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- Herausgeber: Icon Books
- Kategorie: Sachliteratur, Reportagen, Biografien
- Sprache: Englisch
- Veröffentlichungsjahr: 2019
BBC RADIO 4 BOOK OF THE WEEK 18-22nd FEBRUARY 2019 Marking the 50-year anniversary of the legendary banned song Je t'aime… moi non plus, Véronique Mortaigne's brilliantly-written book skilfully identifies the pairing of Gainsbourg and Birkin as an expression of the spirit of the age. Synonymous with love, eroticism, glamour, music, provocation, their affair would set France aflame as the sixties ebbed, and set in motion many of the ideas we have by now come to think of as specifically 'French'. Skipping back and forth in time, Je t'aime takes the reader from the foggy Normandy landscapes where Serge and Jane retreated, to their carefree summers on the coast. En route to their superstardom in films and music, we experience their intrigues, triangular relationships, and jealous rages, the genius and the self-torture. Tenderly told, via new interviews with key players in their story, Je t'aime details the coming together of two massive personalities, who together created a model of the rebel couple for the ages.
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JE T’AIME
The legendary love story of Jane Birkin and Serge Gainsbourg
VÉRONIQUE MORTAIGNE
TRANSLATED BY GEORG PHILIPP VON PEZOLD
Contents
Jane, Serge and Régine share a joke in Deauville, Normandy, 1969(PHOTO: ANDREW BIRKIN)
one
Cresseveuille
In the afternoon, I drove up the D 675 to Cresseveuille. At that moment my thoughts couldn’t have been further aw ay from Gonzague Saint Bris. An eccentric journalist, right-wing admirer of Louis XI, he had crossed the alps on the back of a mule in order to emulate Leonardo da Vinci, having previously founded the very swanky Academie Romantique, a cultural group of high-profile French intellectuals.
That 8 August, in 2017, at the age of 69, the fashionable writer died in the old-fashioned way: the car wrapped around a tree on the D 675, which links Rouen to Caen, the romanticism of Cabourg to the horse tracks of Deauville.
I am a woman of the coast, of pearl greys and blurred blues: they illuminate the sea of Normandy. I distrust the dense hinterland, with its leafy calm, its ponds that threaten to drown you, its thatch – at the mercy of rot. And yet, I have ventured inland. I have come to visit Cresseveuille. Like a return to the scene of the crime. It was here that Jane and Serge spent holidays with their daughters.
In December 1971, the young Gonzague Saint Bris is 23 years old. He publishes one of his first articles in Le Figaro, entitled ‘Gainsbourg has reached his cherry season’. The middle of life’s journey. Gainsbourg, then 43, is as ripe as a Morello cherry in the sun. He sings: a derisive cockerel. Gainsbourg, Saint Bris writes, is the epitome of a ‘commercial’ artist: he sprinkles his lyrics with brand names, with Guerlain perfume and advertisements for aperitifs. ‘Gainsbourg is not handsome, to say the least. But he has done what should be done in such a case: elevate ugliness to an art form. A difficult undertaking that he has mastered as he will master many others: with ease.’
Gonzague Saint Bris errs in one respect. Nothing had been easy. The whole endeavour might have capsized if Gainsbourg hadn’t met Jane Birkin in May 1968. The leafy green of Normandy was the backdrop to his metamorphosis. This is where he became beautiful. The transformation took time. It took several seasons to develop.
Gainsbourg has spent lots of time in Normandy with his family. During the pre-war years, they roamed the beaches in the summer. Joseph, his father, made a living playing the piano in casino bars. In 1975, Jane, his young English lover and the mother of his daughter Charlotte, buys a house in Cresseveuille, at a stretch of the D 675, the fatal route where Gonzague Saint Bris’ partner tried to avoid an animal before going off the road. In this Normandy, descended from Viking heathens, some might detect the hand of the ‘Dames Blanches’ – the local female spirits – and other creatures of a parallel world, which has been transformed by Christian fervour over the centuries into a cauldron of punishment and devilments.
