DB7

Anita Pallenberg - romancing the Stones

Performance closed the 1960s with a Molotov cocktail of drugs, debauchery and death � off screen as well as one, Anita Pallenberg tells Chris Sullivan

“This film is about the perverted love affair between Homo sapiens and Lady Violence.� So read a telegram sent by the director of Performance, Donald Cammell, and his star, Mick Jagger, to the president of Warner Brothers early in 1970, attempting to convince him to release their film. “It is necessarily horrifying, paradoxical, absurd. To make such a film means accepting that the subject is loaded with every taboo in the book.�
Warners had thought that it was buying a crime caper starring the lead singer of the world’s biggest rock combo, that would capture “swinging London� and allow them to break into the coveted teen market. Instead, it received a violent, hard-nosed London gangster flick; a sado-masochistic, homoerotic, free-loving, psychotropic bag of snakes that didn’t introduce its most bankable asset (Jagger) until halfway through, and caused the wife of one of their executives to throw up at a test screening.



Performance, which is re-released this week in selected cinemas by the British Film Institute, is the twisted tale of Chas (James Fox), a smart-suited gangland heavy who falls foul of the Mob boss Harry Flowers (Johnny Shannon). Chas hides out in the spooky Notting Hill townhouse of the reclusive former rock star Turner (Mick Jagger) and his insatiable inamoratas � the gorgeous Pherber (Anita Pallenberg) and the androgynous Lucy (Michèle Breton). As Chas is sucked into Turner’s sybaritic world, he is plied with hallucinogenic mushrooms, becomes the butt of the trio’s twisted revelry and accepts the sexual advances of all three.

“Performance was Donald’s vision,� says Pallenberg now, still living in Chelsea and resplendent in a black Bella Freud pullover that proclaims “Ginsberg Is God�. “He was notoriously into threesomes, rock stars and criminal violence. He injected all of his deviant sexual fantasies into the movie.�

Cammell had been part of the Chelsea Set which was, as Nik Cohn so eloquently describes in his book Today There Are No Gentlemen: “A gaggle of public schoolboys, in search of a riot. Some of them dabbled in chicanery, some made exotic marriages, some turned homosexual.â€Â� Rumoured to be the godson of the notorious black magician Aleister Crowley, Cammell had been a painter in London but moved to Paris in the early 1960s to pursue a career in film. “That is where I met him,â€Â� says Pallenberg, who became involved in a ménage ÃÂ* trois with Cammell and his model girlfriend, Deborah Dixon. “He was completely star-struck and had all these mad movie scenarios, mostly about rock stars.â€Â�

When Pallenberg started her much publicised relationship with the Rolling Stone Brian Jones in 1965, Cammell was enraptured and became a frequent visitor to the court of King Brian. “I guess Turner was based on Brian,� says Pallenberg. “But it was all very superficial; Brian would ask me to do his hair and his make-up. He wanted to look like Françoise Hardy.�

If basing Turner on Jones was inspired, then recruiting Jagger to play him was a stroke of genius. After the infamous drug bust in February 1967 at Redlands, Keith Richards’s country house, both the police and the press were all over the band like a tattoo. By the time that Cammell and his co-director, Nicolas Roeg, started shooting, the mischievous singer was perceived by half the population as a glamorous, enigmatic desperado, and by the other half as the manifestation of every social evil. Having sold the movie as a Jagger vehicle, Cammell enrolled the services of Pallenberg who, as filming progressed in the late summer and autumn of 1968, found herself in the middle of a nightmare. “Donald was a real prima donna,� she recalls. “He would go into fits of rage and then disappear, while Nic Roeg would spend seven hours lighting one shot as we waited in the basement. I was often so stoned that even though I wrote my own dialogue, I didn’t know whether or not I had done my lines.�

The other problem was Keith Richards, who had saved Pallenberg from the physically abusive Jones in Tangiers in the spring of 1967, and with whom she was now living. He was scornful of the movie and jealous of her intimacy with Jagger. So, after returning home from filming, she would have to listen to Richards’s jibes, before jumping out of his bed the next morning and returning to Jagger’s four-poster.

