Posts Tagged ‘sex’

Mayfair, the Duchess of Argyll and the Headless Man polaroids

Sunday, October 5th, 2008

“She is a highly sexed woman who has ceased to be satisfied with normal sexual activities.”

Margaret, Duchess of Argyll

Margaret, Duchess of Argyll

48 Upper Grosvenor Street was once dubbed by John Paul Getty as “Number One, London” and it was the Mayfair house where one of the most celebrated sex scandals of the Sixties took place.

A series of Polaroid photographs were used as evidence in the bitter and acrimonious divorce case between the Duke and Duchess of Argyll in 1963. They featured Margaret the Duchess, a former debutante of the year, in her Art Deco-style bathroom at her Upper Grosvenor Street home dressed in nothing but her signature three-strand pearl necklace. More shockingly they showed her performing fellatio on a naked man whose identity was concealed because his head was not captured within the frame. Other polaroid photographs showed a man masturbating for the camera in the same bathroom.

The press, overexcited with the ongoing Profumo affair, started to question who exactly was the headless man? There were very strong rumours that it might be be a cabinet minister or even a famous film star.

Number One, London

Number One, London

Duke and Duchess of Argyll not long after their wedding

Duke and Duchess of Argyll not long after their wedding

The Duke and the Duchess, both divorcees, had met on a blind date in 1950 and married in 1951 at Caxton Hall registry office. The marriage quickly crumbled however and the Duchess later admitted that she was having affairs by 1954 and the Duke filed for divorce in 1959 after finding his wife’s salacious diaries and the compromising polaroids. After four years of legal wrangling the case reached the court in 1962 but it wasn’t until May 1963 that the judge Lord Wheatley issued his damning verdict and in a four-and-a-half hour judgement, read out:

“She is a highly sexed woman who has ceased to be satisfied with normal sexual activities and has started to indulge in disgusting sexual activities to gratify a debased sexual appetite. A completely promiscuous woman whose sexual appetite could only be satisfied with ED pills from https://viaqx.com/ by a number of men, whose promiscuity had extended to perversion and whose attitude to the sanctity of marriage was what moderns would call enlightened, but which in plain language was wholly immoral.”

The press had a field day and the Duchess’s reputation was ruined, not only because of the polaroid photos, but that she was accused of sleeping with eighty eight men including two cabinet ministers and two members of the royal family.

It was said that an accidental fall, forty feet down a lift-shaft during the war, left her not only with a lack of taste and smell but with a voracious sexual appetite bordering on nymphomania.

The Duchess in July 1963

The Duchess in July 1963

Within two weeks of the judge Wheatley’s verdict on June 5 John Profumo resigned after admitting that he had slept with Christine Keeler. The Duke and Duchess and the headless man photos were for a short while almost forgotten. However, at a stormy cabinet meeting on June 20, the Defence Secretary Duncan Sandys (pronounced Sands), incidentally the son-in-law of Winston Churchill, confessed that he was rumoured to be the headless man.

Sandys offered to resign, but he was dissuaded by Prime Minister Macmillian who, because of the Profumo affair, was frightened of even more scandal for the Government. Lord Denning, who had already been commissioned to investigate the Profumo scandal, was also asked to investigate the identity of the headless lover as part of the remit.

Lord Justice Denning on the day his report was published

Lord Justice Denning on the day his report was published

Duncan Sandys

Duncan Sandys

Douglas Fairbanks Jnr around the time of the affair

Douglas Fairbanks Jnr around the time of the affair

There were four polaroids of a man in different states of arousal each with handwritten captions: “before”, “thinking of you”, “during – oh”, and “finished”. Denning knew that if he could match the handwriting, he would find his man. He cunningly invited the five key suspects – Sandys, the American actor Douglas Fairbanks Jnr, American businessman John Cohane, Peter Combe, an ex-press officer at the Savoy, and Sigismund von Braun, the diplomat brother of the Nazi scientist Werner von Braun – to the Treasury and asked for their help in a “very delicate matter”.

On arriving they all signed the visitor’s register and their handwriting was analysed by a graphologist. The result proved conclusive. Although Denning didn’t include the result in his report the headless man was identified by the handwriting expert as the actor Douglas Fairbanks Jr.

Duncan Sandys, much to his relief, appeared to be in the clear, but thirty seven years later in the year 2000 a Channel 4 documentary about the case featured a man called Paul Vaughan, a friend of the Duchess’s. He reported that she had once said to him;

“Of course, sweetie, the only Polaroid camera in the country at this time had been lent to the Ministry of Defence.”

The programme analysed the film and found that it was taken in 1957 (Sandys was the Defence Minister at this time) and concluded with this new evidence that there had been two men in the photos and that Duncan Sandys had been one of them.