It was Régine, the ‘Queen of the Night’, who, in 1968, played good fairy to that happiness born in Normandy. With her, Serge enjoys memorable fits of laughter. ‘Régine had bought a house near Honfleur’ the photographer Tony Frank, who was there (throughout the ‘mythical’ couple’s love story) relates. Serge, Jane and her daughter Kate in the grass, entwined bodies and conspiring glances: Tony Frank is a player. He sees everything, accompanies them everywhere. They are beautiful. They occasionally spend the day at the seaside, a big crowd gathered around Jane’s entertaining brother Andrew. ‘They were in love like infatuated youngsters, they played about like kittens.’ This inspires legendary photos, and bags of memories. ‘Régine takes out a used bottle of Martini wrapped in newspaper. It was moonshine calvados from the local bootlegger. Chess is being played, the bottle gets emptied, then another. I took them to a station – I don’t remember which one.’ Tony Frank, formerly a fellow-traveller of the Hallyday tribe, still sports – even today – the iodised tan of celebrity photographers.
Jane uses the money she made in 1974 from Claude Zizi’s film I’m Losing My Temper to buy ‘an impossibly pretty little vicarage, perched next to the church, nothing Norman about it; a slate roof, I’ve added a storey and a toilet.’ The escapades with friends and family end in Deauville, Chez Miocque: a restaurant displaying signed celebrity photos on the walls, offering fish of the day and apple tart, or at the bar of the Normandy, invariably cosy, with its collection of rare whiskies and sporting pictures.
A picture, signed ‘Siss’, hangs prominently in the left hand corner above the best table for observing the comings and goings of celebrities. It depicts the Gainsbarre of depression: an empty gaze, he is alone with his bitch Nana. Stubble, white ballet shoes and jeans. Cigarette butts litter the floor; he plays the organ grinder, makes a performing dog dance with no spectators other than a couple of pigeons. It took some melancholy to shatter that joy! In ten years, everything has broken down. Cresseveuille was where the seeds that would destroy that happiness were planted. Serge Gainsbourg changed from an insouciant with a twig between his teeth, from a mischievous doting father, to ‘Gainsbarre’, drinker of ‘102’: a double measure of Pastis 51.
Jane Birkin loved her vicarage ‘between cemetery and motorway, with rusty crosses and all.’ It is gone. Gainsbourg has lost. Jane cleared off to the department of Finistère, to Lannilis, where Serge’s father had supported the French Resistance. All that remains of the house of Norman happiness is a grey wall and a light signal above a great gate that was meant to flash when visitors came and went, but which is now permanently off. It is attached to the Church of Notre Dame de l’Assomption, whose foundations were laid in the flinty ground during the 13th century and whose wooden nave is like an upside-down boat, with its adjacent wash house.
Everything about the couple’s life in the Norman village has already been said. Yes, Serge went shopping on his Solex moped, for drinks at Gerard’s, in the village of Danestal, or at Anni’s at Beaufour-Druval. Yes, we have glimpsed one of the Magnificent Seven, the actor Yul Brynner: a handsome and mysterious Russian Jew with a shaved head. Surrogate godfather to Charlotte, he came for neighbourly visits from his mansion at Bonnebosq, some fifteen kilometres away. An octogenarian farmer confides that he often drank with the singer, while another neighbour claims that his drinking bouts didn’t last too long, adding that he ‘was a good family man’. He laughed with the children and worked at night.
When Serge and Jane return to Paris, they entrust the house to a local farmer they befriended, René Touffet, aka ‘Toto’. We are not going to get to the bottom of the enigma in this way.
The magic of Jane and Serge, a unique presence, a couple united by happenstance and need, reveals itself only in details. It’s the parts that make the whole. For such sensitive, thin-skinned individuals, leaving for a small Norman village couldn’t have been without meaning.
