Posts Tagged ‘drugs’

Donald Cammell’s Performance at Powis Square

Wednesday, January 7th, 2009

“Kick-starting the day with a five-skinner and a bath with two naked girls has never seemed so domestically routine.” – Mick Brown

Donald Cammell and his former lover Anita Pallenberg on the set of Performance

Donald Cammell’s film Performance, shot in the summer of 1968, was largely set in a large house in Notting Hill’s Powis Square. This was a part of Notting Hill, featuring large run-down peeling terraces and squares that, a decade earlier, Colin MacInnes in his London novel Absolute Beginners had called ‘Napoli’. It was also, at that time, that is the mid to late fifties, the main stomping ground of the notorious and disreputable landlord Peter Rachman.

The original white working class neighbourhood was having to uneasily mix with a burgeoning West Indian immigrant community which was increasing in size not least because Rachman was willing to house West Indians – albeit at his infamous price. Powis square was where Rachman bought his first major London property – a huge Victorian building – which he had subdivided to such a degree that approximately 1200 tenants eventually lived there.

81 Powis Square in 1968  (number 25 in the film)

25 Powis Square in 1968 (number 81 in the film)

The same property today

The slightly more salubrious-looking property today

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Notting Hill in the mid-fifties

By 1968 the down-at-heel ambience of the area had also attracted a further wave of inhabitants – hippies, who hung around the Portobello Road market and the nearby ‘head’ shops. In other words it was the perfect bohemian part of London in which Performance’s fictitious rock star Turner lived. Turner, of course, was played by Mick Jagger and the film, along with Nicholas Roeg, was directed by the rather dissolute and louche friend of the Rolling Stones Donald Cammell.

Jagger and Cammell 1968

Jagger and Cammell 1968

Cammell was born on 17th January 1934 in the Outlook Tower by the side of Edinburgh Castle to rather bohemian parents – his father, after losing the family fortune in the thirties (his family was part of the Cammell-Laird shipbuilding firm), was an editor of Art magazines. They must have encouraged the artistic side of his nature because by the age of 8 he was exhibiting at the Royal Drawing Society and won a scholarship to the Royal Academy at the age of 16. Good looking, gifted and self-assured, Cammell became a sought after society portrait painter before he was 20. He owned a studio in Chelsea’s Flood Street and was already enjoying a hectic party-lifestyle which in effect continued for two or three more decades.

Cammell painting Bronwen Pugh in 1957

Cammell painting Bronwen Pugh in 1957

In 1954 he had married the Greek actress Maria Andipa and in 1959 they had a son Amadis. A few months previously he and Maria had moved from Chelsea to Hampstead, apparently to be close to the actress Jill Ireland who was living there at the time and with whom Cammell was having an affair. One day soon after the move Maria returned from the doctor with what she thought was happy news that she was having a baby. Cammell completely crushed Maria by saying “I love you, and want to share my life with you, but I don’t want to share it with a child.” True to his word he left almost immediately for New York and cruelly would only see his son twice during the rest of his life.

Cammell's first wife Maria Andipa and son Amadis

Cammell’s first wife Maria Andipa and son Amadis

It was in New York where Cammell met and lived with the model Deborah Dixon – he was to be with her for ten years and their relationship finished just before the filming of Performance, although she was a costume designer on the film. He had by now rejected painting society portraits and was now concentrating on work that had a Balthusian lolita-inspired influence (ie lots of young naked girls). While this helped him sate his notable sexual appetite (for much of his life he was irresistible to a good deal of the female sex and Dixon was seemingly happy with this and often shared his conquests) his artistic desires, at least in the form of painting, were waning.

Donald Cammell and his beautiful wife - the model Deborah Dixon

Donald Cammell and his beautiful wife – the model Deborah Dixon

Deborah Dixon 1964

Deborah Dixon 1964

Deborah Dixon 1962

Deborah Dixon 1962

He moved to Paris with Deborah where she continued to model and where he began to try his hand at writing screenplays. She was now a very successful international model and essentially Cammell lived off her money for some years. During this time he collaborated on a script which was eventually made into a bad thriller called The Touchables and subsequently another script which was turned into a very sixties caper movie in 1968 called Duffy (originally called Avec Avec) which starred Susannah York, James Fox and James Coburn. Although Duffy was a better film than The Touchables it was still very flawed and again unsuccessful at the box office and this encouraged Cammell to try and direct the next film himself.

Susannah York during the filming of Duffy

Susannah York during the filming of Duffy

On the poster it said "they try anything" - Monika Ringwald, Esther Anderson, Judy Huxtable and Kathy Simmonds

Monika Ringwald, Esther Anderson, Judy Huxtable and Kathy Simmonds – on the film poster it said ‘they try anything’.

