My Life with Cleopatra (16 page)

J
ANUARY
8, 1962

Rex has found out that Elizabeth’s chauffeur has all his expenses paid by us. He wants the same courtesy for his chauffeur. If we don’t agree, Rex says he won’t work tomorrow. I tried to get hold of Rogell to handle these matters and, in the meantime, tried to smooth things over.

J
ANUARY
10, 1962

Liz ill. No shooting. Peter Levathes in trouble.

Levathes, who was the white hope of the minority group, told me on Monday that at a board meeting in New York on Thursday he was going to be made executive vice-president of the
company. At the time he was executive vice-president in charge of studio operations, and he was riding high because he had so many television programs in work.

On Wednesday, however, he received word that all of his television shows had been canceled. At the board meeting he was bypassed for the new job. Skouras was now back in the saddle.

Peter was shocked; his ego and authority diminished. He was also in a very real bind. There was little production in Hollywood of television or films. He had a practically empty studio, with a tremendous overhead at home as well as on our picture in Rome.

Leon Shamroy wants to quit.

Leon said he sees no future in this production, which is constantly beset by problems. The fact is, his wife had a death in her family and had to return to the States, so he is miserable and lonely. This is a real problem, however, because Leon is a key figure. He has an entire crew depending on him and anything that upsets him can upset us.

I sometimes feel like a chaplain at the front line, which is also part of my job as a producer.

J
ANUARY
11, 1962

Liz is still ill. JLM not feeling well. Sid Rogell is all for moving the entire company back to America where there is idle studio space. Peter Levathes is also for the return to America and is still depressed and upset over his own situation.

J
ANUARY
15, 1962

Liz announced today that she and Eddie have adopted a one-year-old German orphan girl named Maria.

When she was in Greece with Eddie, long before the movie started, they were looking for a child to adopt and found one that seemed ideal. Skouras used his influence with the King and Queen, but it was the ward of a Catholic orphanage and the church refused to let the Fishers adopt the child.

Liz was upset for months because she wanted the child desperately.

Some months later when Liz was in Germany she found, through Maria Schell and Kurt Frings, another child. After cutting through a lot of red tape, things were arranged. Then the authorities discovered the child needed an operation and decided not to let the Fishers adopt her.

But Liz had her lawyers in America and Europe keep working on the problem. She kept it all a secret, although the emotional ups and downs of the adoption plus the child’s illness kept her in a state of anxiety.

When the baby’s hip deformity was discovered, friends of Elizabeth’s urged her to return the child. She refused. “She is my child,” Elizabeth said. “I want her all the more because she’s ill. Maybe I can do something to help.” As a result, Maria entered a Munich clinic for the first of a series of difficult and costly operations.

It is my belief that Liz sees herself as a mother-goddess figure. Part of her function, in her mind, is to bear a child by the man she loves. Since she has had three children by Caesarian operation, it is dangerous for her to have another child. So the adoption of Maria was terribly important to her and to Eddie.

Elizabeth’s own children are with her almost constantly. They are an important part of her life and she is dedicated to their welfare. Immediately after leaving the set at 6
P
.
M
. every day she rushes home for dinner with the children.

The villa where she and Eddie live was chosen especially because it allowed the children grounds to roam and play and enough room. A day after they moved in, it looked like a playground with toys all over.

Although Elizabeth is an indulgent mother who will provide her children with anything, she is very strict with them and they are extremely well behaved. Elizabeth Frances, the five-year-old, curtsies, and the boys shake hands like young gentlemen.

Whenever one of the children is sick Elizabeth spends all her time between scenes on the telephone calling the house and, on a few occasions, remained at home to look after the child herself.

9
P
.
M
. Giulio Ascarelli called to say Louella Parsons has a front-page story in Los Angeles that Eddie and Liz are going to get a divorce.

She didn’t quote any specific source but said she had it on good authority—the Roman press. The papers here, on the other hand, are now printing the story using Louella as their source.

We issued a denial to the effect that nothing could be further from the truth. There is always gossip—and someone to print it.

BOOK V
 
CLEOPATRA AND MARK ANTONY
[1962]

J
ANUARY
22, 1962

Liz and Richard Burton played their first scene together.

There comes a time during the making of a movie when the actors become the characters they play. This merger of real personality into the personality of the role has to take place if a performance is to be truly effective. That happened today.

The scene was written by JLM so that the audience would be aware that Cleopatra and Mark Antony are attracted to each other, although they had little to say—the scene was Caesar’s. The stage is thus set for the second half of the movie.

In the scene all the senators of Rome are called by Caesar to a meeting in Cleopatra’s villa in Rome. The senators are angry that they must meet in her villa, but they come because it is Caesar’s command. And Mark Antony for the first time is seen not as a warrior and friend of Caesar’s, but as the young protagonist, the man who will one day take over Caesar’s empire and his woman.

While other sections of the scene were being filmed I noticed Liz and RB sitting next to each other on the sidelines, intently talking. Liz was radiant—elegant in a simple yellow silk gown. Burton was wearing a knee-length, Roman toga that made him look handsome, arrogant, and vigorous.

When they were called, they separated for a moment, then met on set in their proper places. The cameras turned and the current was literally turned on.

It was quiet, and you could almost feel the electricity between Liz and Burton.

J
ANUARY
26, 1962

Distressing news from JLM, who asked me to come to his room. “I have been sitting on a volcano all alone for too long and I want to give you some facts you ought to know,” he said. “Liz and Burton are not just playing Antony and Cleopatra!”