The D 675 is dangerous, as everybody knows. It used to be a trunk road, shoving itself into the Pays d’Auge, where the greenery hides more than just apple trees, cows and calvados. Closer to the sea, everything, or almost everything, ends in ‘ville’: Trouville, Deauville, Benerville, Tourgéville, Blonville. However, in the woodland retreat where the couple had decided to spend their summers, it’s a different kettle of fish. All along the D 675 sleepy towns with strange names are nestling: le Petit-malheur, la Haie-tondue, la Queue-devée, la Forge, le Calvaire …
Water is abundant at Cresseveuille, whose name derives from ‘watercress’. In the depths of the woods a different story lies hidden … Their dangers aren’t spread out evenly, one just brushes up against them. You need a real talent to recognise them, and a kind of sideways curiosity. A hoodlum of the first order, Gainsbourg explored the fringes. Jane, all innocence, was ready for any experience.
I have crossed the river Touques, the seaside version of the boundary that separates the right bank and the left bank in Paris. I finish my dinner at the Central in Trouville – salted fried shrimps, blanche de Normandie (a kind of calvados) for digestion. I think of the paper napkins on which a love-struck Gainsbourg used to draw elegant sketches of Jane, Charlotte and Kate, in an effort to slow the passage of time that was about to accelerate. ‘Gainsbourg was born during the era of the Brasserie Lip,* at the height of the 20th century, in the wind, into a life that he preferred to fill with speed, showy cars and fast music that can be quantified’ wrote Saint Bris, all white shirt and windswept hair. Our time is limited and, bizarrely, one is usually bored. The Poinçonneur des Lilas, the Ticket-Puncher at Lilas Station, wants to punch two little holes: bang, bang! while Melody Nelson dies in a plane crash.
On the tablecloth, I once again draw Cresseveuille from my fading memory. The place stretches from the church to the town hall, a mile or so of country road that the urbanite Gainsbourg covered on his moped. After a curve, he passed the wayside crucifix, an imposing Christ on the cross, tortured by the side of the road. I think of Serge Gainsbourg’s obsession with flagellation and death. And of his very personal, infidel’s sense of humour: ‘If Christ had died on an electric chair, all the little Christians would be wearing a little chair around their necks.’
Once past the crucifix, the republican order of the town hall appears. Cresseveuille, following the example of its bigger neighbours, has built its municipal seat in the shape of a miniature brick cube with white shutters and a slate roof. A doll’s house that delighted the buffoon and artist, who was an excellent clown for children when the moment was right. To the right of the building, there is a signpost: ‘Road considered Useless.’ Going back towards the district road there is a surprise, another signpost: ‘The Greenwich Meridian passes through here,’ longitude zero.
Jane had bought a house on the time-line delineated from London. She didn’t do this intentionally. And because she never does anything intentionally, everything happens. Even the improbable.
A snob, Gonzague Saint Bris refused to be reasonable, as befits a good aristocrat. At the Castel, or the Flore, he had often crossed paths with the older Pierre Grimblat, filmmaker and publicist. The man with a dazzling smile was born in 1922 into the fragrance of metal dust from the Rue Saint-Maure in Paris, an area of metal workshops before the war. Yesterday, I started reading his memoirs: Searching for a Young Man Loving Cinema: Memories. I took it to Deauville. It was thanks to him that happiness arrived. Jane and Serge fell in love during the shooting of his film Slogan.
In 1946, Grimblat, a Jew in the Resistance who escaped from German aggression, finds a job in Deauville, where the hotel Normandy and the casino emerge from the long winter of the occupation. Dressed in black tie, the smooth talker is charged with enticing clients onto the gambling tables. ‘Outside, at low tide, I discover an immense deserted beach still placed, like a reminder of a still-present reality, under the protection of enormous German bunkers,’ he writes. ‘But these concrete monstrosities have been freshly repainted in cheerful colours. Among others, I remember one of them painted pink, with the inscription: To the Marquise de Sévigné, with sweet treats artfully displayed in the battlements. And in the shadows, where cannons and machine guns had been hidden not long before, I glimpse the surprised face of a saleswoman. At twenty, absurdity is a vague notion.’ The next year the bunkers are replaced by white bathing huts. The future welcomes the baby-boomers.
