Bombshells to Blasters, An Auction You Can't Refuse Pt. 1

First Time To Auction

20th Century Studios, 1955. Original 5-page carbon copy interoffice memo on 8.5 x 11 in. yellow onion skin. Sent by producer and Marilyn Monroe agent Charles K. Feldman to film director and co-screenplay writer/adapter Billy Wilder and dated 2-28-55. In the memo, Feldman informs Wilder of cuts suggested, some executive reaction to the previews, including a general consensus that it’s 10 min. too long. Feldman justifies and advocates for the studio’s desired cuts and also makes a case for curating Tom Ewell’s monologues, in part: “After our last preview, I repeat, everyone from the studio still felt the picture was too long. I have come to the conclusion – and surely you must come to the conclusion, Billy, for you agreed to the big cut set forth at the beginning of the memo – that the cutting concerned Ewell when he is in a scene alone and certainly not when others are in the scene with him. I think if you will really examine the picture, you will find, if there are any dull spots in it, that they are because of repetitiousness of Ewell’s monologues and dialog. It is still his show. He is magnificent in it. Any-think you can do to cut down a couple more minutes, to my way of thinking, will not only help the picture but make Ewell that much greater in the film.” Feldman also diplomatically tempers criticism with flattery as h e writes, in part: “I disagree with your thinking, Billy, that the Blackmail scene is not directed well. I think it is directed magnificently. We cut it because of length, but, frankly, the cuts were not in the elimination of the Blackmail scene, but in the elimination of the monologues referred to. For what it is worth, the second cutter at the studio and Raoul Levy [French film producer] who saw the Blackmail scene for the first time, think it is the finest and best sequence in the whole picture. I know [Lew] Schrieber [casting director] was in love with this sequence, but naturally he agreed with Zanuck when footage had to be cut that this should go. I always liked it and now in its cut version I like it infinitely better.” Feldman concludes, in full: “So, dear Billy, when we meet tomorrow, let’s reserve our conversation regarding possible cuts or going back to the old version until after we are through with the Breen office, and then only between you, Doane and myself. Best,” Retaining 2-hole punches at the top of the pages and bound together by a single staple in the upper left corner. Exhibiting only minor age. In very good to fine condition. Feldman also diplomatically tempers criticism with flattery as he writes, in part: “I disagree with your thinking, Billy, that the Blackmail scene is not directed well. I think it is directed magnificently. We cut it because of length, but, frankly, the cuts were not in the elimination of the Blackmail scene, but in the elimination of the monologues referred to. For what it is worth, the second cutter at the studio and Raoul Levy [French film producer] who saw the Blackmail scene for the first time, think it is the finest and best sequence in the whole picture.I know [Lew] Schrieber [casting director] was in love with this sequence, but naturally he agreed with Zanuck when footage had to be cut that this should go. I always liked it and now in its cut version I like it infinitely better.” Feldman concludes, in full: “So, dear Billy, when we meet tomorrow, let’s reserve our conversation regarding possible cuts or going back to the old version until after we are through with the Breen office, and then only between you, Doane and myself. Best,” Retaining 2-hole punches at the top of the pages and bound together by a single staple in the upper left corner. Exhibiting only minor age. In very good to fine condition.