('I find I just can't write without it'). The fun of this approach was that all her guests were blackmailed, on the principle of the Emperor's New Clothes, into agreeing that they could perceive an enormous difference in everything that was set before them, thus reinforcing the very prejudices that had made them lie. Actually, the food was always good and well-chosen so I was as craven as the rest in pretending to discern huge shades of taste between different types of asparagus or whatever the challenge of the day might be. And anyway, the more I came to know Lady Uckfield the more I came to admire the completeness of her self-image. She never took time off from being the ultra-charming but ultra-fastidious marchioness of the long Edwardian Summer. Never. I am sure that if she were going in for a potentially fatal operation, she would be fussing about the make of the surgeon's scissors.
Edith never understood the strength of her mother-in-law's chosen path. She thought her a fuss-pot and a pain in the neck.
But Lady Uckfield had a self-discipline that would have kept Edith out of trouble. She did not know what it was to be bored
— or rather, to admit to herself that she was bored. The fact she was married to a man who hadn't a quarter of her brain had never disturbed her conscious mind for half a second. Her road was chosen and she would make a success of it without pity or remorse. In our sloppy century, one must at least respect, if not revere, such moral resolution. And, after all, to borrow a phrase from Trollope, when all was said and done, 'her lines had fallen in pleasant places'.
The other reason that Lady Uckfield called Simon 'Mr Russell' of course, was to stop him calling her 'Googie'.
'Well, I like being employed,' he said in answer to her question. 'I don't know that there's much more to it than that.'
'Don't you want to be a great film star?' To an actor, this is an unfair question. They all want to be great film stars but it is something that, by universal unspoken agreement, they are not supposed to admit to.
Simon fell back on the stock reply. 'I think I just want to do good work.' He looked awkward as he said it although there was, to be fair, more truth in this than one might suppose. Or rather, it would be true to say he wanted to be admired for doing good work, which is not quite the same thing. But how else was he to answer her? Obviously, he wanted to be a great film star, just as Lady Uckfield had supposed. But while he knew this, he also knew not to reveal it.
'And will you always be an actor?' Here Lady Uckfield unconsciously exposed her own prejudices and put Simon even more securely in his place. It is a question often asked and yet I cannot for the life of me imagine people saying, 'And will you always be a doctor? Will you always be an accountant?' The reason is simple: try as they might they cannot see acting as a
'real' job. There is a distinction to be made here between the middle classes, who in some mysterious way are often affronted by the choice of acting as a career — as if one was choosing to live off immoral earnings — and the upper classes, who are usually only too delighted for one to be having a jolly time. But neither group can envisage actually staying with it. Perhaps because, despite quite a large number of posh actors in recent years, very few seem to make it through into the top strata of the profession. This may be because of prejudice, or lack of temperament, or simply because the road is too thorny for those with financial options, but the result is that while almost every aristocrat knows someone whose younger son or daughter has had a 'go at the stage' almost none of them know one who has succeeded. It can't be encouraging.
'Will you always be a marchioness?' said Edith from her place on the sofa, without raising her eyes.
Lady Uckfield glanced at her daughter-in-law for a moment. She quite understood the significance of Edith's weighing in on Simon's behalf. But she turned it back with a laugh. 'These days, my dear, who knows?' The smile became general and although I could not resist exchanging a quick look with Bella, we set about the business of being guests.
Simon, delighted to have acquired so attractive a champion, joined Edith on the sofa and was soon regaling her with Tales of the Film Set in his most engaging fashion.
Within minutes he was sparkling like the Regent Street Christmas lights. I watched Edith as she laughed and answered and flicked her hair about and laughed again, and watching her, I became aware that Charles, half talking to his mother across the room, was watching too. We both knew that we were looking at a more animated Edith than we had either of us seen in many moons and I knew that, above all things, I must be careful not to catch his eye or I would become complicit in a knowledge that would ultimately bring him great unhappiness. When he glanced towards me, I looked away and joined Bella, who was, needless to say, telling some risqué story about being stranded overnight in a garage to a fascinated Tigger.
Once into the dining room, the evening was undemanding and pleasant enough. The food was excellent as usual and I noticed that the servants had begun to assume towards me that slightly ingratiating manner that is their usual defence in the case of 'regulars'. Having ascertained that you will be back, all servants who view their position as a career will abandon the (no doubt great but inevitably temporary) pleasure of assuming a patronising air and snubbing you on behalf of their masters.
