Reflections
February 22, 1998
KLYCE: Welcome to “Reflections.” I’m your host, John Klyce. Today we’re joined by Maria Vinakayam, director and co-writer of the historical K-graph One Last Adventure, a finalist for the Kinematographic Institute of America’s 1997 Nonpareil Award in the categories of Entertainment, Direction, Lead Actor and Lead Actress. Welcome to the show, Mrs. Vinakayam.
VINAKAYAM: Thank you.
KLYCE: Now, rather than go into your personal history, which has already been covered in several interviews, I thought we’d go into the background of the K-graph itself—the original incident that gave rise to it and the various other attempts to bring it to the screen.
VINAKAYAM: Thank you. I never thought I’d get tired of telling the story of my nana’s[1] restaurant.
KLYCE: What drew you to this particular story, which has been depicted a number of times already?
VINAKAYAM: Well, with all due respect to previous directors, I made my own version because, obviously, I wasn’t fully satisfied with theirs. Most of them seemed to err on the side of romanticizing the story, presenting the situation almost the way Lord Byron saw it. On the other hand, the last one, twelve years ago—The Great Rescue—have you seen it?
KLYCE: Yes, I have. More of a grim K-laugh[2], wasn’t it?
VINAKAYAM: Yes—deliberately so. ‘Silly natoroo[3] aristocrat and clever young thopsocrat[4] team up to save a stupid fat inbred princess from a stupid inbred king’—they weren’t subtle about the Elmarism.
KLYCE: So it went too far in the other direction?
VINAKAYAM: Yes. As I see it, the story of Lord Byron’s attempted rescue of the Infanta María Isabella is… not a romantic story, but a story about romanticism, if you understand the distinction. A story about Byron’s belief in himself, in the sort of person he was and how it made him see the world and what it made him do. And at the same time, there was the reality of Spain in 1832.
KLYCE: Tell us a little bit about that.
VINAKAYAM: Certainly. So—King Fernando VII was dead. His daughter, María Isabella—I don’t know why we keep calling her a princess, she was a queen—was officially the monarch, but nobody thought she was prepared to take the job. Her mother, also named María Isabella[5], was supposed to have served as regent, but she died the previous year during a miscarriage. The most obvious solution was for the king’s brother Carlos, duke of Molina, to become her regent. But he would not accept that title. He wanted to be king, he honestly thought God’s plan for himself and Spain was for him to be king, and there was a growing faction in Spain that wanted him there.
KLYCE: Because he was a man?
VINAKAYAM: That was partly it. Partly it was just that he was a stronger leader and obviously up to the job. Don’t misunderstand—I’m not expressing support here. As I see it—just my personal opinion here—the two biggest criteria for judging a potential leader are agenda and competence. What does this person want to do, and how good is he or she likely to be at it?
KLYCE: What about honesty versus corruption?
VINAKAYAM: I file that under agenda. If the list of things a leader wants to do include help out friends or grab a big pile of money, obviously… but in the case of María Isabella—honestly, it’s hard to say what her agenda was. I mean, politically, she was… she was fourteen, is what she was. There’s just not a whole lot more you can say. She was fourteen and she kept getting sick and she wasn’t that good of a student even when she was healthy. And her father—it was complicated. First he tried to raise her to just be a good little obedient Catholic princess. Then, once he’d accepted he wasn’t going to have a son and she was going to have to be his heir—and that took a while—he tried to teach her his politics, his conservatism and absolutism. But even doing that, he couldn’t help giving her a certain awareness of political reality, which was that absolute monarchy was a falling star.
KLYCE: Especially after the Portuguese civil war—hadn’t that just ended?