Between them, Jane and Serge tie together different stories: like Grimblat, Serge has lived through the war. She hasn’t – no more than Gonzague Saint Bris. Jane’s is the swinging generation. While Gainsbourg is exploring bunkers, she is selling dreams. This dual entity would have been perfectly understood by the ravers of the AIDS era, who hung out at the Paris club Palace in the early 1980s, the ‘24-hour party people’. Gainsbourg is in his element here. At the same time as I am drinking a last beer, as chilled as Russian vodka, at the Central, on 8 August 2017 at half past midnight, Gonzague takes the D 675 towards Cabourg, and smashes his life against a tree. An era comes to an end.
* A café on the left bank; one of the famous Saint Germain meeting places (among them the Flore or the Deux Magots) of Parisian intellectuals, the most notable among them Sartre and de Beauvoir.
Portrait of Jane Birkin, taken in the Sixties.(PHOTO BY REPORTERS ASSOCIES/GAMMA-KEYSTONE VIA GETTY IMAGES)
two
Jane from London
Pierre Grimblat was, for Jane and Serge, the master of happenstance. He opened up the horizon of possibilities an d remained proud of this until his death at 93. Without him, Jane would never have reinvented the French language, nor inspired such masterpieces as the song ‘Les Dessous chics’ (Chic Underwear). Without doubt she would have done something else, but nothing would have ever been the same. Without this man: no Serge, no Charlotte, no Lou. She knows this well, but all of a sudden, one spring day in 2017, when I am facing her, she once again becomes conscious of that fact.
Jane is 70 and ravishing. In the kitchen of her Paris home, she glances at me above her college-style glasses with a surprised look. Abruptly, she realises the value of that debt. ‘But yes, of course,’ she exclaims, ‘it’s enormous!’ She is so grateful! And so pained at not having thanked ‘Pierre’ enough when there was still time to do so, no doubt because ‘Serge’ took up all the space!
Slogan gave the girl the time that was needed to seduce the love of her life. Grimblat breathed his last in the summer of 2016. It’s too late to express gratitude. But the actress can’t just swat away lightly what he gave her. She’s not forgetful. These two men, Serge and Pierre, chose her. They didn’t reject the naïve teenager: ingenuous, certainly, but also a touch arrogant. Her trainers, her flared jeans, the army jacket she still wears, her knitted roll-necks have established the Jane B. style, the headstrong Englishwoman who wore those little Saint Laurent dresses so well.
She has given an awful, awful lot to Serge Gainsbourg, and finds it difficult to express. The reverse was also true but, most important of all, he would never have attained rock star status without her. Jane Birkin can irritate with her excessive humility. In fact, she is serene. She knows exactly what she has given to Serge, but won’t brag about it now: she has always been unperturbed by what she has taken. Her bitch, Dolly, a young English bulldog, is snoring. I feel like putting everything on hold in order to content myself with peaceably following the rising and falling breaths of the dog, with its wrinkled mug and unquestionable faithfulness.
But I need to understand how and why Jane and Serge, separated by a generation, as well as the English Channel, came to meet. Let’s go back to the end of winter in 1968. An unusual spring is in the air. Serge Gainsbourg is wearing a purple shirt. He is sulking. His ego has taken a knock. For the film Slogan, he was going to be playing opposite the exquisite American model Marisa Berenson. But Pierre Grimblat, a handsome brown-haired man wearing roll-necks and with an imposing mane, prefers an unknown young Englishwoman – who he wants to introduce to him. Gainsbourg broods: this new partner does not measure up to his stature as poet and polygamous seducer.
He is furious, a mess. Brigitte Bardot has dumped him. At his newly-acquired house, in the Rue de Verneuil, he has the walls painted black, the colour of mourning. After ‘86 days of passion’ with the fairest of them all, she’d ditched the lover and kept the husband, the German billionaire Gunter Sachs. Inconsolable, Gainsbourg displays life-size photos of her taken by Sam Lévin, photographer to the stars: showing her by turns lascivious, a sex bomb, a model of physical perfection.