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Fox and Cammell on set at Lowndes Square, Knightsbridge where the interiors of the film were shot.

Filming started on Performance in July 1968, a few weeks after the death of Cammell’s father, and the production was later called by Marianne Faithful a ‘psycho-sexual lab’ and ‘a seething cauldron of diabolical ingredients: drugs, incestuous sexual relationships, role reversals, art and life all whipped together into a bitch’s brew’.

The old Harrovian and ex-Coldstream Guard officer James Fox was chosen to play Chas – a professional criminal on the run from his gangland boss Harry Flowers. Fox had recently grown his hair and become a bit of a hippy and had also become a close friend of Mick Jagger’s (for a short while Fox, Jagger, Faithfull and Fox’s partner Andee Cohen were essentially living a menage a quatre and Cammell later even hinted that Fox and Jagger had been lovers). Looking for a hiding place Chas finds himself at the dilapidated Powis Square house of the fading rock star Turner (played by Jagger). Chas announces soon after his arrival – “What a freak show! Druggies, beatniks, free love… a right piss-hole.” Living in the house with Turner were his two girlfriends Pherber, played by Anita Pallenberg then Keith Richards’ girlfriend, and Lucy, played by the 16 year old French waif Michele Breton.

After some sexually-ambiguous explorations with Turner, Pherber and Lucy in addition to a particularly huge mushroom trip Fox/Chas starts to feel more comfortable with staying at the rambling Powis Square house eventually undergoing a personality change and a metamorphis into the Jagger/Turner character. At the beginning of the film Chas says ‘I know who I am!’ by the end of the movie it’s certain that he doesn’t.

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Cammell managed within the film, and to the chagrin of Pallenberg who realised what he was doing, to recreate a menage a trois that had existed between himself, Deborah Dixon and Michele Breton the preceding year. The trio were often seen together in Paris in 1967 but Cammell and Dixon had initially met Breton on the beach in St Tropez in 1966 when she must have been 14 or just 15. Sandy Lieberson, the producer of Performance, described Breton as ‘someone who didn’t care who she slept with. A strange little creature, totally androgynous-looking – the way Donald liked them.’ ‘Everybody was sleeping with everybody’, Breton later remembered, ‘it was those times’.

Indeed the production became infamous for its sex on and off the camera – one person working on the production described it as ‘the most sexually charged film ever. Everyone was fucking everyone. And Donald was a class-A voyeur.’ To confuse everything Pallenberg had also been a former lover of Cammell’s and during the filming of Performance she admitted that she, Jagger and Breton had actually consummated the threesome sex scene in the film. The more graphic footage of which found its way to an erotic film festival in Amsterdam a few years later apparently winning a prize. Keith Richards who never appeared on set but through mutual acquaintances knew something was going on between his girlfriend and his best friend and was often seen during the production fuming in his Rolls-Royce outside or the in the pub down the road. Overlooking all this one imagines a joyous Donald Cammell rubbing his hands in glee.

Michele Breton and Mick Jagger

Michele Breton and Mick Jagger

Pallenberg and Jagger

Pallenberg and Jagger

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Jagger, Breton and Pallenberg

Frames from footage shot by Anita

Frames from footage shot by Anita and which appeared in the magazine OZ

Cammell was not particularly partial to drugs, although he smoked hash occasionally and had tried the odd LSD trip, but perhaps Performance was the first film that portrayed drug-taking that was also made by people who took drugs as a normal lifestyle choice. The drug-taking that went on during the filming of Performance was legendary. The art director John Clark said ‘you took one breath and you were stoned’ and a crew member on the production said ‘you want to get a fucking joint, they’re coming out of your earholes. You want a cup of tea, you’ve got no fuckin’ chance!’

Cocaine, yet to be the rock star’s drug of choice, wasn’t mentioned within the film but the characters all smoked hashish, took mushrooms (when Chas first arrives at Powis Square there is a shot of the mushrooms growing in a tray by the front door along with a couple of mars bars wittily referring to the Redlands’ drug bust the year before) and we also see heroin being injected, as a ‘vitamin shot’, by Anita Pallenberg.

Anita and Mick on set

Anita and Mick on set

Turner tells Chas at one point in the film “The only performance that makes it… that makes it all the way, is the one that achieves madness.” And the drugs and the psychotic atmosphere on the set seemingly took its toll on the main performers. A year after the completion of filming James Fox, while performing in Doctor in the House in Blackpool was persuaded to join a religious movement called the Navigators and left acting for ten years to become a Christian evangelist.

Anita Pallenberg started taking heroin seriously during the filming and subsequently became heavily addicted to the drug. She said ‘I think Performance was the end of the beautiful sixties – love and all that. That film marked the end for me.’ She continued to be a heavy user of heroin for ten years and eventually split from Richards at the end of the seventies.