VINAKAYAM: Yes, but that was between two good princes. This was a choice between somebody who couldn’t do much besides smile, wave at the crowd and sign whatever the Cortes put in front of her, and somebody who was already doing most of the work of a monarch. There was the situation in Cuba, helping General Novales get the Luzonese—sorry, Filipino—units back home before they started mutinying… for anyone who thought a monarch should be more than a figurehead, there was really only one choice. Especially since both parties in the Cortes had discredited themselves fighting a losing war in Haiti for so long. At the same time, there were limits to what the army would allow him to do as king—a lot of the leading men in the army were the same people who’d forced his brother to accept the constitution in the first place. General Espartero, who was Carlos’ right hand in Cuba[6], told him as much—don’t try to shut down the Cortes, don’t touch the Constitution, you want me as an ally, not an enemy. So Spain was facing a civil war nobody wanted and nobody saw a way to avoid. María’s idea, or at least the idea she endorsed, was for Carlos to do what Claudius did in Hamlet—without, obviously, the implication that he poisoned his brother.
KLYCE: You mean, for Carlos to become king but to name María his heir.
VINAKAYAM: Yes. It seems obvious in retrospect—you have a competent king who wants to rule and is ready now, and this lets him do that, and you have a girl who’s not ready to be queen and this gives her a few more years to prepare. Spanish history would have gone very differently if Carlos had taken this deal. But he didn’t just want Spain, he wanted to leave it to his own son. The Cortes wouldn’t budge—the queen, the king’s official heir, had to be kept in the line of succession. And then someone came up with… the compromise.
(2-beat pause)
KLYCE: It seems grotesque, marrying a girl to her uncle against her will.
VINAKAYAM: It happened in many dynasties, not just the Spanish royal family. In fact, María herself was the product of just such a marriage—her mother was her father’s niece.
KLYCE: Which means she was also Carlos’s niece. So Carlos was her uncle and her great-uncle?
VINAKAYAM: Yes. Obviously this was not a good idea from a medical standpoint. There’s a reason none of their children lived more than a few days.
KLYCE: Was this why Lord Byron decided he had to come to her rescue?
VINAKAYAM: This, and the fact that the queen was so opposed to it. And the fact that no matter what he promised, everyone knew freedom in Spain would be taking at least a few steps backward under King Carlos. He’d gotten his start fighting the Bourbon dynasty in Italy, long before Greece or Florida.
KLYCE: The thing everybody finds hard to believe is that Lord Byron—who was part of a whole network of people that specialized in freeing other people from captivity—but instead of asking any of these people for help, he finds some random young man in Sepharad and says, “Hey, want to come help me rescue a princess?” And the man says, “Yes!” Is that how it actually happened?
VINAKAYAM: More or less. To begin with, there was a limit to Byron’s ability to ask for help, because the biggest single authority figure on the southern Hidden Trail wasn’t him, it was Charles McCarthy—who was also the governor of Florida and would’ve felt obliged to stop him if he’d known what he was up to. And he had to move quickly—as long as it takes to plan a royal wedding, it also takes time to plan a trip across the Atlantic. So Byron talked to the people he trusted not to spread the word any further, and all those people said the same things—“No!” “Are you poggled[7]?” “This isn’t going to work! You’re going to get yourself killed for nothing!” “Every last slave in the South is worth as much in the sight of God as this Spanish girl!” “We do what we do so they can be free, not so we can be heroes!”
KLYCE: Wait—did you write this scene?
VINAKAYAM: Obvious, isn’t it? Yes, I personally wrote a seven-minute scene of Lord Byron’s friends saying no to him. It was cut.
KLYCE: Did they say why?
VINAKAYAM: Yes. First of all, they wanted to cut the K-graph down to two and a half hours at most. Second, they said the scene distracted from the story—that it was too persuasive, it made the hero look like too much of a moodin[8]. I thought it was an important scene. You know, as much as we honor freedom fighters, the key word is always “freedom,” not “fighter.” If you ever forget that… that way lies aristism. Not only that, there were some actors for whom that was their only scene in the K-graph. You can imagine how disappointed they were.
KLYCE: That must have been hard for them. When we come back, more on the history behind One Last Adventure…
KLYCE: Returning to the history of the incident, Byron didn’t find help from his usual friends, but he did find…
VINAKAYAM: Judah, yes. He wasn’t part of the Hidden Trails organization—in fact, from what I’ve seen of his writings, at this point he had no sympathy with the cause at all.
KLYCE: Really.