In this disheartened state of mind, Serge, 40 years of age, receives the ‘little English girl’ – ‘Djenne’– who is 21. She’s not aware at the time of the talents of the creator of songs such as ‘La Javanaise’ (The Javanaise). She thinks his name is ‘Serge Bourguignon’: the only thing she knows of French culture is the eponymous beef dish. No, she didn’t confuse him with Serge Bourguignon, an actual director, mostly forgotten today despite receiving an Oscar in 1962, for Sundays and Cybèle. She’s never heard of that. And, what’s more, she doesn’t care.
Jane Birkin already has her own style: eyes as blue as the North Sea, the college-girl fringe, the slender body, the impossibly curvaceous backside. She wears little ‘pop art’ outfits, very tailored frilly silk blouses, and no bra. Her smile reveals a charming diastema, a gap between the front teeth, known as ‘dents du bonheur’: in Africa, it is thought that by letting air pass, they give free flow to the elements and thus contribute to fertility.
Aristocratic, elegant, she exudes an explosive sensitivity. One needs to learn to read between her lines, more so now than ever. Everything is important, especially lacunae and little trifles. If Jane had carried a hippie bag made of patchwork and beads, things would have turned out differently. Too sweet. But still, contrast and daring are at the heart of Jane B.
For a long time, she appeared with a covered woven wicker basket. She got it for one or two pounds. She was seventeen, hanging out in the West End of London, in Theatreland, where she came across a Portuguese basket stall. Jane turned this cestinho – a little round rustic basket of migrant origins – into a symbol of Bohemian freedom for the jet set. The simple truth is, her basket is large enough for her favourite doll, her keys, her girly stuff, some sandwiches and cuddly toys: she will soon become a mother.
It is from London, of course, that Pierre Grimblat brings us Jane Birkin, in the middle of May ’68. He presents the miniskirt-wearing Englishwoman to a perfect specimen of French history: a singer of immigrant parentage, a Russian Jew, ambivalent in his tastes. The romance blossoms at a peculiar time, a crossroads between the old and the new. The ‘teenagers’ bring in the ubiquitous wearing of jeans, trainers and white T-shirts, à la James Dean. The boys grow their hair long. The girls wear jackets, large belts, they snub the creeps and ride motorbikes. For all that, as Sylvie Vartan sings in ‘Comme un garçon’ (Just like a Guy) in 1967: in her lover’s arms, the girl once again becomes a child, ‘lost when you’re not here’. It’s like we’re together and yet the moment has already gone.
In cinemas, Gaullist France waits for the arrival of the usherettes and their wicker baskets, ‘sweets, toffees, choc-ices, chocolate’, while watching pre-war singers populate the screen advertising space pioneered by companies like ‘Jean Mineur, Champs-Élysées, tel. Balzac 0001’. Jane Birkin has discovered this side of France at the age of seventeen, in 1963. A French education is part of the upbringing of British upper-class youth. Thus, the Birkin parents send their daughter to Paris in order to learn the language of Molière. The endeavour isn’t a great success. ‘I was,’ she says, ‘bad spelling: I wrote everything backwards, I was dyslexic. I was useless at English, useless at French; they kicked me out of school.’
Jane is a girl from a good family. She ticks all the boxes. For her ‘debutante’s’ education, as far as aristocratic balls go, she needs to learn two or three things that will get her married. And since her French doesn’t amount to much, Jane learns how to make chocolate truffles. An asset. In Paris, she and other well-to-do English girls stay with the Countess Puget, at 67b, Boulevard Lannes. ‘There were six or seven of us, we all spoke English. There were those we were allowed to go out with, as long as they were princes and we went to Maxim’s. I had two sweet boyfriends myself, one French – who knows, if he’s a widower, it would be nice to cross paths with someone who thought you were great at the age of sixteen! – and an English actor, who was my brother’s best friend. These two were allowed to take me out in the afternoon. We went punting in the Bois de Boulogne and that was that, we returned to Madame “Poujet”.’