Although I admit that I haven’t seen the documentary, but in 1957 Polaroid cameras had been selling commercially for eight years and Polaroid had actually sold their millionth camera the year before in 1956. It therefore defies credibility that the Ministry of Defence had had the only Polaroid camera in the entire country. So it seems to me that the documentary’s conclusion is on very shaky ground and perhaps Sandys was completely innocent after all.

Early Polaraoid Camera from 1949

Early Polaraoid Camera from 1949

Polaroid Camera model 95B - probably the type used in the Duchess's bedroom

Polaroid Camera model 95B - probably the type used in the Duchess's bedroom

The Duchess’s reputation, of course, was ruined after the divorce case and ensuing scandal, but she was also ruined financially and eventually had to sell her house in Upper Grosvenor Street. She died in a Pimlico nursing home in July 1993 and was buried next to her first husband, the amateur American golfer Charles Sweeney.

Duchess of Argyll at her house in Upper Grosvenor Street

Duchess of Argyll at her house in Upper Grosvenor Street

Incidentally, before she died the duchess wrote:

“I had wealth, I had good looks. As a young woman I had been constantly photographed, written about, flattered, admired, included in the Ten Best-Dressed Women in the World list, and mentioned by Cole Porter in the words of his hit song ‘You’re the Top’.”

She was indeed mentioned in the Porter’s classic song, under her name from her first marriage to Charles Sweeny, but the lyrics were from PG Wodehouse’s slightly rewritten and quietly forgotten British version of the song which changed Porter’s lyrics from:

You’re the nimble tread of the feet of Fred Astaire
You’re an O’Neill drama,
You’re Whistler’s mama!
You’re camembert.

to

You’re Mussolini
You’re Mrs Sweeny
You’re Camembert.

Mussolini with his pet lion cub Ras

Mussolini with his pet lion cub Ras

PG Wodehouse, although one of the wittiest writers ever, was always slightly politically suspect especially when it came to accidentally appeasing fascists. He didn’t really do himself any favours in that respect when he rhymed Mrs Sweeny with Mussolini in his version of You’re The Top.

TheLondon transfer of Porter’s musical Anything Goes opened on June 14, 1935 and it was only three months later that the Italian dictator, who had been in power since 1922, ordered the bombing and the use of poisonous mustard-gas in the Italian invasion of Ethiopia.

If Wodehouse thought Mussolini was the top, God only knows what he considered the bottom. There again perhaps it was just playful irony from Wodehouse and he just enjoyed comparing Mrs Sweeny with Mussolini.

Ethel Merman – You’re The Top
Ethel Merman – Blow, Gabriel, Blow
Frank Sinatra – Anything Goes
Eileen Rodgers – I Get A Kick Out Of You
Divine Comedy – A Lady Of A Certain Age

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The Kings Road, the misogynist John Osborne and the women in his life

Thursday, July 10th, 2008

“Will you marry me? It’s risky, but you’ll get fucked regularly”.

The angry young playwright in Chelsea 1958

The angry young playwright in Chelsea 1958

Four months before the Suez crisis, the moment in history when a begrudging, drizzly and grey Britain belatedly realised it wasn’t a super-power any more, the newly re-opened Royal Court Theatre, situated on the east side of Sloane Square in Chelsea, premiered the first play by a 26 year old actor called John Osborne.

look-back-in-anger-programme1

Look Back In Anger was written in seventeen days while sitting in a deckchair on Morecambe pier . The legend is, of course, that Osborne’s play was an immediate success and in a flash British theatre was changed forever. Replaced by plays set in drab working working class northern bed-sits, the posh drawing-room dramas from playrights like Terrence Rattigan and Noel Coward, were seemingly banished overnight.

Indeed on the first night of Look Back In Anger the first glance of Alison Porter’s ironing board on stage drew actual loud gasps from the audience. Rattigan himself, although persuaded not to leave at the interval by a friend, said on leaving the theatre,
“I think the writer is trying to say: ‘Look how unlike Terence Rattigan I am, Ma!”.
Terence Rattigan in 1955

Terence Rattigan in 1955

In actuality, after the first night the Guardian wrote: “The author and actors do not persuade us that they ‘speak for’ a new generation.” The London Evening Standard called the play “a self-pitying snivel”.

The next day the director of the play Tony Richardson and Osborne sat in the little coffee shop next to the Royal Court theatre utterly depressed. Richardson broke the silence, and said:

“But what on earth did you expect? You didn’t expect them to like it, did you?”

Although the play was generally initially dismissed by most of the critics, a prescient 39 year old Kenneth Tynan wrote in the Observer -

“All the qualities are there, qualities one had despaired of ever seeing on the stage … I doubt if I could love anyone who did not wish to see Look Back in Anger.”

