An actor in his time: maybe an odd choice on the International Day Against Homophobia, but Dirk Bogarde arguably did just as much to ensure that the 1967 Sexual Offences Act forced its way through parliament in the teeth of entrenched opposition as numerous official committees, eminent persons’ reports, and discreet letter-writing campaigns.
Victim, made as he transitioned from the young, handsome matinée idol to a character actor and leading man of vibrancy and control, was risky territory. Farr Is Queer sprayed on the garage door of his character’s home was a brutal visual reminder of the sort of society Britain was at the time. Even getting the film made took guts.
“To the great majority of cinema-goers homosexuality is outside their direct experience and is something which is shocking, distasteful and disgusting,” commented the official censor, John Trevelyan, and he was actually trying to be supportive. Made it was, though, and a leading star taking on such a role undoubtedly helped, even in a small way, to create climate change on the issue. Predictions that playing a ‘queer role’ would kill the star’s career proved unfounded.
Bogarde, whose intense need for privacy and distaste for the political meant that he could never be any kind of spokesperson, portrayed a range of ambiguous, antiheroic, amoral, damaged, neurotic, manipulative, devious characters. How much he drew on an internal well of loneliness to find his sources can be guessed at from some of his own writings, for in a remarkable second innings he became a successful novelist and memoirist in the later years of his life, producing a string of bestsellers. “It’s all in the books, if you are to read between the lines,” he told an interviewer tetchily, when being questioned about his private life. He barely acknowledged Tony Forwood, with whom he lived for nearly 40 years, until after the latter’s death.
John Coldstream seems to be the perfect biographer to chip away the layers - thorough and non-judgemental, he cuts through the camouflage that wasn’t so much the actor’s mise-en-scène, more an entire manière de sa vie. If at times Dirk seems uptight or queenily vicious, or misogynist-misanthrope in his speech, it was part carapace, part ballad of the times. It doesn’t necessarily make up for it, but there are just as many examples of generosity, candour and kindness. And what would an actor’s biography be without a few bitchy asides, plates hurled, egos trampled - occasional gems from the acting profession, as Private Eye, in which he was a sometime investor, put it.
If anything, he seems to have created a character(s) for himself with the innermost self something of a tabula rasa. Even his name wasn’t entirely consistent and something of a fabrication. His desire - “just forget me” at death was maybe a sign that he thought it all a show. Fat chance, though - his body of work - the films and from his second career as a writer - is just too enduring and fascinating to be wiped from the memory.
Last word to Philip Hensher from his obituary: “What Bogarde did, and did with all the bravery one can reasonably expect, was present gay men with versions of their lives...He was, certainly, a bit of a missing link, but we couldn’t have done without him.”