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http://www.thestar.com/comment/columnists/article/306347
Birkin's life her most enduring work of art TheStar.com - entertainment - Birkin's life her most enduring work of art
Set to play Toronto for the first time, '60s icon hesitant to take credit for her achievements
February 24, 2008
GREG QUILL
ENTERTAINMENT COLUMNIST
"I hope you're not disappointed," were the last words Jane Birkin said during a recent fractured phone call from Warsaw.
It's a strange way to end a conversation, particularly one engineered to promote her first Toronto concert – tomorrow night at the Music Hall. It's not as if Birkin, now 60, has suffered the indignities of poor reviews, or ever been held up to ridicule.
Au contraire. She has led a bulletproof life. The daughter of a British war hero/superspy and one of Noël Coward's most favoured actresses, she is connected to the Royal Family via a cousin's boudoir relationship with Edward VIII while he was Prince of Wales. Cast for her first stage role at age 16 by none other than the play's author, Graham Greene, after she had wandered in to the wrong audition and flubbed her lines, three years later she was hired by Italian movie auteur Michelangelo Antonioni to play a photographer's groupie in his groundbreaking 1966 essay on British pop excess,
Blow-Up. For that role, she gained instant international celebrity as the first woman to exhibit pubic hair in a commercial film.
She has appeared in more than 70 films and dozens of live theatre productions, including French director Philippe Calvario's acclaimed revival of
Electra in 2006, and recorded some 16 albums of often provocative and controversial music.
"Je. t'aime moi non plus," her 1969 collaboration with long-time lover, revered French chansonnier and composer, the late Serge Gainsbourg, was banned on half the world's radio stations and condemned by the Vatican for Birkin's orgasmic gasps, and remains both her most popular recording and her signature piece.
The famous Birkin Bag, designed by Hermès in the 1960s as a personalized carryall for one of the era's most sought-after media darlings and cross-cultural superstars, is a popular – and very expensive – fashion accessory to this day. She doesn't have one.
Birkin has given birth to three gifted children by three very famous fathers (Gainsbourg, British film score composer John Barry and French movie director Jacques Doillon), was awarded an Order of the British Empire and the French Ordre National du Mérite for her service to the dramatic arts, and wrote, produced and directed her own feature film,
Boxes, which was screened at the Cannes Film Festival in 2007.
She has championed humanitarian activities with Amnesty International in Bosnia, Rwanda and the Palestinian territories; immigrant welfare and AIDS issues in Europe and Africa; and the cause of Burma's pro-democracy activist and prisoner of conscience, Aung San Suu Kyi.
Her life, she has said, is her most enduring work of art.
So this almost pathetic sign-off to a long-distance chat hampered by a poor connection, interruptions from a frantic tour manager trying to get his star to a dangerously late pre-concert sound check, and an insistent hotel worker determined to service her room, hung in the air like a sad ghost.
During the interview she seemed deferential, oddly reluctant to take credit for her noteworthy artistic achievements, and a little too eager to dismiss them as the by-products of her relationships with powerful and creative men.
"People know me because of Serge and Jacques and Phillippe," she said. "I owe my career to them, particularly to Serge. Whatever attention I get is a sort of knock-on effect. I've been very lucky, but I've also worked very hard."
Still, stage fright is a constant enemy."I get extremely sick just before a performance ... it's the fear of letting people down. Playing Electra was agony, knowing I'd have to look out at the faces in the audience."
Her current show is a sort of Birkin cabaret revue comprising a lot of Gainsbourg, a nod to his fans who cling to her as the last living link to their hero, she said. On his death in 1991, he willed her a sizeable proportion of royalties from his catalogue, an acknowledgement of her role as his muse, despite the fact that she had left him years earlier for Doillon.
The show also includes material from her recent album,
Fictions, a recording of mostly Anglo songs written especially for her by Rufus Wainwright, Cali, and members of The Divine Comedy, as well as personal favourites by songwriters Tom Waits, Neil Young, Kate Bush and Beth Gibbons, among others.
To quell her demons, her crew came up with the idea of having her enter, singing, through the audience. "It works in smaller, more intimate venues," Birkin explained, her dialect a quirky blend of British theatre vowels and Parisian twang. "On a stage I feel as if I'm standing on a table."
One of the most intimately scrutinized stars of the 1960s Britpop boom and France's rich bohemian culture, Birkin said she has paid no price for her fabulous celebrity.
"A few turned against me when I left Serge, but I can't remember feeling that the attention I got was offensive or invasive. I didn't have gangs of paparazzi following me, exposing my every flaw, the way they do today with people like Britney Spears. I don't know how those young women cope with it.
"Then again, I'm very ordinary. At home in Paris I cross the road to the park in my pyjamas to walk my dogs. I do my own grocery shopping every afternoon. I don't live a star's life. I avoid flash places, though I'm perfectly comfortable at the tables of rich and famous people.
``For me the privileges of being well known are that I can pick up and go to Rwanda, or Kenya, or Gaza and Israel if I want, and work for the causes I've taken to my heart ... and to perform with my trio, provided we don't expect to make much money, in places I couldn't visit otherwise.
``I'm lucky I've had to slog it. When I was young, the word icon didn't exist ... you never heard it. I can't remember what those years were like, except that whatever I did, I was always freshly pleased."