VINAKAYAM: Not everyone in Florida was a bishasto[9] abolitionist, and Judah grew up in the West Indies and the Carolinas. At this point, he was… he was a young man in search of adventure, is what he was. He might have already found some—I wasn’t able to pin down what he did to get thrown out of Yale. Whatever it was, he seems to have decided to lie low in Florida with his friends the Levy family.
KLYCE: He still seems an unlikely choice for a mission into Spain. What was it about him that drew Byron’s interest?
VINAKAYAM: It was probably the fact that he was a Jew and—officially—there weren’t any Jews living in Spain at this point, and if there were any they were keeping their heads down and probably moving to Morocco. Judah could’ve easily passed for a Christian. Instead, he spent the whole sea voyage growing his beard out and showed up in Madrid in his best clothes and a proper British accent, pretending to be a rich businessman, throwing money around and saying, “Hey, not everybody in Florida likes ghee, there’s a market for olive oil, act now before the new groves in New Spain start producing.”[10] Or “Why should the Americans, French and Italians corner the wine market in a British colony? Let’s get some good Spanish wines over there.” So wherever they went, everybody was focused on this rich Jew with his fancy clothes and big long neckbeard running around all over Spain praising their oil and wine. Nobody looked twice at the man acting as his servant. People who study espionage, infiltration, exfiltration—which is what this was—say that’s how you do it. Ideally you want to be as anonymous and forgettable as possible, obviously, but if that’s not going to work, you try to draw everyone’s attention to something else, someone else.
KLYCE: And of course when the time came for him to escape, all he had to do was shave, change his clothes, take the padding out from under his shirt…
VINAKAYAM: And put on a different accent. Obviously. Just another young American seeing Europe.
KLYCE: That’s another thing critics have found unrealistic—the experienced rescuer of slaves got caught and the complete nove[11] was the one who escaped.
VINAKAYAM: And yet it did happen that way. Byron was experienced, but it was the wrong kind of experience—helping a slave escape a farm in the backwoods is one thing, and getting a princess out of the Escorial and through the heart of a European nation is… something else again. As for Judah’s escape, I must admit we rewrote it for extra drama. Judah didn’t really change his disguise in the bathroom while the guards were searching the street, he snuck out of Madrid the day before Byron left for San Lorenzo[12]—which was the plan all along. Byron needed him in La Coruña, looking for a ship bound for Florida, so that when he and the queen got there they could board it and go. Of course, by the time he got to La Coruña Byron had been caught and the wedding was back on. They had good horses, but the best horse in the world can’t outrun the semaphore.
KLYCE: When you think about it, the surprising thing is that it went as well as it did.
VINAKAYAM: The reason it went so well is nobody was expecting it. All the guards at the Escorial were expecting trouble, but a different kind of trouble—either a coup attempt by liberal army officers or a mass demonstration in Madrid. One man, one foreigner, coming in to abduct María Isabella out from everyone’s noses—that was completely ow-kotow[13]. The other reason it worked is that Byron had her full cooperation. Which gives you an idea of her attitude toward the arrangement. Normally, a girl would scream and call the guards. In her case, she ran away with this total stranger—no servants or maids-in-waiting or anything, and going without these people was a major inconvenience for someone in the royal family—in a disguise that turned out to not even fit properly.
KLYCE: She really must have wanted to get away from her… what? Uncle/great-uncle?
VINAKAYAM: Great-uncle/uncle/husband/rapist.
(3-beat pause)
KLYCE: You know, I could’ve lived a long, happy life without ever hearing that phrase spoken out loud.
VINAKAYAM: Sorry.
KLYCE: Byron’s trial and execution—how much of that was taken from the historical record?
VINAKAYAM: Almost all of it—heavily condensed, of course. The “Sword of Nemesis” could be very dramatic when he wanted to be.
KLYCE: Authenticity. Good.
VINAKAYAM: Yes. When you’ve got an American playing Lord Byron, a Frenchman playing Carlos, an Tripolitanian playing María Isabella and an Irishman playing Judah P. Benjamin, obviously you need all the authenticity you can get.
KLYCE: Speaking of which, tell us more about the choices you made when depicting María Isabella.