So, how real were those sex scenes? Pallenberg now admits that they went beyond the call of duty. “But I put it down to method acting.� At one point she spent a whole week in bed with both Jagger and Breton: “There was a camera under the sheets. It was like a porno shoot.� Cammell and Roeg flanked the happy trio with a 16mm wind-up Bolex, and Roeg has said that even today he can see Cammell’s smiling face emerging from beneath the bed linen asking: “How was it for you?� Some of the footage was so explicit, however, that the film processing lab called to say that it flouted the obscenity laws and they were legally obliged to destroy it � which they did, with hammer and chisel.

Cammell, meanwhile, thrived on the friction. “Donald wanted my character to wind everyone one else up, which I was more than happy to do. I used to tease James Fox by saying that I had spiked his coffee with LSD. It was not an harmonious shoot, but that’s what Donald wanted: chaos, paranoia and grief,� recalls Pallenberg. “It was horrendous.�

The on-set shenanigans took their toll. They have been variously blamed for Fox’s rejection of acting for the next decade in favour of Christian vocational work, for Breton never performing again and for Cammell’s suicide in 1997 � he shot himself in the head, re-enacting the movie’s climax. Pallenberg is unconvinced. “James had already considered the road to Jesus when he had a breakdown and Michelle was never an actor anyway. As for Donald, he was always on the edge. But the myth is so much better.�

Rumours also abound that the actors were taking as many drugs as their on-screen counterparts. Spanish Tony, the Rolling Stones’ infamous drug dealer, claimed that both Jagger and Fox were smoking DMT between takes, a strange psychotropic drug that produces a 15-minute trip. “I didn’t see anything like that, but I wouldn’t be surprised. In those days things were a bit hush-hush,� says Pallenberg. “Spanish Tony was bringing me other things. By the completion of filming I was heavily into drugs.�

The other point of debate has been which co-director should take the greatest credit for the movie: the mercurial, doomed Cammell; or Roeg, who went on to have the more glittering career? Sanford Lieberson, the film’s producer, is emphatic that “Donald and Nic worked together in an immensely positive way. They discussed everything, and were inseparable. It was Donald’s concept. He wrote the screenplay, but the interpretation was a collaboration.�

“Nic and I had been friends for years,� said Cammell in a rare interview not long before his death. “We both read the same books, which to my mind is more important than seeing the same films.� Certainly Roeg’s dazzling use of different lenses, stocks and camera angles helped give the film its unique look. Whatever the case, their combined genius managed not only to paint an authentic portrait of London’s Bohemia, but also another 1960s archetype � the London gangster. They based Harry Flowers on Ronnie Kray, who by that time had an apartment in Chelsea and could be seen most nights mixing with the likes of Lord Boothby at the Krays’ gambling club, Esmerelda’s Barn in Wilton Place.

David Litvinoff, who was given the title of Dialogue Consultant and Technical Advisor, acted as their guide to the underworld. Marianne Faithfull described him as “a genuine mob boss�, and he was certainly a good friend of Ronnie’s. According to Christopher Gibbs, the film’s design consultant: “He didn’t have an affair with Ronnie Kray, but he used to pick up boys with him.�

It was Litvinoff’s job to help the decidedly posh Fox prepare for the role of Chas. “There was a sort of decisive moment,� said Fox. “Donald and Nic got terribly fed up with me being me. They sort of kicked me out and said: ‘Don’t come back until you’re Chas.’� Fox hung out at the gangsters’ favourite haunts and was trained in the pugilistic arts at the Thomas a Beckett pub on the Old Kent Road by Henry Cooper’s corner man, Johnny Shannon, a former heavyweight boxer who would eventually play Flowers.

