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Photos of him from that time show he was an extremely attractive, long-haired, and willowy blonde boy whose androgynous looks earned him the nickname “ (“Someone Behind the Door”) for the Franco-Hungarian director Nicolas Gessner, came in to buy pants needed for the film.
It was Patrick who waited on him, taking his measurements and kneeling to pin the garments to be tailored.
BY DOUG IRELAND | I was a precocious reader from my earliest age, devouring the written word as my chums gobbled candy.
Unlike them, I found my heroes in books, not in the movies.
With a decent middle-class education and as the only one at the store proficient in English, it was his lot to wait on celebrities such as Peter Sellers and Greta Garbo.
Still, as the French say, he was ill at ease in his skin.
Patrick had neither girlfriends nor boyfriends, and his only homosexual encounter came when, struck by an urgent need to pee, he’d gone to relieve himself in one of Paris’ now vanished Vespasians — odiferous open-air urinals.
After that, I would immediately go see anything with Perkins in it.
At 13, with my hormones beginning to rage (although my sense of difference from other boys still had not found a consciously acknowledged vocabulary), I rushed to see him in what I knew even then was a trashy romantic comedy, 1960’s “The Tall Story” — my interest being to see Perkins in a minimum of clothing as a college basketball star opposite his on-screen love interest, Jane Fonda.
The couple, often seen together on the talk-show circuit, have recently been appearing on behalf of Loiseau’s new book, which is steadily climbing the French best-seller lists.
“” would never be classed as great literature, but I found it quite touching and revealingly honest.
I also learned that Perkins was deeply closeted (though his penchant for his own sex was an open secret in show-biz circles) and self-hating.