“It takes one day to die, another to be born…” Elizabeth Taylor reportedly said those words to her director Griffi when she came on the set the day after she left Richard Burton for their first divorce. So with that mindset she went to work on one of her most unusual, daring and controversial films. From the moment “The Diver’s Seat” begins you know you are in a strange place. In Europe the movie was called “Idendikit” so, with two names tagged to it thus making it schizophrenic from the first it easily falls into the realm of the ambiguous art film genre of the late 60’s and early 70’s. It’s star, Elizabeth Taylor, appears here in one of her most remote and dangerous roles. She plays Lise a woman who is consumed by insanity and the desire to find the ultimate lover, the be all and end all of boyfriends you might say.
As the film opens you are presented with a shattered view of a woman on the edge of something terrible. The camera moves in a disjointed way, past naked mannequins heads covered in tin foil. Is this Lise’s view of others or is it a reflection of her inner life? Or possibly her future. Upon being told to take a holiday from work after causing a scene in the office the film opens with her preparations to take flight to Rome. The film jump cuts from past to present as the police in Rome try to reconstruct the mystery of her holiday in terrorist gripped Rome. Even Rome comes off as off kilter. This is not the Rome of Audrey Hepburn or Marcello Mastroianni but a city one hardly recognizes from the lack of typical filming locations one associates with “Made In Rome!” movies.
(Lise meets Andy Warhol at Fiumicino International Airport)
Director Giuseppe Patroni Griffi succeeds in presenting a inimitably Italian cinema verite film of the Muriel Spark novel. This is a unique film and very much of it’s day. Its non-linear, experimental, almost documentary style will be hard to get into for any one not used to movies of this sort. But it is well worth the effort. So strange and challenging a film it is that it left the opening night audience at the 1974 Cannes Film Festival in stunned silence.
(with Ian Bannan)
The cast is well chosen and gives some oddly memorable performances. Ian Bannan as the macrobiotic sex-nut who tires to pick up Lise on the plane to Rome seems almost as mad as she is. It is a wickedly off kilter wild-eyed performance. The charming and always wonderful Mona Washbourne is sweetly touching as the woman who befriends the mad Lise and in doing so leads her to meet the man of her dreams.
(with Mona Washborne)
But the glue that holds it all together is provided by Miss Taylor who tops off her short list of insane characters from Susanna Drake (Raintree County) to Catherine Holly (Suddenly Last Summer) with this daring and shocking portrait of Lise. She opens up as an actress that at the time would have been unthinkable to most of her contemporaries from the old M.G.M. days. That’s one of the wonderful things about her film career. She came from an era in old Hollywood where she was trained and groomed to be glossy and perfect. But as times changed so did she and in doing so became much more than an MGM glamour girl, she became an actress with guts. In “The Driver’s Seat” she shows her chops as an actress and her willingness to accept challenges in her roles and in Lise she found a great one. One stunning image of her is when in her loud madwoman dress and raccoon painted eyes she challenges the airport security to frisk her. In that scene she seems totally there, totally gone, and totally in control as an actress.
Even the sweetest perfume has a hint of madness in it. That darkness must exist in a perfume or it has no chance of being complex or perhaps even a classic in time.
Perfume played a huge part in the theater which was Elizabeth Taylor’s life. A life lived before us all which unfolded in a flurry of purple and glittering diamonds in the center of the strobbing glare of paparazzi press for the last half of the twentieth Century. She was famous for wearing Bal a Versailles when she conquered not only Rome in 1962 but but also the denunciation of her by Pope John XXIII. Later in the 1980’s she created Elizabeth Taylor’s Passion and thus launched “Celebrity” Perfumes in to a realm yet untested. Her perfume “White Diamonds” is still to this day one of the top sellers on the market.
(Elizabeth Taylor and Andy Warhol
at the 1974 screening of Identikit ~ The Driver’s Seat at Cannes)
It is interesting to ponder what perfume Elizabeth Taylor’s character Lise might have worn in the film “The Driver’s Seat”? Symbolism and nonverbal signals are an important aspect of her character, from her wardrobe, the way she applies her makeup and even the book she carries with her on her travels. Every visual aspect is covered in her quest. So, there must be a fragrance she employed to attract that which she seeks and in the end finds in the darkest part of the Borghese Gardens in the heart of Rome in the dead of night.
This fragrance must be green and full of life and promise and yet carry a dark heart and of the period, the early 1970’s. For Lise it would be Chanel No. 19 Eau de Parfum (1970). The last perfume made during Mademoiselle Chanel’s life, named for the date of her birth and a personal favorite of hers.
It is known and loved as a superlative Green fragrance. It is in fact onion like in its layers upon layers of facets. Like enfiladed rooms opening one upon another leading to an unknown end. In fact, it is the marriage between the fresh crisp smell of grass and the opposing heavy indolic white flowers all wrapped up in a fine supple leather which only hints at its complex schizoid nature. It is like slipping on a fine pair of white kid gloves be they for horseback riding in a French wood in spring or driving gloves for that mad getaway drive along the Amalfi coast in winter. Both rides are just on the edge of losing control.
Then the darkness comes. It comes from the interior of that leather where deep under its folds you find nestled a dark dirty vetiver and a deadly serious oak moss. And deeper still below that there is the deeply sensual and frankly fleshy sex of Iris or perhaps full blown oris butter. Slipper smooth and intoxicatingly drenched over a softly sweet and green narcissus. The rose that lies in there near the heart is bleeding and barely alive encased in a coffin of sandalwood. And upon this coffin, is placed a wreath of lily of the valley and ylang-ylang. There under all that green rebirth in its beginning is the solemn promise that it will die.
No. 19 is in fact like Lise very beautiful and hides a complicated inner world of Belle vie et mort inéluctable. As Lise moved ever closer to her rendezvous in the dark gardens of her soul in the center of the eternal city she must have smelled the clean green of the grass and the bereavement in the decaying flowers where she lay down.
One of the most wonderful aspects of No.19 is that anyone, man or woman can wear it. and at any age. It is timeless, ageless, classic and yet very modern.