Instead they adopt a kind of respectful chumminess that will ensure large tips and a good mention for them if they come up in conversation. This pat-a-cake is usually accepted. I have known many people who should know better to feel flattered at being made a fuss of by the staff of the grand. They believe this intimacy will bring them many opportunities in the future of demonstrating their familiarity with a Great House that may be denied to other guests. They will enjoy these moments a good deal. Properly handled, the relationship soon develops into a mutual, if slightly glutinous, admiration society. At any rate, on this occasion I disappointed myself by feeling quite warmed by deference as we made our way back to the car. Bella and I chatted on the way home, both of us relieved that the evening was over and yet pleased that it had been easier than we had anticipated. Reaching Brook Farm, we loitered outside as Simon went in and started to turn on the lights.
'So he's made another conquest after all,' said Bella.
I nodded. 'Thank goodness really,' I said. 'After last night, I thought I might find myself keeping the peace.'
'Oh, I don't think that's going to be your role at all,' said Bella with a half-smile.
I raised an admonishing finger. 'Don't make scandal. We're all getting on very well and this is a cushy job. Let us look no further than that.'
Bella laughed. 'Maybe. But you haven't noticed one thing.' I raised my eyebrows quizzically. 'He hasn't spoken a word since we left the party.'
She was right. I think I had noticed but had forced the knowledge out. For when someone as eager for approval, as hungry for status, as ready for the world to know of his adventures as Simon Russell, spends the evening basking in the intimate glow of a young and beautiful countess and feels no need to brag about it, then it is generally because the story has only just beg
un.
And so it proved.
TWELVE
I was perhaps not as observant as I might have been around this period as it so happened that some time before beginning the film at Broughton I had met the girl whom I was going to marry. She does not play much of a part in Edith's story and so I shall try to be as brief as possible. There was nothing particularly unusual in our meeting. It was at a cocktail party in Eaton Terrace given by a friend of my uncle's and, as it happened, her mother's that neither of us had especially wanted to attend. I was introduced to her quite soon after she arrived (with said mother) and more or less at once decided that this was my future wife. Her name was Adela FitzGerald, her father was an Irish baronet, one of the earliest creations as she was wont to point out crisply from time to time. She was tall, good-looking and businesslike, and I saw at once that this was someone with whom I could feasibly be happy for the rest of my life. I was consequently very taken up for the next few months trying to persuade her of this truth, which seemed manifestly self-evident to me but was not, I must confess, so immediately apparent to her. Quite why one makes one's choice in these matters is a mystery to me as much now, happily married as I am, as then when I was chasing after someone I hardly knew. I had spent many years trying and failing to find the right partner and it seems rather illogical that I should have been satisfied on the instant but I was. Nor have I had any cause to regret my decision since.
I concealed Adela from my acquaintance for a while. When you are approaching forty everyone is apt to make a great fuss over any companion you are seen out with more than once — well-meaning friends kill many romances in the bud — and so I thought I would keep quiet until I knew if there was 'anything in it'. However, in the end, I felt there was and so I introduced her around. My society friends and to a much greater extent my family were relieved that I had chosen from my old world rather than my new. My theatrical friends — more generous if more casual of heart as a rule — were just relieved that I'd found somebody.
We were nearly at the end of the shoot when I suggested that Adela might like to come down to Sussex one Friday, watch a bit of the filming and stay two nights at the farmhouse. This was to be arranged, to Bella's delighted hilarity, quite properly, with me giving up my room and sleeping on the sofa. Adela accordingly drove down on the appointed night in her rather battered green Mini, was introduced to the other two over a merry and, thanks to Bella, delicious dinner and promised to join us on the set the following day when she had done a bit of shopping.
The next morning, before she had arrived, Edith came stalking me. We were filming in a rose garden, which was at the end of a short avenue leading away from one side of the house. The scene had originally been scheduled for the first week but had been endlessly delayed, I forget why, and so here we were, shooting it in mid-October. However, the luck of our (fearful) producers held and the day dawned as bright and hot as any in late June. I was almost irritated that their improvidence should have been so rewarded. It was a long sequence, involving Elizabeth Gunning (the fiercest American, Louanne) and Campbell (Simon) in a love duet, which was ultimately interrupted by Creevey (me). I was therefore sitting and reading, waiting my turn on the edge of the proceedings and I must say enjoying the location when Edith came into view.
'What's this I hear? You're a very dark horse.' I nodded that I was. 'Is it serious?' I observed that since I was already established as a dark horse it wasn't very likely that she'd know anything about it if it wasn't. 'Is she an actress?'
'Certainly not.'
'There's no need to sound so indignant. Why shouldn't she be?'
'Well, she isn't. She works in Christie's.'
Edith pulled a face. 'Not one of those earl's nieces at the front desk who sound so superior and then never know the answer to anything you ask them?'
'Exactly. Except she's not an earl's niece, she's a baronet's daughter.'
'What's her name?'
'Adela FitzGerald.'