JLM is close to Liz and Burton. He works with them all day and between scenes they sit and talk with him, so I knew he was not repeating to me the gossip that has been buzzing around the Via Veneto for the past few days. JLM’s concern meant that a real situation may exist.

I was concerned, too. Elizabeth is the pivot on which the entire film balances. As the producer, I do not want her involved in any emotional crisis. I have too often seen how distraught she can become when a person she likes is dismissed or a pet is ill. She was unable to work effectively during the trying time she was adopting Maria.

J
ANUARY
28, 1962

Eddie Fisher called to cancel lunch because he was going to take his children out for the day. He sounded relaxed and happy.

Evening. Went to a party at Countess Volpi’s palace.

The Countess is the widow of Count Volpi, Mussolini’s Minister of Finance. One of the most gracious hostesses in the world, she has a beautiful palace in Venice; an exquisite summer home in Circeo, which is where Ulysses was lured by the sirens; and a magnificent establishment in Rome.

The party was held in the ballroom of her Roman palace; the room was designed to resemble a modern and lush night club. Regardless of age, everyone from actresses to ambassadors was twisting.

Although the conversations were multilingual, they all translated into the same thing—gossip. Such parties, whether in Rome, London, or Hollywood, are all alike. People talk
at
each
other, vying for a chance to be the center of attention with some new and delicious tidbit.

Cleopatra
has titillated the Romans ever since we got here, because of its expense and lavishness, and everyone asked me if it was true about Liz and Richard. My stock answer to all questions was, “I don’t know a thing about it.”

The questioning was not the nosy, dirt-seeking kind practiced by certain journalists, however. The Romans are realists about affairs of the heart, and they accept and enjoy them as a normal part of life.

J
ANUARY
29, 1962

Eddie telephoned to say he is canceling his plans to go to New York.

I didn’t even know he had intended to go, nor did he give any reason for the last-minute change. I didn’t mention the rumors, nor did he. I suspect we both hope it will never have to be put into words. It’s still possible the situation will evaporate.

J
ANUARY
30, 1962

Liz told me at lunch that Eddie has changed his mind again, is going to New York for some recording dates. Since she is not needed for a few days, she is going to take a short holiday in Europe. I suggested she work, because I don’t want her drifting around Europe all alone.

F
EBRUARY
1, 1962

Eddie Fisher on the phone three or four times.

He said he has heard rumors but he finds it impossible to believe them. Liz is as sweet and devoted as always. He doesn’t know what to do, whether to stand by or go to New York as planned.

He loves the children and doesn’t want anything to happen to his marriage.

F
EBRUARY
2, 1962

I don’t know what to believe.

Someone told me Liz was at Burton’s villa. I called there immediately, then discovered Liz was at home packing to go with Eddie for a weekend in Paris. Rome thrives on gossip. For centuries it has been the whispering gallery of Europe.

F
EBRUARY
3, 1962

Liz and Eddie to Paris for the weekend. Burton to Naples with his brother, leaving Sybil here.

F
EBRUARY
4, 1962 A typical Sunday.

I read the London Sunday papers, which I enjoy. Called Doc Merman and found it would be impossible to shoot in the Senate, and the Forum is not ready. Called Eddie in Paris but couldn’t reach him so cabled him to return Monday. Charles Feldman, my agent, came to talk with me about a Christmas release for the picture, then took my car to go sightseeing. Doc Merman and Leon Shamroy came in to talk about Monday. Told Leon he must work if Liz returns, which I doubt. Doc had lunch with me in the room and we called Doc Erickson, the production manager, to tell him to stand by for tomorrow. Bob Haggiag, head of UA and an old friend of mine, called to discuss producing a film together, but I haven’t the time.

Sybil Burton called to put a doctor on the telephone. Roddy McDowall, who is a house guest of the Burtons’, has a boil which must be lanced. Roddy is now in bed and can’t work tomorrow but may be able to work Tuesday. Now must cancel shooting tomorrow after all. Called JLM to tell him there would be no shooting tomorrow, which did not upset him, as it gave him a full day to write. Shammy came back to find out what is going on tomorrow. Mel Ferrer and Arthur Panero came in for a session about a company I have shares in. Doc Merman returned to say
he was feeling bad. I got him some medicine and insisted he go to bed. Liz called from Paris sounding tired and said she will return Monday if needed. As usual she is co-operative. I told her it all depended on Roddy, and I would call her Monday morning from the studio if we need her. At 11
P
.
M
. JLM called to ask if I had heard from Liz and to tell me that Roddy was unable to work. No shooting tomorrow.

F
EBRUARY
5, 1962

Talked to Liz and Eddie in Paris.

Told them to stay another day, as we are not quite ready for her yet. JLM’s writing in his room.

Ascarelli says he needs a statement or a denial about Liz and Burton, because the press is driving him crazy. I told him the rumors were unfounded. There is no romance, therefore nothing to deny.

Then I asked Richard to come to see me.

“What’s up?” he asked me. “Am I fired, chief?”

“No,” I said, “I don’t want to rock the boat. You’re great in the part. But why do you think I want you off the picture?”

“Because of the rumors,” he said. “I don’t like them any more than you do—they are just as embarrassing to me as they are to you. I’m a selfish man. My main interest is acting. I want to be the best actor in the world, and I don’t want anything to interfere with my acting career. I’m happy with Sybil, who I know will help me in my career.

“I am an independent man, and I can afford to quit this picture tomorrow—I’ll do it rather than become involved in something I am not proud of. I will not allow anything to hurt my career or my marriage. And I won’t do anything to harm Liz, who is a wonderful person.”