Not a lot was known about Michele Breton especially after the film had finished. Cammell later said that she had smoked too much hash and was frequently under the influence of psychedelics. Breton herself said in 1995 ‘I was taking everything that was going. I was in a very bad shape, all fucked up.’ Soon after the completion of the movie Cammell eventually drove her to Paris letting her stay at his flat for a couple of days he then told her that he didn’t want to see her again.

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Mick Jagger, perhaps alone amongst the main protagonists, came out of the experience mentally intact. According to Marianne Faithful, who helped him gain enough courage to act in the film, ‘Mick came out of it splendidly…he didn’t have a drug problem and he didn’t have a nervous breakdown.’ It could be said that the Turner became the character that Jagger used to present himself to the world – androgynous, decadent and sinister.

Donald Cammell’s subsequent directing career after Performance never really took off. The major film studios avoided him from the first screening of the film which couldn’t have gone more badly. One Warner studio executive wife literally vomited on her husband’s shoes while another executive after watching the film said ‘Even the bathwater’s dirty.’ The film was only released, almost two years after its completion, in 1970.

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Joan Chen and Anne Heche in Wild Side

Joan Chen and Anne Heche in Wild Side

Cammell completed just three films in the next 25 years, Demon Seed with Julie Christie in 1975, White of the Eye in 1987 and Wild Side in 1995. The studio behind his last film refused to release Cammell’s version and released an exploitative cut to Cable TV.

A year later Cammell, after a life time suffering from bouts of depression, committed suicide by shooting himself in the head. The myth is that Cammell aimed his bullet in such a way that he would be able to experience for several minutes what it was like to die. However according to the coroner he died pretty well instantly.

Keith Richards, who never forgave Cammell for letting Pallenberg and Jagger fuck on camera, once said of Performance ‘The best work Cammell ever did, except for shooting himself’.

Mick Jagger – Memo From Turner

DVD of Performance can be bought here and the soundtrack of the film from here.

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Mayfair, and the Deaths of Harry Nilsson, Mama Cass and Keith Moon

Saturday, October 11th, 2008

 


Mama Cass in London

Mama Cass Elliot famously died choking on a ham sandwich, everybody knows that. Except she didn’t. The myth started because the first doctor who examined her after her death, a Dr Anthony Greenburgh, told the press the next day:

“From what I saw when I got to the flat she appeared to have been eating a ham sandwich and drinking Coca-Cola while lying down – a very dangerous thing to do…she seemed to have choked on a ham sandwich”.

Dr Greenbugh overlooked the rather important fact that the sandwich was by the side of her bed and lay untouched but by then it was too late. The press reported his initial comments and the doctor unwittingly gave rise to the sandwich myth.

Elliot actually died from the far more prosaic “fatty myocardial degeneration due to obesity” in other words natural causes due to being overweight – she was prone to going on crash diets which in the end fatally weakened her heart. The sandwich story was a famous case of when “the legend becomes fact, print the legend”.

Mama Cass in Soho Square

Mama Cass in Soho Square 1969

Mama Cass in Soho Square

Mama Cass at Crockford's Casino in Mayfair

Mama Cass at Crockford's Casino, round the corner from Nilsson's flat in Mayfair

On 29 July 1974 Cass Elliot had just finished two nights at the Palladium and was pleased with the several standing ovations she had received. Before she went to bed she called her former band member Michelle Phillips who later recounted:
“She had had a little champagne, and was crying. She felt she had finally made the transition from Mama Cass”.

Cass Elliot was just 33 when she died.

9 Curzon Place in Mayfair (now 1 Curzon Square)

9 Curzon Place in Mayfair (now 1 Curzon Square)

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The small one-bedroom Mayfair flat at 12 Curzon Place (now 1 Curzon Square after some rather revolting 1980s redevelopment in the area) in which Cass Elliot died belonged to her friend the singer Harry Nilsson. He had bought it impressed with the location, it was near Apple Records (he was a good friend of The Beatles) but more importantly near the Playboy Club and Tramps disco.

The top floor flat, behind the relatively nondescript exterior, had been designed by a trendy company called ROR which was run by Nilsson’s friend Ringo Starr and the designer Robin Cruikshank. Nilsson was away from London a lot and was very happy lending his place to his musician friends, of which he had many.