“I made sure he worked the bag,� remembers Shannon. “He also did a bit of skipping and some sparring. When I first met him, he used to dress very flamboyant � floppy hats, long hair, flowery scarves, all that. I suggested to him that the “chaps� really don’t walk round like that. That was it. He wore his nice suits everywhere after that.�

Litvinoff also recruited the acting talents of John Bindon, who once bit off a man’s ear in a brawl � when he was berated by his friends, he gave it back to his lopsided adversary in a cigarette box. Bindon later killed a gangster named John Darke outside a pub in Putney. With Ronnie Kray as their model, and a gang of non-actors as the villains, Cammell and Litvinoff exhibited the distinctly homoerotic side of the capital’s underworld. “Donald was very interested in all of that,� says Pallenberg. “He was most upset when he had to cut the scene where Jagger and Fox kiss each other.�

In the autumn of 1969 the finished cut was sent to Warner Brothers. Utterly appalled, they destroyed the print and ordered the directors to Los Angeles to re-edit. Roeg, however, had to fly to Australia to make Walkabout, leaving Cammell and the experienced editor Frank Mazzola (a former LA gang member who taught James Dean how to wield a switchblade for Rebel Without a Cause) to rework the film. In trying to fulfil the studio’s brief of losing much of the sex and violence, the pair employed a series of rapid cuts that proffered less of the offending material, but which also effectively upped the tension and revolutionised for ever the art of film-making.

Released in the US in the summer of 1970, Performance was panned by the critics. Richard Schikell of Time magazine called it the “the most disgusting, the most completely worthless film I have seen since I began reviewing�. Britain, though, was more understanding. In January 1971, after a charity premiere for the drug charity Release, it was embraced by the underground press, the youth turned out in droves and it became an instant cult classic.

“The movie seems to me to be about the end of an era of hippy innocence, free love and sexual experimentation,� reflects Pallenberg. “It’s about how all these exterior forces personified by Chas came in and changed everything.� Its uncanny prescience had become only too apparent by the time of its release: Jones had by then been dead for two years; the Kray Brothers were in prison; and the murder at the Rolling Stones concert in Altamont had chilled the international psyche.

Still as powerful and perplexing today as it was on release, Performance is best summed up by its succinct tagline: “This film is about madness. And sanity. Fantasy. And Reality. Death. And life. Vice. And Versa.�

Performance is out on selected release; visit www.bfi.org.uk.

sippog

I've probably seen this film more than any other in my life. Every new girlfriend used to be dragged to see midnight screenings (in the days before video) and each time I have a different reaction to it - not necessarily always good, but it continues to fascinate me to this day.

For fans of it, can I recommend "Your Face Here" (Catterall and Wells) an anorak targeted book on cult Brit movies which goes into exhaustive detail on locations and filming. For a real insight though: read Sarah Miles' biography. She was hanging out with James Fox and Mick Jagger at the time and there was plenty of "sexual ambivalence" in the air by her account.

Forget the crudities of "Velvet Goldmine" , this is the film that defined the beginning of the 70's - no question. And a pretty damn good soundtrack too; just a pity the Tristrams at the Beeb keep nicking that eerie mouthbow music for naff adverts.

Why is there only one monopoly commission?

DB7

Story Of The Scene: 'Performance' Nicolas Roeg & Donald Cammell (1970)
By Roger Clarke
Published: 17 November 2006

By 1968, the cinematographer Nicolas Roeg, who had distinguished himself with his work for François Truffaut (Fahrenheit 451) and John Schlesinger (Far from the Madding Crowd) had become a familiar figure in the Rolling Stones/Beatles/Robert Fraser/Chelsea demi-monde of Swinging London. In the summer of that year, he put his contacts to good use by making Performance with Donald Cammell, a painter who had recently reinvented himself as a scriptwriter. They moved into a house in Notting Hill, west London, and made one of the most groundbreaking films in British cinema.

The story of a gangland boss who improbably goes to ground in the crumbling house of a pop star played by Mick Jagger, it features two famous scenes involving the Rolling Stones frontman - then at the height of his powers. The surreal "Memo from Turner" sequence was a trippy fantasy in which Jagger donned a dapper suit and tie and started behaving like a gangland boss. But the scene that caused the most fuss was Jagger in bed with Anita Pallenberg and Michèle Breton. Mia Farrow was supposed to be the Breton character, named Lucy, but had broken her ankle.