'Well, you do disappoint me.' She threw herself down on a bank near to my folding chair. There were other empty chairs near so I felt no guilt.
'I can't think why.'
'You, my artist friend, to sink to a suitable match.'
'I'm not sure I'm prepared to listen to that from you. Anyway, surely the point is whether the suitability is an incidental detail or the primary motive.'
Edith blushed faintly and was silent. The first assistant signalled to us to be quiet and the cameras started to roll on Simon and the deadly Louanne. She pouted her way into the best position before the lens. We had all more or less reconciled ourselves to Jane Darnell, who was playing Lady Coventry. She was inept but there was no malice in her and she didn't appear to think much more of her chances of impersonating an eighteenth-century Irish beauty than we did. She was only really interested in collecting horse-brasses to take back to her Laurel Canyon home. Louanne Peters was an entirely different matter. Not only was she convinced that she was possessed of a seriously remarkable talent but her egotism nearly ranked as mental illness. She would talk of her successes and her looks, her lovers and her earning capacity by the hour, and always without asking a single question of her unwilling listeners. At first one was inclined to think that it must be some sort of complicated joke and that she was waiting for us all to call her on it, to burst out laughing, to hold up our hands and shout,
'Enough! We give in!' Only it wasn't and she wasn't. Simon loathed her, which didn't help their rather underwritten love scenes.
The shot finished, releasing Simon and Louanne, just as Adela came striding down the avenue towards us. In her corduroy knee breeches and fisherman's sweater, her long hair held back with a briskly tied silk scarf, she was the very antithesis of Louanne's synthetic charms and, for a moment, she showed Edith's carefully painted face in a slightly unfavourable light. She was so… healthy. But then again, of course, I was in love with her.
Edith stood up in greeting. 'Adela, how lovely to meet you at last. I'm Edith Broughton.'
'But I'm thrilled to meet you too!'
The girls exchanged their guarded greetings. That they were guarded was for two principal reasons, neither of which meant that there was the smallest romantic rivalry between them. Edith was not then and never had been in the least interested in me in that way. No, on her side it was the annoyance of having to surrender a confidant who has done good service and who will never be quite so useful married as he has been single. If you marry late there are many who feel this, even if those that love you attempt to control it. Added to which, just as happily married friends drive us all mad by their insistence that the married state is the only possible one, so do one's unhappily married acquaintance see it as their mission to turn all and sundry back from the church door. This stance is often used, half jokingly, as a means of insulting their partner in public. 'Get married!
What on earth do you want to do that for?' one hears jocularly at a dinner party, and from further down the table comes a sour look from a lip-biting spouse. Ominously, this was a position that Edith, quite unconsciously I'm sure, was nudging into.
On Adela's side the guardedness was more subtle. She knew of course exactly who Edith was and, until meeting me, had been inclined to take the other point of view about the new Lady Broughton — that Charles, whom she had met a few times on the circuit, had been 'caught.' I had brought her at least to the point of suspending her judgement but in Edith's tone of greeting Adela had detected, with some justification, the faintest note of graciousness. Edith the Aristocrat welcoming this nice little actor's girlfriend. These things are hard to gauge correctly but it is true that Edith had developed a rather grand manner by this time so she may have been tempted into this dangerous area. Understandably, Adela, while previously prepared by me not to snub Edith, was damned if she was going to be patronised by her.
To make matters worse, just at this moment Charles arrived to see what was going on. He recognised Adela and I think in revenge (although she would have
denied it) she lost no time in leading him into a conversation about several people that they both knew but Edith did not. In short she used Edith's dreaded Name Exchange against her. I suppose I should have felt indignant for one or the other of them but these things have a way of sorting themselves out without help from outsiders and anyway I could see that Adela had a point. I don't think I expected, even then, that she and Edith would ever be particularly close. Adela was too near what Edith wished to be (certainly so far as her past went) and while Adela was not a snob as a general rule, she was not above putting the likes of Edith in their place. I used to call it her 'Vicereine Mode.' All in all I could see that the best I might hope for was a kind of mutual tolerance. On this particular morning, before things could get sticky, Charles offered to show Adela the stables and with a nod towards me they set off. Edith watched them go.
'That's who should have married Charles.'
'Well, she's going to marry me.'
'No, I mean that's the kind of girl who would have made him happy. Giving out prizes, running the WVS. Can't you see it?'
'If that had been the kind of girl he wanted to marry, he would have married one. Lord knows there were plenty to choose from.'
'That doesn't sound very complimentary to your beloved.'
'You are talking of her obvious characteristics, which are, as you rightly observe, those of her time and her class. Her unusual qualities, of which you know nothing, are at the root of why she has chosen to marry an impoverished actor with a basement flat and not a rich earl.'
Snobs: A Novel Page 387
