Lola Montez: A Life

I picked this book in the local library to read about how King Ludwig I of Bavaria's lover ended up in a circus, according to the film by Max Ophuls. It was to my astonishment to learn that Lola Montez never performed in any circus and that she died quite a wealthy person; and that much of Ophuls film was a fantasy, a fact that the author promptly addresses on the last pages of the book. However, the book is truly great and turned out much more than I had expected. I found pages on King Ludwig I of Bavaria extremely informative, providing great insight in the times and morals of Bavaria, Germany and overall Europe of mid 19th century. My particular fascination with Wittelsbachs was grown from the grandson of Ludwig I, i.e. the notorious Ludwig II, and having been to Nymphenburg some years ago and seeing the Gallery of Beauties (Schönheitengalerie) there, remotely hearing the famous story of the overwhelming passion of the King for the dancer was enough to keep me glued to the pages of this book. For those who want to find the origins of Ludwig II extravagance, particularly his devotion to Richard Wagner, so immortally depicted in Visconti's "Ludwig", this book about his grandfather gives all the answers. I have discovered that Ludwig I was already a complete autocrat, incredibly stubborn and foolhardy, at a point of self-destruction; needless to say, he passed the disposition to his grandson Ludwig II. Yet Munich and Bavaria owe their reputation of architectural and artistic beauty and prestige to these monarchs, to places, among many others, as Nymphenburg Palace where Ludwig I lived and Ludwig II was born, to famous Schloss Neuschwanstein, where male-loving Ludwig II retreated to live the dreamy life with his minions. The grandfather, after all, was much more modest since he was content with only one female lover, 38 years his junior, on whom he spent a minuscule amount, compared with Ludwig II, who almost bankrupted the state. It is interesting to see how German/Bavarian state officials did not hesitate to resist the King, as Lola's naturalization affair clearly shows - the King's government preferred to resign instead of signing her naturalization certificate. There was a constitution, and they used it fully in their disagreement with the King, asserting their independence as citizens. Such resistance and dignity are completely unthinkable in Latin countries and in a period of Louis XV, who is mentioned here as a comparison of a dissolute behavior that dag a pit for the social revolution. One can contemplate further that there must be such a dramatic difference on the aspect of love between Latin and Germanic countries. We have examples of monarchs and persons of Royal blood following their heart passion: in Germany: Ludwig I, losing his kingdom over the passion to Lola; in Austria: Francis Ferdinand, Archduke of Austria, whose desire to marry Sophie, countess von Chotek, a lady-in-waiting, brought him into sharp

The editorial blurbs give the basic facts of Lola's life, but what they cannot convey is the verve with which Bruce Seymour tells her tales. A prefatory note acknowledges the game show Jeopardy as enabling him to write the book thanks to his winnings. His four years were well spent. Seymour, therefore, is no ordinary scholar on the tenure track. As a lawyer, he brings skill in analyzing documents and developing contexts within which Lola and her conquests could act within and beyond the force of the law. He has certainly done his research, but this book wears it lightly and elegantly. Elegance for a girl from Cork who in less globalized times of instant celebrity and social networking could pose as a Spaniard, dance her way into the wallets and beds of countless besotted swains, and then, once dumped or dumping, move on to her next conquest seemingly for decades little the worse, at least on the surface, for wear. Lightly, or so she seemed, over years of unpredictable liaisons within the turmoil of 1848 and a Europe that threatened to topple the monarchies within which Lola worked her machinations and maximized her share of the winnings. While not the dour, earnest, or sharpish stereotype of the early feminist, nonetheless she pioneered the right of a woman to be heard and her power--in and out of the boudoir being formidable--to be taken seriously by those in quite influential positions of celebrity and/or acclaim themselves. Lola early perfected her ability to live by her quick study of her suitors, her rivals, and their relative positions vis-a-vis her own advantage. The blackberried and suited type-A CEOs finding and then shattering a glass ceiling in later years also may find that her life anticipates the troubles and the triumphs of being the first woman to successfully make into fact what Becky Sharp in Thackeray's "Vanity Fair" displayed in fiction. Lola certainly does remind you of a storybook tale, in all its complications, subplots, and, well, climaxes. This is one of my favorite books. It shows how to chart a life and from it extrapolate directions that intersect, far off, with our own condition-- as a good biography should do. Lola was one of the first mass media phenomenons. She spurred the newspapers to promote her and they were only too eager to do so. Of course, this could backfire, but she does, in her later years, appear to have thrived from no publicity is bad publicity. Yet, nearer her death, repentance did occur, and she follows again the narrative arc of so many 18 and 19c fictional protagonists. She managed to give as good as she got. The press pumped her up and cast her aside as both would sell papers. Her notoriety, carefully cultivated, managed to ensure that for much of the 19th century's middle decades, she would remain prominent, as much so at least as the nobles and royals with whom she connived and cavorted. Many of those enjoying via MySpace or YouTube through their Warholian fifteen minutes of fame today

Beautiful, lovely, sexy and fascinating -- makes me want to do a little Spanish dancing and start an adventure.