The discovery of the remains of the Palace of Greenwich – where Henry VIII. Mary I, and Elizabeth I were all born – has caused great excitement in the archaeology world over the last couple of days. I should say it’s caused a great buzz, since most news reports are focused on the discovery of an area in which it is believed that the Royal bees were kept for making honey. Originally called the Palace of Placentia, it was the primary London-area residence of the Tudors, beginning with Henry VII in the 15th century, who significantly expanded the Plantagenet palace which stood on the site. The Tudor residence was torn down by the Stuart monarch Charles II in the late 17th century, as he intended to build himself a vast new palace on the site – which, as it turned out, was never completed.
If you’ve been to London, you know that today the site is mostly occupied by a group of singular buildings: the Queen’s House, a small royal residence by the English classical architect Inigo Jones, and the grand Old Royal Naval College, a joint effort by three of England’s most important Baroque architects: Sir Christopher Wren, Nicholas Hakwsmoor, and Sir John Vanbrugh. The most famous feature of the latter is its Painted Hall, which features a vast ceiling and wall paintings by Sir James Thornhill. Thornhill’s work celebrates the anti-Catholic effort to overthrow the Stuart Dynasty, spearheaded by the Dutch Protestant William of Orange and his English wife Mary – a repulsive, whinnying horse of a woman, who betrayed her father in order to get herself a nicer throne. As propaganda pieces ago, it really is over the top:
Coincidentally, over the weekend I happened to catch one of my favorite films, “Indiscreet” (1958), starring Ingrid Bergman and Cary Grant, which has an interesting connection to this hall at Greenwich.
Someone once described “Indiscreet” as a “soufflé of a movie”, which is an entirely accurate description. It doesn’t have a particularly high rating on most movie rating sites, probably because it’s a piece of entertainment that is meant exclusively for grownups – and perhaps somewhat sophisticated grownups at that. If you appreciate subjects such as art, ballet, currency policy, fashion, international politics, and theatre, brought together in the form of an unsung operetta – complete with plot devices such as disguises, jealousy, mistaken identity, romantic escapades, and the tinge of social scandal, all topped off by a memorable musical score – this is the film for you.
There are two critically important scenes in the film which were shot on location in the Painted Hall. These days location shots like this would not cause us to bat an eyelid, since they have become commonplace, but at the time they enormously increased the costs of production. This is particularly the case in “Indiscreet” given that, in both scenes, the Painted Hall played host to events that required hundreds of very well-dressed extras.
The first scene at Greenwich is a sequence in the early part of the film in which Bergman, invited at the last minute to a white tie dinner lecture where Grant is to be the guest speaker, begins to become infatuated with him. As you can see here, although he is supposed to be talking about post-war currency integration, which with hindsight we realize is a distillation of some of the main talking points in favor of the creation of what is now the Euro, he is perhaps more interested in his dinner partner than in the gold standard.
Similarly, Bergman doesn’t know a thing about international finance, and yet you would think she was listening to one of the best speeches she has ever heard.
The second scene shot in the Painted Hall comes close to the climax of the film, when the two return to Greenwich for a formal dinner dance. It gives you the very rare cinematic sight of two of Hollywood’s most famous stars dancing together for quite a good length of time – something which Bergman herself very rarely did on film. While the two dance somewhat conventionally for part of the scene, Grant is given the opportunity to show off his slapstick skills – he trained as an acrobat before appearing in Vaudeville, something which many people forget – to great effect. Unfortunately what he doesn’t realize at this point in the film is that Bergman has discovered an important secret that he’s been hiding from her, which explains the annoyed expression on her face.
Whether you’ve seen the Painted Hall at Greenwich or not, seeing “Indiscreet” is well-worth the effort. It captures a time in Western history in which we aspired to be something more than what we are – and something more, in fact, than what we have now become. I think you’ll find it a wonderful slice of light, enjoyable escapism for a Saturday night.