R.I.P. Marianne Faithfull
One of the first songs written by Jagger and Keith Richards, the melancholy “As Tears Go By,” was her breakthrough hit when released in 1964 and the start of her close and tormented relationship with the band.
“It’s an absolutely astonishing thing for a boy of 20 to have written,” Faithfull wrote in her 1994 memoir. “A song about a woman looking back nostalgically on her life. The uncanny thing is that Mick should have written those words so long before everything happened. It’s almost as if our whole relationship was prefigured in that song.”
She and Jagger began seeing each other in 1966 and became one of the most glamorous and notorious couples of “Swinging London,” with Faithfull once declaring that if LSD “wasn’t meant to happen, it wouldn’t have been invented.” Their rejection of conventional values was defined by a widely publicized 1967 drug bust that left Jagger and Richards briefly in jail and Faithfull identified in tabloids as “Naked Girl At Stones Party,” a label she would find humiliating and inescapable.
“One of the hazards of reforming your evil ways is that some people won’t let go of their mind’s eye of you as a wild thing,” she wrote in “Memories, Dreams and Reflections,” a 2007 memoir.
Jagger and Richards often cited bluesmen and early rock ‘n rollers as their prime influences, but Faithfull and her close friend Anita Pallenberg, Richards’ longtime partner, also opened the band to new ways of thinking. Both were worldlier than their boyfriends at the time, and helped transform the Stones’ songwriting and personas, whether as muses or as collaborators.
Faithfull helped inspire such Stones songs as the mellow tribute “She Smiled Sweetly” and the lustful “Let’s Spend the Night Together.” It was Faithfull who lent Jagger the Russian novel ”The Master and Margarita” that was the basis for “Sympathy for the Devil” and who first recorded and contributed lyrics to the Stones’ dire “Sister Morphine,” notably the opening line, “Here I lie in my hospital bed.” Faithfull’s drug use helped shape such jaded takes on the London rock scene as “You Can’t Always Get What You Want” and “Live with Me,” while her time with Jagger also coincided with one of his most vulnerable love songs, “Wild Horses.”
On her own, the London-born Faithfull specialized at first in genteel ballads, among them “Come Stay With Me,” “Summer Nights” and “This Little Bird.” But even in her teens, Faithfull sang in a fragile alto that suggested knowledge and burdens far beyond her years. Her voice would later crack and coarsen, and her life and work after splitting with Jagger in 1970 was one of looking back and carrying on through emotional and physical pain.
Faithfull was married three times, and in recent years dated her manager, Francois Ravard. Jagger was her most famous lover, but other men in her life included Richards (“so great and memorable,” she would say of their one-night stand), David Bowie and the early rock star Gene Pitney. Among the rejected: Bob Dylan, who had been so taken that he was writing a song about her, until Faithfull, pregnant with her son at the time, turned him down.
Her interests extended to theater, film and television. Faithfull began acting in the 1960s, including an appearance in Jean-Luc Godard’s “Made In U.S.A.” and stage roles in “Hamlet” and Chekhov’s “Three Sisters.” She would later appear in such films as “The Girl on a Motorcycle,” “Marie Antoinette” and “The Girl from Nagasaki,” and the TV series “Absolutely Fabulous,” in which she was cast as — and did not flinch from playing — God.
Faithfull’s heritage was one of intrigue, decadence and fallen empires. Her father was a British intelligence officer during World War II who helped saved her mother from the Nazis in Vienna. Faithfull’s more distant ancestors included various Austro-Hungarian aristocrats and Count Leopold von Sacher-Masoch, a 19th century Austrian whose last name and scandalous novel “Venus in Furs” helped create the term “masochism.”