A couple of large and powerful lights were aimed at the bed. Using a 16mm Rolex camera, operator Mike Molloy found himself under the sheets in what turned out to be a very long and very genuine sexual encounter between the three stars. "When I came up to reload the camera, Nic said: 'sod this, you're having all the fun', and dived under the bedclothes himself," he later told Quentin Falk of the Bafta magazine.

When the 10 rolls of film were sent to the lab for development, Roeg and Cammell found their production in trouble. The footage was dubbed pornographic and the lab deemed itself criminally liable for prosecution. Roeg's employee Chris O'Dell supervised the destruction of much of the material.

But some of the footage escaped the net, and according to one apocryphal source, was distributed in Holland as a porn film. The final bowdlerised version of the film (which still has four edits circulating - the cuts were ordered by Warners) was mostly finessed by Cammell after Roeg decamped to Australia to make Walkabout.

It remains something of an irony that Jagger's best and most memorable film role should be modelled on his friend and nemesis Brian Jones. Many years after the film's release, Jagger told author Colin McCabe that the myths still swirling around the film were "so good I can't deny them". Its themes still enthral British film-makers, drawn to its flavour of Kray-like gangsterism, urban decay and decadent rock stars.

Nick Dando

Shouldn't it be a Bolex rather than a Rolex?

Nick

woollyrockers

The first time I saw this I hated the ambiguous ending and thought it was a lot of pretentious nonsense. I only came to appreciate it after seeing it again at the NFT again. I loved James Fox's Performance in it. Didn't it send him a bit crazy, though? I read his autobiography and he ended up becoming a sales man for telephone hygeine products, or something equally random.

Yes Sarah Miles's books are all great...Marianne Faithful's, too! Gotta love saucy decadent rock star gossip!

DB7

Performance: Anita Pallenberg talks about the notorious Sixties film
By Chris Sullivan
Published: 16 March 2007

At the centre of international counter culture for the last 40 years, Anita Pallenberg co-starred in two of the most stylish and influential films - Barbarella and Performance. She came to the attention of the British public as the girlfriend of the Rolling Stone Brian Jones, whom she left for Keith Richards - the father of her two children, Marlon, now 37 and Angela, now 35.

"But I'd been around a lot before I met any of the Rolling Stones," says Pallenberg, in her beautiful, wood-panelled, apartment overlooking Chelsea Embankment. "I was in Rome in 1960 just as La Dolce Vita was happening and met [Federico] Fellini, Alberto Moravia, [Luchino] Visconti and [Paolo] Pasolini. Then I went to model in New York in 1963 and hung out with Andy Warhol and all the Pop artists, and met the Beat poets. And then I went to Paris." On a modelling assignment in the French capital, Pallenberg secured a part in director Volker Schlöndorff's new film, A Degree of Murder.There she met Donald Cammell, the writer and director of Performance.

The film, which is released this week for the first time in the UK on DVD, is the tale of Chas (James Fox), a sadistic, sharp-suited London gangland enforcer who, by killing one of his own, falls foul of the boss Harry Flowers (Johnny Shannon) and hides out in the home of the reclusive rock star Turner (Mick Jagger). And as Chas is sucked into Turner's world of Eastern mysticism and Western debauchery, he is plied with hallucinogenic mushrooms, accepts the advances of Turner and his sexually insatiable inamoratas - the stunning Pherber (Anita Pallenberg) and the androgynous Lucy (Michèle Breton) - and loses the plot.

Praised by Martin Scorsese, Bernardo Bertolucci and Stanley Kubrick, Performance is held in high esteem as one of the great British gangster flicks. The film-makers based Harry Flowers on Ronnie Kray. "David Litvinoff [who Marianne Faithfull once described as 'a genuine Mob boss'] was a great friend of Ronnie Kray and was given the title of dialogue consultant on the film," recalls Pallenberg. "But, really, he was Donald and co-director Nicolas Roeg's passport into the underworld. He knew them and took James Fox around London to meet the real guys."