Robin Cruikshank interior

Robin Cruikshank interior

Playboy Club in London 1969

Playboy Club in London 1969

Hugh Hefner at London's Playboy Club in Park Lane

Hugh Hefner at London's Playboy Club in Park Lane

Keith Moon with Annette Walter Lax 1977

Keith Moon with Annette Walter Lax 1977

Keith and Annette the evening he died

Keith and Annette the evening he died

Four years after Cass Elliot died at Harry Nilsson’s flat, Keith Moon, after fitting in enough partying and convivial nights in his short life for about a hundred people, died of an overdose of Heminevrin tablets in the very same bed. On the day he died Moon had woken at 7.30am and he asked his girlfriend Annette Walter-Lax to cook him a steak.

After she complained about cooking him another meal he said,

“If you don’t like it, you can fuck off”

Unfortunately for Keith these ended up being his last words. He ate the steak while he watched the film The Abominable Dr Phibes but he fell back to sleep after taking 32 Heminevrin tablets which were prescribed to help alcohol withdrawal. Unfortunately six are enough to be fatal and Moon never regained consciousness. He was found dead by his girlfriend Annette later that afternoon and he was cremated at Golders Green Crematorium a week later.

Moon the Loon was only thirty two when he died, but dying young didn’t come to anyone’s great surprise – he was one of the greatest partiers ever. He once outlined his typical daily diet to a doctor:

“I always get up about six in the morning. I have my bangers and eggs. And I drink a bottle of Dom Perignon and half a bottle of brandy. Then I take a couple of downers. Then it’s about 10 and I’ll have a nice nap until five. I get up, have a couple of black beauties [also known as Black Birds or Black Bombers and are a combination of Amphetamine (Speed) and Dextroamphetamine], some brandy, a little champagne and go out on the town. Then we boogie. We’ll wrap it up about four”.

All in all not the usual recipe for a long and healthy life but he sure fitted in some fun while he was around.

Carousing

Carousing

more carousing

more carousing

Mama's Got A Squeeze box

Mama's Got A Squeeze box

Harry and Keith became friends in the first place because of their mutual love of the booze. They met on a set of a film produced by Ringo Starr called Son Of Dracula with a number of other musicians. Keith remembered:

“We were supposed to be on the set at six, but it was nine before everyone was there. Then somebody brought out a bottle of brandy. Me, I think. Ah-Ha-Ha-HAHAHA! And Peter Frampton said no, no, too early, and some of the others said no. But ‘Arry was standing there with an ‘alf-pint mug. I knew at that moment it was destiny put us together. Ahhhh-HAHAHAHAHAHAHA!”

After the death of a second friend in his bed Nilsson quickly sold his flat to fellow Who member Pete Townsend and moved back to Los Angeles permanently. Of course like Cass, and especially Moon, Harry Nilsson liked having a good time and his consumption of drink and drugs were once described as Herculean, which is one way of describing pissing your talent away for over twenty years.

Marianne Faithfull once said about Harry

“we used to do drugs together. And when I say drugs, I don’t mean those airy-fairy drugs they do nowadays. I’m talking about narcotics.”

Elton John once described seeing Nilsson in a recording studio,

‘He opened his mouth to sing, and blood poured out, he had done so much coke that his throat just haemorrhaged. And do you know what? He didn’t even notice.’

Compared with his two friends however, he managed to live to a relatively grand old age of fifty two before his body gave up. After surviving one the previous year he died of a second heart attack in 1994. At his funeral it was said that aftershocks from the recent Northridge Earthquake rumbled in the background. A joke made the rounds during the funeral that the earthquake was the result of Harry getting to Heaven and discovering that there were no bars.

It’s perhaps interesting to note that Mama Cass, a person it would be fair to say liked a bit of food, died from trying not to eat with a heart fatally weakened by too many diets. Coincidentally Keith Moon, a man with a prodigious appetite for booze, died from an overdose of medicine prescribed in an attempt to stop him drinking.

I’m not sure if Nilsson died from anything that was the opposite of what he liked to do, but not long before his first heartattack he found out that his entire $5 million fortune had been embezzled leaving him and his family almost destitute.

It was said that he never really recovered from the shock. In 2001 the building at Curzon Place containing Harry Nilsson’s old flat was bought by a developer who completely changed the interior and the three flats on Harry’s floor were knocked into two luxury flats. In 2002 these were placed up for sale at one million pounds each.

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More information of the three deaths at www.findadeath.com

More information about Harry Nilsson at fortheloveofharry.blogspot.com

Harry Nilsson – Lazy Moon
Dr Hook – Mama’s Got A Squeezebox
The Mama and The Papas – 12.30 (Young Girls Are Coming To The Canyon)
Badfinger – Without You
Harry Nilsson – Wasting My Time
Ella and Louis – Dream A Little Dream About Me
Peter and the Test Tube Babies – Spirit Of Keith Moon
Mama Cass – Make Your Own Kind Of Music
Harry Nilsson – Simon Smith and the Amazing Dancing Bear
Harry Nilsson – Jumping Into The Fire

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