Читать книгу Madame Depardieu and the Beautiful Strangers - Antonia Quirke - Страница 7

First I was a sperm and an egg, and then I was an embryo, and then I got born. After that I was a baby and then I was a toddler. This is coming really easily! Then I was ten lying in bed listening to the unmistakable cadences of a man and a woman arguing downstairs. I lay there harrowed by the growing conviction that the voices didn't belong to the radio but to my parents, and trying to will a snatch of music to prove that it wasn't. But it wasn't likely to be the radio at this time of night, and we didn't have a television in those days. The muffled fight went on, and on, until it was no longer bearable. I got up and crept down the stairs towards the living room, where my parents were curled up together watching a man and a woman arguing on the eight-inch black-and-white which they sometimes borrowed from next door when something especially good was on. I can remember the luxury of my relief. I can also remember how the two of them looked altered by the shifting light, made younger by it. And instead of being sent back upstairs I was invited on to the sofa to watch with them. It was a film, a famous film, with a title so romantic it seemed to contain all the scale of adult life: A Streetcar Named Desire.

(Forgive my presumptuousness in telling you all this, by the way, but if I don't I'm going to lose my husband.)

I had never seen a movie before. Not one. I had lived ten years absolutely untroubled by the knowledge of such things. I suppose I'm a bit stupid, really. ‘That's Marlon Brando,’ my father said. ‘He's the best actor in the world.’ I watched, delighted to be up late, being initiated into the privileges of adulthood, studying this Marlon Brando, this actor, who was now at the centre of a brawl. Some men put Brando under a shower, the women fled upstairs, and Brando began to cry. He walked outside the house in his wet T-shirt, and I saw him – like Blanche Dubois sees him when she first comes to the Kowalskis' apartment in Elysian Fields, like audiences first saw him, tormenting Jessica Tandy in the original Streetcar in the Barrymore Theatre on Broadway in 1947, like Tennessee Williams first saw him, in his original stage direction: Animal joy in his being is implicit in all of his movements and attitudes. Since earliest manhood the centre of his life has been pleasure with women, the giving and the taking of it, not with weak indulgence dependently, but with the power and pride of a richly feathered male bird among hens.

I saw and I saw and I still see. I like to revisit all my favourite bits of his face, to tour them. The folds over the corners of his eyes which make it seem as if a force is pressing down on him, as if he's subject to a doubled gravity. There's a kind of thumbprint on his brow where something powerful has marked him. The Golden Gate mouth too beautiful not to be disgusted by the ugliness of the human speech it must form. The curve where his jawbone meets his neck, seemingly the locus of all the strength in his head. The T-shirt torn so that it hangs off one shoulder like an emperor's toga. Brando was calling upstairs like a tomcat: ‘Stella!! STELLA!!!’ The thunderclap volume of his voice had the power to hurt.

‘What's the matter?’ my father was suddenly saying. And something did seem to be going wrong with me. Air was coming in but it wasn't going out. Brando sank to his knees before Stella, burying his face in her thighs. Everything was beginning to shut down on me. My breathing had become an alarming fish-pant. ‘Don't ever leave me, baby! Don't ever leave me!’ the best actor in the world was murmuring, semi-audible under my breathing. My parents had forgotten the film and ferried me to the kitchen table where my father quizzed me about things I might have eaten. Maybe I'd had a peanut-stuffed lobster stashed under my pillow? I couldn't muster the breath to reply. Time was beginning to thicken and deepen. I could see very clearly the fur coat of dust on our never-used fondue set. My mother gave up trying to open the airways in my throat with a spoon and called an ambulance. It was all happening very far away – I was dying, peacefully. And like a stone in the shoe of my peace was the fear that was beginning to harden into a certainty, that although dying wasn't so bad I would not be able to bear the humiliation of having my mother know why I had died. And she knew perfectly well. She understood precisely why I was gasping like a dog on a summer's day while next door in New Orleans Marlon Brando was smashing crockery. By the time the ambulance arrived, I had stopped hyperventilating and had to listen, suffused with shame, as my parents tried to talk their way round what had happened. Everybody was standing about lying their heads off. But what would the ambulance men have said if they'd known the truth? ‘Marlon Brando, Mrs Quirke? Do you think that was wise? We've had two Montgomery Clifts and a McQueen tonight already.’

This was the formative incident of my childhood. We lived in a tiny hill village in the South of France where every Saturday old Claude would lead his donkey Napoleon up the winding rocky path to the village square, laden with dusty old reels of film. The loveable village blacksmith, Rémi, would set up his projector facing the whitewashed wall of the church, Claude would feed in those magical strips of colour and light, and everyone would abandon their baking and games of pétanque and come rushing into the square agog with excitement to see the wondrous spectacles: Police Academy 6, Porky's, Evil Dead 2, Conan the Destroyer and Turner & Hooch.

I had been banned from the magical screenings in the square since I seemed so overwhelmed by the power of these ‘movies’. Yet old Claude took pity on me and allowed me to climb up his ancient olive tree from whose branches –

Alright. It wasn't the formative incident of my childhood. Life isn't so neatly patterned. But the first time I saw Marlon Brando, I nearly died.