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ON LOCATION, EUROPE
intervals in the bloody fray, the generals of both sides adjourned for liquid refreshments to the same improvised bar.
Hollywood producer-director-writer Robert Rossen had come to Spain to make Alexander the Great. It cost two million dollars. It had a cast of thousands. And horses, and camels, and elephants — and Richard Burton.
Though the period was 338 B.C., all modern conveniences were at hand : a good cuisine on the battlefield, a fleet of fast cars to take the protagonists from the front to their luxury hotels after the day's fighting was done. And high up in the primordial mountains there were to be found such things as refrigerators.
The Grecian wars were taking place by kind permission of the Spanish Army, who were providing men and horses, and the battles were being reproduced by Prince Peter of Greece, who was said to be "busy arranging the battle of Cheronea", as if it were a case of doing the choreography. I must admit it was a good battle.
Even Claire Bloom, as pale and fragile as a piece of Wedgwood china, turned up although she was not playing one of the generals.
"She mustn't catch the sun," said Rossen. "This is a colour film. I want her looking pale for her role."
What was Miss Bloom's role? For three weeks she had been staying in an £8-a-night suite at Madrid's futuristic Castellana-Hilton hotel, which looks as though it was designed for space travellers, if you know what I mean. She had done one day's work.
Miss Bloom smiled with infinite gentleness, twisted the strands of her hair nervously around her fingers.
"A couple of weeks ago," she said, "I was Barsine. Now I believe I am Roxane. Or it is possible that I am Statira — there was some mention of Statira. Do you know who I am playing?"
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