She stood alone in the sodden field on the outskirts of Paris, her
fashionable ankle boots firmly planted in the mud churned up by the
cavalry who drilled there.
No, she would not be tied to the stake, she told her executioners
politely. And nor would she allow them to blindfold her. She faced the
barrels of the firing squad without flinching.
Earlier, at 5am, they had woken her in her filthy cell in the Prison de
Saint-Lazare to tell her this was the day she would die. She dressed in
her best stockings, a low-cut blouse under a dove-grey, two-piece suit.
On her head she perched a three-cornered hat at a jaunty angle, hiding
her greying hair, unkempt and unwashed through nine months of
incarceration. Over her shoulders she slung a vivid blue coat like a
cloak to keep out the cold October air.
In a black car with its window blinds down, Margaretha Zelle, convicted
of espionage, was then driven at speed through the still streets of the
capital - a place she loved with a passion, though she was Dutch not
French - to this damp and drear spot.
The 12 soldiers in their khaki uniforms and red fezzes raised their
rifles. She waved to the two weeping nuns who had been her comfort in
prison and on her last journey. She blew a kiss to the priest and
another to her lawyer, an ex-lover.
The sun was coming up when the shots rang out. Zelle slumped to the
ground. The officer in charge marched forward and fired a single bullet
into her brain, the coup de grace.
An extraordinary life was over. The woman who was executed that day in
1917 was better known as Mata Hari, the name Zelle had chosen for
herself when she became Europe's queen of unbridled eroticism, an exotic
dancer, courtesan, harlot, great lover, spendthrift, liar, deceiver and
thief.
And German spy? That is what - in the fevered atmosphere of France in
World War I, with the Kaiser's troops encamped within its borders - she
had been shot for. She caused the deaths of tens of thousands of French
soldiers, it was said, a crime that would ever after make her synonymous
with seduction and treachery, the ultimate femme fatale.
Except that she may not have been guilty at all.
In a new and fascinating biography, American academic Pat Shipman makes
the case that, far from being the betrayer, she was the one betrayed,
and by that breed she loved all her life - men.
It was men who, like witch hunters, built the case against her, driven
by prejudice not fact. And with France gripped by anti-German spy mania,
few would stick their heads above the parapet to defend her. Britain's
fledgling intelligence service, MO5 (soon to change its name to MI5)
also helped dig her grave with, as we will see, the dodgiest of
dossiers.
But in the story of Mata Hari, there was one thing that needed no
sexing-up - Mata herself. Sex was the driving force of her life.
In the little Dutch town where she grew up, her shopkeeper father
lavished extremes of affection on his "little princess". It made her
vain, self-centred and spoilt, and with an insatiable longing for male
attention.
At school, the 16-year-old bedded the headmaster. Was he the seducer or
her? No one knows, but this was 1893 and it was the girl who was sent
home in shame.
The restless teenager now set about finding a man to take her away from
the stuffiness of Dutch society. When, through a Lonely Hearts ad, she
met Captain Rudof MacLeod, a hard-living, hard-drinking officer home on
leave from Holland's vicious colonial wars in the East Indies, she
didn't care that he was 22 years older than her.
He was handsome, with a splendid moustache. She was tall (5ft 10in) and
elegant, with flirty dark eyes and a dark olive complexion. The
attraction was immediate, sexual and very strong. She told him she
longed to do "crazy things" and they were engaged within six days.
They married three months later, she in a bright yellow gown rather than the traditional white.
There were problems almost straight away. She couldn't keep her eyes off
the other officers and, as she was the first to admit, did not have it
within her to be "a good housewife".
"I was not content at home," she later confessed. "I wanted to live like a colourful butterfly in the sun."
He was jealous, though saw no reason why he should forego the
womanising, drinking and coarseness of his bachelor days. He was
constantly in debt; she was extravagant, always spending. As for his
syphilis, caught overseas, he neglected to tell her.
The omens were not good. Nonetheless, she bore him two children, and
they returned as a family to his new posting in the colonies. There, in
the exotic surroundings of Indonesia, their marital problems multiplied.
She did not fit the mould of the officer's wife, not least because her
dark skin made the snobbier women suggest she had native blood in her.
To the men, however, that look was seductive, and she made the most of
it.
"Her languid, graceful style of moving, her dark eyes and luxurious
hair, telegraphed her sexuality to any male in her presence," writes
Shipman. "She drew every man's lustful admiration and every woman's
envy. She was seen as morally dangerous, selfish and frivolous."
The marriage deteriorated into sharp quarrels, too much drinking, rows
about money and accusations of infidelity. But what destroyed the union
was tragedy. Their son, Norman, was struck by serious illness and died
at the age of two. His sister, one-year-old Nonnie, nearly died, too,
but pulled through.
