hand.
The man she leads him to first is etiolated-looking, with blond hair so pale that it is almost white, receding on either side of the head severely. A thin face, with all of the bones visible beneath the skin. He is dressed in a wine-coloured suit – beautifully made, but with the unfortunate effect of making his complexion sallower still.
The Contessa moves into English. It is the first time Hal has heard her use it, and he is surprised by her fluency. ‘Hal Jacobs, meet Aubrey Boyd, who will be taking the pictures to accompany your article. This man is the only true challenger to Beaton’s crown, in my opinion. He is a simply splendid photographer – makes one look like a goddess. He has a way of making all one’s little wrinkles disappear. How do you do it?’ The Contessa is impressively wrinkled even for one of her advanced years. A life well-lived, Hal thinks, much of it in the full glare of the sun.
Aubrey Boyd raises one thin eyebrow. ‘I cannot reveal my magic.’ And then, quickly, ‘Though none was needed in your case.’
‘He did the most wonderful series on American heiresses, didn’t you, Aubrey? Posing like so many Cleopatras and Anne Boleyns. And let me tell you,’ she says to Hal, conspiratorially, ‘none of them will ever look like that again in their lives. I know that your pictures will look fabulous in Tempo.’
‘Yes,’ Aubrey says, a little dubiously. Hal has the impression that he sees the magazine as somewhat beneath him.
Next the Contessa is introducing him to Signor Gaspari, the director, hailed in recent years as a god of Italian cinema. The man cannot be taller than five foot five, the hunch of his shoulders robbing him of a couple of inches. Something about the way he stands suggests a body that has been put through more than its fair share of suffering.
‘My dear friend,’ the Contessa says, as she stoops to embrace him. ‘Meet our young journalist, Hal.’
‘I loved your last film,’ Hal says.
‘Thank you,’ Gaspari says, solemnly, without any visible sign of pleasure.
Hal remembers it vividly. The war-torn city, beautiful in decay. And that protagonist, the solitary man, wandering through it. His aloneness all the more profound for the hubbub of crowds surrounding him. The atmosphere of the film, the exquisite sadness of it. He tells Gaspari this.
‘You have understood my intention well,’ Gaspari says.
‘I wondered,’ Hal says, ‘whether you might have meant it as a lament for Rome – for the country? To what was lost in the war?’
Gaspari smiles – but it is a melancholy, downturned smile. He shakes his head. ‘Nothing so lofty as that, I’m afraid,’ he says. ‘My intentions were … much more human. The loss was one of the heart.’
Hal senses there is a story here – one he is intrigued to hear.
‘Another drink, Giacomo?’ the Contessa asks, as a waiter passes by with a tray.
‘Oh no,’ Gaspari waves a hand. ‘Thank you, but I must be returning to my room now. I wanted to come for a little while, but I am no good at parties. And Nina needs to go to bed.’ He glances down, and Hal follows his gaze to where a tiny dachshund sits, quite still, the black beads of her eyes trained on her master. Then Gaspari nods to them both and moves away, the dog trotting at his heels.
‘A wonderful man,’ the Contessa says. ‘A great friend, and a genius. Some, I know, think he is a little odd. But genius is often partnered with strangeness.’
‘He looks …’ Hal tries to think how to put it. ‘Is he well?’
‘He suffered greatly,’ the Contessa says, ‘during the war.’
Hal waits for her to continue, but she does not. She has turned towards another man, who is approaching them across the grass. He is elegant in fine, pale linen, with leonine hair swept back from his brow. A fingerprint of grey at each temple. He is not particularly tall, but there is something about him suggestive of stature. A trick of the eye, Hal thinks. A confidence trick. He smiles, revealing white teeth. Even Hal can see that he is handsome, in that American way. And somehow ageless – in spite of the grey.
‘Mr Truss.’ The Contessa’s smile is not the same one she gave Signor Gaspari. It is the smile of a diplomat, measured out in a precise quantity.
‘It’s a wonderful party, Contessa. I must congratulate you.’
‘Thank you. Hal, meet Frank Truss – who has been very supportive of the film. Frank Truss, meet Hal Jacobs, the journalist who will be joining us.’
‘Hal,’ Truss puts out a hand. Hal takes it, and feels the coolness of the man’s grasp, and also the strength of it. ‘Who do you work for?’
Without knowing why, Hal feels put on his guard, as though the man has challenged him in some indefinable way. ‘I don’t work for anyone in particular,’ he says. ‘But this piece is for Tempo magazine.’
‘Ah. Well.’ He flashes his white smile. ‘I don’t know it. But, clearly, I will have to make sure to watch what I say.’
‘I’m not that sort of journalist,’ Hal says. It sounds more hostile than he had intended.
‘Well, good. I’m sure you’re the right man for the job. Great to have you on board.’
He speaks, thinks Hal, as though the whole trip were of his own devising. Odd, but there is something about him – his statesmanlike bearing perhaps, his air of entitled ease – that reminds Hal of his father. A man who expects deference. And if he is anything like Hal’s father, it is an unpleasant experience for those that fail to show it.
As Truss moves away, the Contessa turns to him, confidentially.
‘He’s the money behind the film,’ she says.
‘Oh yes?’
‘A powerful man.’ She lowers her tone. ‘He has other business in Italy – industry, I understand. And … It is also possible that he may have certain connections here one would rather not look too closely at. I, certainly, am not going to look too closely at them. Perhaps investing in the arts looks good for him. But he describes himself as a man of culture: so that is how I will view him. And I like his wife, which helps.’
‘His wife?’
‘Yes,’ the Contessa searches the crowd. ‘Though I can’t see her here. Never mind, there will be plenty of time for us all to get acquainted. But – ah – there is our leading lady!’
It is a face known to Hal because of the number of times he has seen it in newsprint and celluloid form. Giulietta Castiglione. Her outfit is surprisingly modest, a sprigged peasant dress, cut high at the neck. Her small feet are bare, more likely a careful choice than real bohemian artlessness. She has black hair, a great thick fall of it – the longest strands of which reach almost to her waist. There is a hum of interest about her. All the men – old and young – are transfixed. From the elderly women emanates a cloud of disapproval.
They say she has already turned down marriage proposals from some of the biggest names in Hollywood and in Cinecittà. And she was engaged, for a period of precisely one week, to her co-star in the film that made her name in America: A Holiday of Sorts.
Hal caught A Holiday in a Roman cinema, dubbed into Italian. It was a blowsy comedy: an American ambassador falls in love with a Neapolitan nun – played, with improbably ripe sensuality, by Giulietta. It should have been the sort of film one might watch to while away a rainy afternoon and then instantly forget. But there had been something about the actress: the combination of knowing and girlish naiveté, the curves of her body at odds with that virginally youthful face. She had been disturbing, unforgettable.
In the flesh, her charisma is more tangible, and more complex. Hal, watching her dip her head coyly in answer to a question from one man, and then throw her head back and laugh in answer to another, quickly begins to realize that she had not been playing a