Another good book from Mr. Bogarde. ( )

This is the third of Bogarde's autobiographical works. I am reading these in random order as I stumble upon each book in second-hand book stores. Yet there is a continuity in Bogarde's writing that seems to make it easy to piece together. Each work is a standalone wonder of personal stories that are somehow vividly interesting. I "discovered" Bogarde after reading Thomas Mann's Death in Venice and then watching the movie of the book. I also "discovered" Mahler. After watching the movie, I have become more aware of the name of Dirk Bogarde and this has sent me on a mission to read all of his works (15 I believe). An Orderly Man is of interest because it covers the period of Bogarde's portrayal of Gustave Aschenbach. The work brings to life Visconti and other famous Art House directors and screen writers and presents in sharp relief the life of an English actor of the period working on the Continent versus the excesses of fame and fortune in Hollywood. Bogarde's humility shines through and it is difficult not to admire the "underdog" and his trials and tribulations. Mind you, living in Provence and existing by acting and writing are hardly the banal stuff of most people's lot. Yet the stories are fascinating, Bogarde makes a wonderful success of writing about writing (and acting) and finishing each of his books so far leaves me calmly contented and eager for the next book. ( )

A bit of a letdown after the first two installments of Bogarde's autobiography, but not too steep a descent. The action begins with the release of Visconti's Death in Venice, in which Bogarde delivers what I consider his finest performance: in fact, one of the most extraordinary examples of film acting ever delivered by anybody. Some other remarkable films are also covered in some detail, including The Night Porter and Providence. If his characteristic urbanity and detachment seem a little brittle in this volume, it really doesn't impede his ability to sustain amusement. Throughout, his asides on a multitude of topics are never uninteresting and usually quite original. For instance, he makes some remarks about the differences between British and American English that are as insightful as anything thought up by Henry Higgins. What a shame that Bogarde apparently never took on that role. ( )

This third volume of Dirk Bogarde's autobiography covers the apex of his acting career. It begins as work on Visconti's "Death in Venice" draws to a close, Dirk Bogarde is preparing his house in Provence as a retreat. It also covers the years in which he gave some of his finest, most sensitive acting performances and began his career as a writer, imposing order on a rich and varied life. ( )