There is a lady living on the ground floor at Boulevard Lannes who the young Englishwoman does not know: Édith Piaf. At her death, Jane notices a crowd gathering outside the gate, without understanding why. No doubt Serge Gainsbourg, like other artists, comes to pay homage to the ‘Kid Piaf’ before her coffin, but Jane knows nothing of this world. In her personal diary, she makes the observation that the wind on those days lifts her skirt, revealing her suspender belt, which annoys her. She also relates that some onlookers she passes on the Boulevard Lannes whisper: ‘Look, look, it’s Françoise Hardy’; she’s flattered. She does know about Hardy; obviously, since the slender Parisian is at number one in France, with ‘Tous les garçons et les filles’ (All the Girls and Boys): she has sold more than a million copies of the record and her partner, the photographer Jean-Marie Périer, has elevated her to pop icon status. Jane has bought her EP. Back in London, five months later, she finds the singer photographed across fifteen pages by the American William Klein, for the magazine Vogue.
In 1965, the French girls of the elegant sixteenth arrondissement scoffed at badly-dressed English girls. ‘They, on the other hand – they were brushed like racehorses, with shiny hair held by a velvet ribbon. They wore earrings and matching necklaces of false pearls – maybe real ones …’ Like the Hermès bag that went so well ‘with the little burgundy twinset, the midi tartan skirts, chain loafers – they were all the same.’
And when everyone’s modelled on the same type, everyone’s grey, according to Birkin. So the ‘badly dressed’, slipping on their stupid high heels ‘with slightly cracked varnish’, instigate a rebellion. They’re still a little embarrassed by their badly-cut denim skirts, and by their jumpers that do everything except match. They had their revenge two years later, with the arrival of stick-thin models like Twiggy, and of Swinging London. The adolescent, androgynous nymphets took to ‘bargain basement fashion’, dethroning classy, Dior-clad 30 year olds hands down.
Style is now ‘British’, or it’s nothing. Romance belongs to the French. They love – in a visceral sense – love affairs, couples, love at first sight and separations. In 1961, all of France is captivated by the encounter between Johnny Hallyday, idol of the young, and the blonde Sylvie Vartan. The romance is spread by Salut les copains, the cult magazine during the glory years of those aged ten to nineteen, whom the sociologist Edgar Morin, writing in Le Monde, identified as the ‘décagénaires’; the same Edgar Morin who invented the expression ‘yé-yé’,* in 1962, the day after a notorious concert at Place de la Nation. They are good-looking, young and famous. Johnny does his military service, Sylvie goes to see him at the barracks. The war hasn’t touched them, whereas it has struck the Ginsburg family† in full force.
Grimblat wants to adapt, for the cinema, a love story that has caused him great distress: a certain Laurence, with whom he commits adultery, has left him, and this is something he obsesses over. The synopsis of Slogan is simple: Serge Faberger, a director of advertising films who is about to be given an award in Venice and whose wife (the excellent Andréa Parisy) is pregnant (which – during the film’s writing – is in fact the case for Gainsbourg’s wife, Françoise Pancrazzi) falls passionately in love with the young Évelyne, an uninhibited Englishwoman. For the female role, Pierre Grimblat is looking for a ‘wild child like Laurence; I look in Paris, nothing, in Rome, nothing, in Madrid, nothing, in Munich, nothing.’ To scout London, he asks Just Jaeckin, the future director of Emmanuelle, for help. Then he organises a casting ‘at the studios of my friend, the director Hugh Hudson, in Chelsea. Burt Bacharach’s music was fashionable at the time. We got the girls to enter to the tune of “I’ll Never Fall in Love Again”,’ a song announcing the impending love debacle. The morning is fruitless and Grimblat has to go back to Paris in the evening. This afternoon is his last chance, and a feeling of anguish is building.