VINAKAYAM: Yes. I understand the controversy around that. Obviously, Iliana Kosor is nineteen, not fourteen. We cast her because she was the best actress out of the many who tried out, and also because no one wants to see a forty-four-year-old man and a fourteen-year… all right, some people probably do want to see that, but I’m not going to be the one to show it to them. And there are some very troubling aspects to the story. We don’t know what—well, obviously we do know what happened between Lord Byron and the Queen of Spain that night, but we don’t know the precise details. If we wanted full historical accuracy and emotional honesty, we’d have to say it wasn’t all that different from what Carlos did later—her age and the circumstances both made her consent meaningless. Presenting it as a free interaction between adults made it easier for us to make and more enjoyable for the audience.
KLYCE: Most of the audience.
VINAKAYAM: All of the audience we care about.
KLYCE: There have been those who have criticized this K-graph’s depiction of Queen María from a feminist perspective—that in spite of your best efforts, she still seems too passive, that the world needs more stories of women who go on quests of their own instead of being the object of other people’s quests.
VINAKAYAM: I’m aware of that. Here’s the thing. Focusing on the achievements of extraordinary women—that’s not feminism, that’s aristism in a dress. I’m not quipping here, I’m in earnest. Remember when Roxelana was a worldwide hit? Everyone in the free world thought it was this inspiring tale of the triumph of true love and the human spirit? And it turned out it was originally intended as aristist propaganda? The K-graph was basically saying, “This girl who got kidnapped and sold as a sex slave rose to become the most powerful woman in the world! See, if you’re truly worthy you too can do great things within the context of your social role!” María Isabella was not Roxelana. She wasn’t even Charlotte the First. Unlike her daughter, she wasn’t all that smart or strong-willed. She was, when you get right down to it, a fairly ordinary young woman who happened to be in an extraordinary situation, and at that moment, she needed help. That’s why her story matters. She was a mediocrity, but so are most people—if you think that means they don’t matter, you might as well put on a remer armband. She was a mediocrity, and at that moment, she needed help. The tragedy is that the only person who helped her didn’t plan it very well, and also took advantage of her himself.
KLYCE: Is there anything you regret about the movie? Anything you wish you could have included?
VINAKAYAM: Byron’s funeral. It was one of the great events of the 1830s, both for the literary world and for the political world. There was a good deal of controversy, at least among the Tories, around giving so much public recognition to a man who’d tried to cause so much trouble for a country that wasn’t an enemy. The conversation ran—not in these exact words, of course—“We buried Lord Castlereagh with a lot more ceremony, and look what he did.” “But Castlereagh was poggled.” “And you think Byron was sane?”…
[1] Grandfather
[2] Dark comedy
[3] A Plori word for “having a mid-life crisis.”
[4] An Elmarist term for one whose skills begin and end with social climbing and self-promotion.
[5] IOTL she died of a miscarriage in 1818. Ferdinand first replaced her with Maria Josepha Amalia of Saxony, who for once wasn’t a niece but did have the idea that good Catholic girls were not supposed to have sex with their husbands (or possibly just didn’t want to have sex with this particular husband). After she died, Ferdinand went back to his nieces again, marrying Maria Cristina of the Two Sicilies. When he died, she became regent for her infant daughter.
[6] IOTL Baldomero Espartero was Carlos’ greatest enemy in the Carlist Wars. Here, he’s been serving under Carlos for some years, and so respects the man if not his politics.
[7] A Plori word for “crazy” which has entered into standard English. (Not meant as a direct quote. The Plori dialect didn’t exist in 1832.)
[8] A Plori word for “fool.”
[9] A Plori word for “dyed-in-the-wool, fully committed to a cause or agenda.”
[10] In an example of the many and various goats that colonialism blows, Spain introduced the olive tree into Mexico in the 16th century, only to destroy the olive groves and the industry they supported in 1777 so as to create a captive market for Spanish oil. Francisco has managed to get away with replanting olives in Tamaulipas, Sonora and parts of Alta and Baja California, but it’ll take a few more years for the trees to start bearing fruit.
[11] Newcomer. (Not Plori—just regular slang.)
[12] San Lorenzo de El Escorial, site of the Escorial.
[13] Plori for “out of nowhere.”