The boy's death shattered both parents. Who was to blame? A local nanny
was said to have poisoned the children because of some grievance, real
or imagined, against MacLeod, though no case was ever brought. Nor was
the death ever reported in the colonial press. For some reason, it
seemed to have been hushed up.
Shipman's hypothesis is that the children were being treated for
congenital syphilis, caught from their father, and the garrison doctor
accidentally overdosed them with mercury. Whatever the real cause of the
boy's death, the couple blamed each other.
The relationship sank into hatred. His wife was "scum of the lowest
kind" MacLeod told his family back in Holland, "a woman without heart,
who cares nothing for anything".
On that he was wrong - she cared for officers. He caught her with a
second lieutenant. She flaunted herself in a low-cut dress at a ball.
She was punishing him by stoking up his jealousy. He punished her in
return with a cat-o'-nine-tails.
She wrote to her father: "I cannot live with a man who is so despicable.
I eat and live apart and I prefer to die before he touches me again. My
children caught a disease from him."
MacLeod left the army and the family returned to Holland. There they
separated. But MacLeod had one more weapon to use against her.
He put an advertisement in the local papers warning shops not to give
her credit because he had resigned all responsibility for her. It left
her penniless. She had to earn money - and there was only one way she
knew how.
Sexual favours were her only useful assets, but she did not see Holland
as the best place to exploit them. In 1903, with little money and no
contacts, she took herself off to Paris. There, she would recreate
herself as a model, an actress, perhaps, or a chic cosmopolitan in that
chicest of cities.
But, as Shipman tells us, "the only dependable source of income
available to her was pleasing men for money" - prostitution. But then a
circus gave her a job, and the owner advised her where her talents lay -
dancing.
And dance she did. From the depths of her experiences in the East Indies
she invented what she called "sacred dances". They were exotic and
seemed to have some mysterious eastern mythology about them but, most of
all, they involved her ending up all but naked.
It was a brilliant move. Dancers at the Moulin Rouge were flashing their
knickers and breasts but Zelle's great departure was to push the bounds
of discretion even further and wrap sex up with religion and art.
She began by performing in private homes, but soon the stories of her
"artistry" and, above all, her nudity were passing round the salons of
Parisian high society. She wore a beaded metallic bra, which never came
off - she was self-conscious about her tiny breasts - but the veils
covering the rest of her floated free as she danced in "slow,
undulating, tigerlike movements".
The critics enthused, "feline, trembling in a thousand rhythms, exotic
yet deeply austere, slender and supple like a sacred serpent". She added
spice to the performance with lies.
First there was her name - Mata Hari, meaning "sunrise" or, more
literally, "the eye of the day", in the language of the Dutch East
Indies. Then there were the stories to the press, that she was the
daughter of an Indian temple dancer who had died giving birth to her,
that she grew up in a jungle in Java.
Her life became an unending performance, both on stage and off. Her
success seemed unstoppable and the money came rolling in. But she still
managed to spend more than she earned as she travelled Europe, picking
up lovers, dropping some, keeping others.
"Tonight I dine with Count A and tomorrow with Duke B. If I don't have
to dance, I make a trip with Marquis C. I avoid serious liaisons. I
satisfy all my caprices," she said.
All too soon she was suffering from over-exposure in another sense. By
1908 anyone who was anyone in Europe had seen her dance at least once,
while the lesser theatres were overrun with imitators doing Oriental
dances.
The dance work was now more irregular and increasingly she would have to rely on her men friends for her livelihood.
One, a stockbroker, provided her with a chateau in the Loire and another
house on the Seine - until he went bankrupt. Still she refused to cut
her prodigious spending or alter her outrageous lifestyle. When she was
frantic for money, some said, she would ply her trade at Paris's maisons
de rendez-vous, one step up from ordinary brothels.
Her financial problems seemed eased when in May 1914 she signed a
contract to dance for six months at the Metropol in Berlin, starting in
September.
But the political situation overtook her. When war broke out in August
that year, though Holland was neutral, she was stuck in a now
belligerent and increasingly jingoistic German capital with no money and
no job. Her fur coats and money had been seized. She charmed a Dutch
businessman to pay her train fare to Amsterdam.
Back in Holland, she took up again with a former lover. Aristocratic and
wealthy, he was just her type. There she was visited by Karl Kroemer,
the German consul, who told her he was recruiting spies. He gave her
20,000 francs and a code name, H21.
She took his money but she didn't take him seriously. She told herself
the cash was compensation for the furs taken from her in Berlin and
threw away the invisible ink he gave her.
"As she never had the slightest intention of spying for Germany, she
felt no guilt or obligation to do anything for the money she had
accepted. She had always taken money from men because she needed it and
they had it; she always felt she deserved it," says Shipman. Others,
ominously, would not agree.