Kenneth Tynan with Claire Bloom

Kenneth Tynan with Claire Bloom

Kenneth Haigh and Osborne 1956

Kenneth Haigh and Osborne 1956

Kings Road in 1958

Kings Road in 1958

Kenneth Haigh and Mary Ure in the last scene of Look Back In Anger

Kenneth Haigh and Mary Ure in the last scene of Look Back In Anger

Tony Richardson and Vanessa Redgrave

Tony Richardson and Vanessa Redgrave

‘Anger’, as luvvies are apt to call the play, initially took very little money and the production was seen pretty much as a miserable failure. However, a few weeks into the run, the BBC decided to broadcast a short excerpt of the play one evening. The listeners liked what they heard, decided to go and see the play for themselves and takings immediately doubled at the box office. The effect snowballed and the play eventually transferred to the West End, subsequently to Broadway and was made into a film in 1958 starring Richard Burton. It certainly wasn’t overnight but Osborne had now become a very famous angry young man indeed.

Richard Burton and Claire Bloom during the making of the film

Richard Burton and Claire Bloom during the making of the film

Richard Burton at the opening night of the film 1958

Richard Burton at the opening night of the film 1958

Osborne in 1971

Osborne in 1971

Osborne went on to write successful plays such as The Entertainer (starring Sir Laurence Olivier), Luther and A Patriot For Me. He also won an oscar for his adaptation of Tom Jones in 1963. He occasionally continued acting and his acting role in the 1971 film Get Carter was highly regarded and indeed was a brilliant menacing performance.

By the early seventies, however, depression and alcoholism set in. Bad reviews of his latest unfashionable plays didn’t help and were woundingly taken to heart. For instance the Financial Times’ BA Young’s review of his play Sense of Attachment which was put on in 1972 – “This must surely be an end to his career in the theatre”.

Writers, and artists in general, are often excused character defects and bad behaviour, for the sake of their art, but the treatment Osborne dealt out to most of the women in his life (and surprisingly, considering his behaviour, there were a lot of them with five wives and numerous affairs) was often extremely vile and misogynistic.

He left his first wife shortly before the opening of Look Back In Anger, and subsequently married Mary Ure the leading actress in the play and the film. They lived in a house in Woodfall Street just off the Kings Road a few hundred yards from The Royal Court Theatre. It was a marriage that would only last five years and his love life was, by the early sixties, extremely complicated. He was on holiday in the South of France with his mistress the beautiful flame-haired dress designer Jocelyn Rickard in 1961, while at home Mary Ure was giving birth to a son (to be fair it probably wasn’t Osborne’s). At the same time, in Italy, the journalist Penelope Gilliatt, and future mother of his daughter, received a charming marriage proposal by letter;

“will you marry me? It’s risky, but you’ll get fucked regularly”.

Osborne and his bride and leading lady Mary Ure, August 1957

Osborne and his bride and leading lady Mary Ure, August 1957

Osborne, Mary Ure, Vivien Leigh and Olivier

Osborne, Mary Ure, Vivien Leigh and Olivier

Osborne and Jill Bennett at their wedding in 1968

Osborne, the moustache and Jill Bennett at their wedding in 1968

John Osborne and Jill Bennett in 1969

John Osborne and Jill Bennett in 1969

The letter worked (one day I will understand women) and a year later he married Gilliatt with whom he had a daughter. As usual the marriage was a relatively short-lived affair, and he married the actress Jill Bennett in 1968. Again the marriage soon became unhappy and the couple, both drinking extremely heavily, ended up viciously trying to put each other down. At a party she once shouted;

“Look at him, the poofter can’t even get it up.”

Jill Bennett committed suicide in 1990, two years after their divorce. Osborne decided to add a spiteful extra chapter to his memoirs – expressing pity that he hadn’t been able to look into her open coffin and “drop a good, large mess in her eye”. Peggy Lee’s ‘Is That All There Is?’ was played at her funeral.

When Gilliatt also fell in to irreversible alcoholism, their daughter Nolan, who had been brought up in New York with her mother, came to live with Osborne and his fifth wife Helen, then both living in Kent. It was a chance for him to make amends for his own unhappy childhood (his father died of TB when Osborne was 10, for which, some reason, he always blamed his mother) but after just three years Osborne threw Nolan out of his house, removing her from school for good measure. She was just seventeen. Her only crime seems to have been typical teenage sullen behaviour and a lack of interest in her father’s hard-drinking thespian friends. He once shouted at her;

“There is not one of them who is not worth a dozen low lifes like you.”

She went to stay with the family of a schoolfriend and Osborne never saw her again. “Nolan’s birthday,” he wrote in his diary when she turned 22, “God rot her.”

Likewise when his mother died in 1993, he wrote an article for the Sunday Times which included a first line, ‘A year in which my mother died can’t be all bad.’

Osborne, who by this time had long left Chelsea’s Kings Road and started to act the country gent in Shropshire with his fifth wife Helen, died on Christmas Eve in 1994, 12 days after his 65th birthday. For once their marriage was a relatively devoted and private relationship. The last words that he wrote, found by his wife scrawled on a cigarette pack beside his deathbed in the hospital, were, “Sorry, I have sinned.”

Osborne more sleepy than angry towards the end of his life

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