Performance managed not only to accurately depict the archetypal Sixties hoodlum but also captured the avant-garde bohemianism of the era. "I guess Turner was based on Brian Jones to a certain extent," says Pallenberg, who often entertained the star-struck Cammell at the house she shared with Jones between 1965 and 1967. "Donald was part of that thing when English intellectuals mixed with rock stars and discussed Eastern mysticism, sat on exotic rugs, burnt incense and smoked hash."

Besotted with the Stones, Cammell engaged the services of Mick Jagger and sold the film as caper movie that would capture "swinging London" and allow Warner Brothers to break into the coveted teen market. He pulled in Pallenberg to replace Tuesday Weld, who had broken her neck, and started shooting exterior shots at 25 Powis Square and interiors at 15 Lowndes Square, Knightsbridge in the late summer of 1968.

"It was an absolute nightmare," recalls Pallenberg. "Donald was a real prima donna - going into fits of fury, screaming, shouting and trying to put all of these mad, deviant, perverted sexual scenarios into the movie. Nic Roeg would spend seven hours lighting one shot. We'd sit huddled together in the basement, shivering, getting stoned and waiting for scenes that we would eventually do maybe 28 times. It was all very, very messy."

Adding to Pallenberg's discomfort was the understandably miffed Keith Richards who had to watch his significant other jump out of his bed and into Jagger's. "I hated it," admits Pallenberg. "At night I would go home and Keith would be slagging off Donald and the movie."

Some of the scenes, encouraged by the salacious director, were so explicit that the processing lab called to say that they breached obscenity laws and that they were obliged to destroy them.

"It was like a porno shoot, and Donald loved it," recalls the actress. "At one point I spent a week in bed with Michèle and Mick. There was a camera under the sheets and there was all kinds of sex going on but I put it down to method acting." But when asked, categorically, if sexual congress did actually occur Pallenberg is unequivocal. "No, it never did. I was a one-man girl at the time and Keith was the man for me. I loved him. And anyway, Jagger was the last guy I would have done that with."

While the three cavorted, Cammell courted chaos, encouraging Pallenberg to do her worst. "Donald used my character to make the rest feel ill at ease," she recalls. "I'd tease James, telling him I'd spiced his coffee with LSD. It was not harmonious. And that was what Donald wanted - pandemonium and paranoia." Such shenanigans have been blamed for Breton never acting again, Fox abandoning his craft for the next decade in favour of Christian vocational work, and Cammell's dramatic suicide in 1997. But Pallenberg is not convinced. "The roots of all that were there before," she says, dismissively.

When the finished cut was screened in Los Angeles it caused one of the Warner executives' wives to throw up, didn't feature Jagger until halfway through and, instead of being the groovy London pop-meets-wisecracking gangland feature that Warner expected, was a homoerotic, sadomasochistic, sexually fuelled, venomous and violent London gangster flick. And so they demanded a re-edit. The resulting reworking of the film, overseen by Cammell (Roeg had gone to Australia to do Walkabout) and performed by Frank Mazzola (a former gang member who showed James Dean exactly how to wield a switchblade in Rebel Without a Cause), employed a series of rapid cuts that, designed to lose much of the offending sex, drugs and violence, gave the film its breakneck pace, upped the tension and revolutionised the art of film-making.

"The movie signalled the end of the hippie era and the end of innocence," asserts Pallenberg. "It was as if the James Fox character personified all these exterior forces that polluted this rather naive world, and things were never quite the same again." Although the film led to other roles, by 1976 Pallenberg had lost interest, as her drug and alcohol abuse spiralled.

But, of late, she has seen her acting career blossom once again. Scheduled for release later this year is the cult director Harmony Korine's eagerly anticipated Mister Lonely, in which she co-stars as the queen of England, while this month she is back in Cinecitta studios in Rome acting in Abel Ferrara's Go Go Tales, starring Willem Dafoe, Bob Hoskins, Matthew Modine and Asia Argento. "I've often been in the right place at the right time," chuckles Pallenberg. "I guess it's a knack."