The talent scouts break for lunch at Alvaro’s on the King’s Road. ‘And there I see a dishevelled girl who was eating with her friend. Stunning. Through the waiter, I send her a little message to invite her to the casting. She responds: “I’m busy at four o’clock.” And that’s when I know it’s her.’ Her name is Jane. She’s full of herself. She has the unselfconsciousness of youth without being altogether carefree. Divorced from a famous man, the composer John Barry, although Grimblat doesn’t know it, she has a baby, Kate. She’s accepted an acting role in French when she spoke it so badly! He chose her for her beauty, but also her facetiousness: ‘she had these impossibly bent legs and, before her screen test, I snarl at her: “Do you really have to show off legs like that?” She answers: “No, I can get them straightened out if you pay for the operation.”’ Jane has the one imperfection that girls, from the in generation to the swag generation, would later envy her for: her slender thighs don’t meet in the middle, they leave a gap all the way to the knees. When he finally opened his eyes, Serge found these legs perfect.
Grimblat likes beginners, ‘docile instruments’. That’s fortuitous. ‘Jane had made a two-minute appearance in Antonioni’s Blow-Up, where she and a little friend romp about in rolls of paper for the requirements of a photo shoot.’ Grimblat is being a bit simplistic: Blow-Up, a beautiful Antonioni picture, inspired by a labyrinthine Julio Cortázar story, Las babas del diablo, is an important film. It is Jane Birkin’s big break, critiques of the film point out that it features the ‘first appearance of pubic hair in a Western film that is not classified as pornographic.’ The Italian director has noticed that London was being swept by a new wind.
In effect, there is a class revolution underway in England. Popular ‘accents’ from the whole country are now in fashion, obliging even the rigorous BBC to pipe down a bit. Jane is unequivocal: the United Kingdom is being swept up by a gust that still delights her. ‘I was in love with the voice of John Barry, who was from the North. The fashion photographers were cockneys, there was a mix of everything. A certain arrogance came with this revolution that we hadn’t had before, the conceit of thinking one knew what was what.’
Whilst Jane is skilfully making chocolate truffles, she also fits in with the profusion of creatures of Swinging London, this sparkling London that proclaims its symbols: the models Twiggy and Jean Shrimpton; the photographer David Bailey; the rockers – The Who, The Kinks, The Small Faces, The Rolling Stones – who are broadcast on the pirate radio station Radio Caroline, which is set up on a ship beyond French or British territorial waters. London inspires a youth that is immersed in pacifist and anti-nuclear movements and professes sexual liberation. They borrow the slogan ‘Free Love’ from the Austrian psychoanalyst Wilhelm Reich; they get naked and try drugs. Sex and morality no longer mix. Being modern means sleeping around.
It’s with her new car in mind, a Mini Cooper 1000, that Mary Quant invents the accessory of this liberation: the miniskirt. The daughter of Welsh miners, she has benefited from the recent introduction of free art schools. In 1955, she opened a Terence Conran-designed shop on the King’s Road. After the miniskirt, Mary Quant launches plastic raincoats, then the ‘micro-miniskirt’, ‘paint box’ make-up and hot pants. Laurent Voulzy dedicates a song to her. On the banks of the River Marne where he lives, ‘our platonic simpletons’, he writes, send romantic kisses; our virtuous youth play ‘Telstar’ on the guitar, and don’t smash anything up.
But one day / Mary Quant / Caused great mayhem / She cut the skirts / of the most virtuous girls / Her pop-inspired dresses, terribly short / Have caused an earthquake / My life is in disarray / because of a dressmaker / And this minimum has changed my life / I love this mini to the max.
In 1964, the Daily Mail publishes a picture of the class of ’64: some 50 women ‘to watch out for’: among them Nico, Marianne Faithfull, Jane Birkin and Gabrielle Lewis, who has become a photographer and unwavering friend to Jane in the mean time. Six months later, Jane auditions for the musical Passion Flower Hotel, with a score by John Barry. ‘So did Gabrielle’, she relates, but she doesn’t get the part and becomes a DJ at the PickwickClub, in the seething West End. Jane marries John Barry, and Gabrielle Lewis the actor Michael Crawford. The new gang appears in the credits of The Knack … and How to Get It by Richard Lester, winner of the Palme d’Or at Cannes in 1965. Two years later, Jane returns to the billboards at the Croisette for a new Palme d’Or winner: Blow-Up, by Antonioni.
