Interesting Times - Eric Hobsbawm [50]
For though Solomon Sidney Berkwood Hobsbaum, short, wearing pince-nez below a forehead that (unlike my father’s) folded vertically, was the only one of Grandfather David’s sons to become a full-time businessman, making money was not his dream. He had the salesman’s ability to believe passionately in the product of the moment, the body armour protecting him against the blows of the unreturned phone call and the cancelled order. Years later I recognized much of him in Arthur Miller’s wonderful Death of a Salesman , as must the intellectual sons of so many Jewish fathers. But though he had ambitions – Napoleon was his favourite character in history, Rawdon Crawley of Thackeray’s Vanity Fair in fiction – money was not what inspired him.
What had his ambitions been in his East End youth? Had he been born much later, when there came to be money in the game and the British took to it, he might have made something of his natural talent for chess, which was evidently considerable. Putting up his hand somewhere in France when chess players were asked for had got him from the western front into intelligence (i.e. codebreaking) in the First World War. He seemed to know something about such matters, but then anyone in his position knocking around central Europe in 1919–33 was quite likely to have come across people involved in secret services. He kept out of politics.
In other respects he was not creative, but he had the self-educated poor Jew’s passion for culture and loved being in the milieu of creative people – musicians, theatre actors and above all movie people. On his and Gretl’s phonograph in Vienna I heard for the first time and many times after that, a still somewhat Victorian selection of the great vocal classics of the first recorded generation – Caruso, Melba, Tetrazzini – and the repertoire of the great, mainly Italian and French, arias: Verdi, Meyerbeer, Gounod. In practice his musical contacts were more modern: Rose Pauly-Dreesen, the most famous Elektra of her day, with whose career he was associated in the late twenties, was the leading dramatic soprano in Klemperer’s Berlin Krolloper, very much at the cutting edge of Weimar music. He tried to mobilize on her behalf Dame Ethel Smyth (1858–1944), Edwardian feminist and the most celebrated female composer of her day, with whom he had somehow established a relationship as a young man. But it was the cinema that captured his heart for good. Not so much the atmosphere of bigshots, wheeler-dealers, the entrepreneurial adventurers and confidencetricksters, though he had got to know them in his time with Universal. It was the milieu of the studio floor – the large world-creating hangars, small emigrant Jews around big stages, cameras, lights, make-up and scenery, all drenched in the atmosphere of technique, gossip, bohemian informality and scandal. I drove him there on his visits to Isleworth and Elstree. For him it was where man was in touch with creation. He succeeded in fighting his way back into it in England by convincing a British photographic firm that his contacts in the movie world made him the man to sell their film-stock in competition with Kodak and Agfa. After a few years of losing battle armed with an uncompetitive product (‘Uncle Sidney goes to Budapest tomorrow. Furious telegram from Joe Pasternak. Selofilm apparently poor quality’) he gave up the struggle, emigrated again and, presumably introduced by his brother Berk, invested his small capital in a share of a modest Chilean enterprise producing kitchenware. At the end of the war he left an unexciting but safe business on little more than the hint