Dirk Bogarde “coveted the dream” of making a change in his cinematic career. He longed for some “self-respect,” but that day in May, 1968, Bogarde was in Rome, earning his living, filming an advert for sunglasses on the city’s Spanish Steps.

This was not how he hoped his future career would progress. Though thankfully, as Bogarde later recalled in the second volume of autobiography, Snakes and Ladders, it didn’t last long and was less “shameful” than he had imagined.

I ran up and down the steps twenty or thirty times, inanely smiling, blacked-out by the sun-glasses which successfully concealed my face, mute, since I spoke no word, sweltering in a flannel suit and new shoes which slipped on the polished stone.

Of course, Bogarde did not know it then, but this advert would bring him into orbit of the director who would bring him his greatest artistic success.

Luchino Visconti was in Rome casting for a movie, which was partially inspired by Shakespeare’s Macbeth. Bogarde had read a first draft of the screenplay, but thought the central character of Freidrich Bruckmann “wet.” However, his partner and manager, Anthony Forwood arranged for Bogarde to meet with Visconti to discuss the project further. Though against the film, the actor followed Forwood’s advice.

On meeting in an hotel, over whisky and sodas, Bogarde was impressed with Visconti, and despite his original misgivings, agreed to take the role of Friedrich in the film, which became The Damned. It was from this first fortuitous meeting that Bogarde and Visconti went on to work with each other on Death in Venice.