When she meets Serge Gainsbourg, Birkin is quite lost, just coming out of her disastrous marriage with John Barry. Their daughter Kate in her arms, she’d fled in the night after discovering that her famous husband had run off with one of her friends, two years her junior. ‘She was sexy. I immediately thought I couldn’t hold a candle to her,’ she says, laughing. However, with her outrageously short miniskirts and her long bare legs, Jane is terribly attractive. When Serge Gainsbourg enquires about the young Englishwoman who is going to film with him, he finds out that she used to be married to John Barry. He is impressed, because the composer is enjoying international success, works for the cinema and directs symphonic orchestras. ‘I’d shared his life, that played into it,’ Jane Birkin laughs.
Who was John Barry, the man with five Oscars? Born 1933, died 2011, he was recruited by the producer of the Terence Young film Dr No, starring Sean Connery and Ursula Andress, the first episode in a long series. Barry rearranges the Bond theme composed by Monty Norman before setting a further eleven episodes of the James Bond saga to music, including From Russia with Love and Goldfinger. The composer goes on to ink the scores for such major films as Out of Africa, Dances with Wolves, Midnight Cowboy, The Chase, The Cotton Club and the animated film Madagascar. Inexorable jazzy tunes, string ensembles for romantic melodies; in the eyes of Gainsbourg, who dreams of film scores and great orchestras, John Barry is a master.
When Jane Birkin falls in love with John Barry, she is underage; she is seventeen and he 30. Who cared back then? She is fragile. Puny as the result of a premature birth, she is pampered, but is sent off to a strict boarding school ‘where if you did anything wrong you felt like you were wrecking England.’ She is anxious not to disappoint and keen to impress. She’s also free. She runs into John Barry in the lift at Ad Lib, a nightclub on Leicester Square. Their paths cross again at the casting for Passion Flower Hotel – six boarding-school girls on a quest to lose their virginity. For six months, Jane plays the role of Mary Rose at the Prince of Wales Theatre in London. She excels, striding the stage, singing ‘I must / I must increase my bust’ while sticking out her chest. ‘I performed the role of a girl at boarding school who had a flat chest, wanted it to grow and sang about it.’
John Barry falls for her. He’s coming out of a divorce, he has two children, one of them with the Swedish babysitter, Ulla Larson. The adolescent is flattered to be chosen over so many others by such a sophisticated and talented man. A romance ensues and they set sail in his white Jaguar, an E-Type. She sprawls on the long bonnet, crawls towards the driver, intoning ‘John, I love you John.’ Entertaining, Jane brings a sense of gaiety to this big guy, who is prone to melancholy. When he conducts the philharmonic orchestra for The Chase, by Arthur Penn, she sees Gustav Mahler.
But the couple settle in to a conventional and unsatisfactory life. The young woman makes sure the scrambled eggs aren’t overcooked, sleeps with eyeliner under her pillow since he’s pointed out that she has small eyes. She wears braces, he mutters that he gets the impression he’s sleeping next to a racehorse. She takes this abuse, and her self-esteem crumbles. She is pregnant, he is fickle. Kate Barry is born on 8 April 1967. Her father is too busy to dwell on this: he’s just received two Oscars for Born Free by James Hill. Jane is disenchanted. There’s a picture from that same year that features in the book Attachments, which she put together with Gabrielle Crawford in 2014: ‘There, that’s the christening of one of Gabrielle’s daughters, Lucy. I was the godmother. Kate was screaming, she’d vomited on me. John Barry no longer talked to me, well, in short, it was a nice little English story …’
Then, freshly divorced, the man marries his young lover, Jane Sidney, whom he takes to Hollywood. Jane Birkin is shattered. ‘My parents were fantastic,’ she told the Guardian. ‘They didn’t say: “we told you so”, but: “come home.”’ Nevertheless, Jane follows her own shining path. Barry makes off, Gainsbourg alights. And with him, a ghost: that of Brigitte Bardot, icon of the happy post-war years, and the sixties. A strange world that Gainsbourg flirts with, and that his new girlfriend will skim.
* A style of mid-20th century French pop music; the local answer to the ‘British Beat’. Yé-yé