Naively, she failed to realise the Europe she had travelled through so freely and so promiscuously had disappeared for ever.
British counter-intelligence certainly had her number. They stopped her
at Folkestone, while she was travelling from Holland to France via
Britain to avoid the front-line, and recorded that "although she was
thoroughly searched and nothing incriminating was found, she is regarded
by police and military to be not above suspicion".
A copy of the report was sent to intelligence officials in France, Britain's ally against Germany.
But on what was this suspicion based? The report noted that she "speaks
French, English, Italian, Dutch and probably German. Handsome, bold type
of woman".
And that, says Shipman was the key. "The problem was not what Mata Hari
said but who she was. She was a woman travelling alone, obviously
wealthy and an excellent linguist - too educated, too foreign. Worse
yet, she admitted to having a lover. Women like that were immoral and
not to be trusted."
A British intelligence officer in Holland now added to Mata Hari's
dossier with rumours about payments to her from the German embassy. He
added, with no evidence whatsoever: "One suspects her of having gone to
France on an important mission that will profit the Germans."
In Paris, Mata resumed her glamorous life, living at the Grand Hotel and
with plenty of men in uniform to keep her occupied. She did not know
that two secret policemen were tailing her.
They steamed open her letters, questioned porters, waitresses and
hairdressers and collected abundant evidence of her love life - but not
of espionage. She spent a day and a night with the Marquis de Beaufort,
had a flirtatious dinner with a purveyor of fine liquors and then met
another lover, who embarrassingly for the secret policemen was a senior
colleague from their own bureau.
But her main intention at this time was to get a permit to go to the
town of Vittel, which was in the eastern war zone, because she was
desperate to see the man with whom she had fallen deeply in love, a
Russian captain 18 years her junior named Vadime.
For that, she had to apply to the head of French Intelligence, Captain
Georges Ladoux, an ambitious man who had staked his reputation on France
being riddled with foreign spies and his being able to destroy their
network. He was in need of an attention-grabbing case to prove the worth
of his bureau.
He regarded Mata as little better than a prostitute; she thought him
small-minded and coarse. They fenced words with each other. She wanted
her pass to Vittel. He agreed, if she promised to enlist as a spy for
France.
The entire encounter was bizarre, Shipman argues. If Mata Hari was
already a German spy, as Ladoux believed, then he was foolhardy to try
to recruit her to be a French one.
Mata Hari was known by sight throughout Europe. Her comings and goings
were reported in gossip columns. Wherever she went, she was the centre
of attention. It is difficult to imagine a woman less able to engage in
clandestine activities.
But she accepted his offer - as long as she was given enough money to
pay off her massive debts and settle down with Vadime. The great
seductress wanted out of the game.
But it was too late. Ladoux was convinced she was a German spy, however
ridiculous that was. So, too, were the British. For Mata Hari,
everything in her tangled life was unravelling dangerously.
She went to Vittel and had a blissful interlude in the spa town with her
Russian. On her return to Paris, Ladoux sent her on her first mission -
to German-occupied Belgium where she said an ex-lover could steer her
into the arms of the German military governor.
But Belgium proved impossible to reach and she ended up in Spain. There,
she turned her charms on a German captain, an intelligence officer
named Kalle, and stretched out on a chaise longue as he told her secrets
about German manoeuvres in North Africa.
This information she triumphantly passed on to Ladoux, believing she was
doing his bidding, earning the million francs he had promised her.
Instead, she had fallen into his trap. Her meetings with Kalle would be
turned against her, twisted to claim that she was handing over French
secrets to the enemy rather than teasing out German ones.
On February 10, 1917, a warrant for her arrest was signed by the French
war minister. Three days later, police officers knocked on the door of
her hotel room and found her eating breakfast in a lace-trimmed dressing
gown. She was not, as wild rumours around Paris soon claimed, naked.
At the Palais de Justice she faced the investigating magistrate, Pierre
Bouchardon. "From the very first interview, I had the intuition that she
was a person in the pay of our enemies," he wrote later. "I had but one
thought - to unmask her."
The process was under way that would lead her unfairly but inexorably to her execution.
It did not seem to matter that no one had the least bit of evidence
against her. Nor could anyone point to a single document, plan or secret
that she passed to the Germans. Suspicion, envy and the prejudices of
small-minded men would triumph.
Only 30 years after her death would one of her prosecutors concede the truth - "there wasn't enough evidence to flog a cat".
, is available at Amazon.
THE AUXETOPHONE: 1898-1918.
Warning over new 'dash for gas'
'Paint-on' batteries demonstrated
Speed of light pictures displayed
