12 août 2013

Sur le tournage de The Seven Year Itch 10 - partie 1

Sept ans de réflexion
Sur le tournage - scène 10

Tournage de la scène de Marilyn Monroe en nuisette dans l'appartement situé au 164 East 61 Street, à Manhattan, New York.

Filming the scene of Marilyn Monroe in white gown in the apartment located at 164 East 61 Street, Manhattan, New York City.

> 1ère partie:
- Tournage de la scène
film_7yi_scene_nightie_window_out_set_020_010_by_shaw_1 film_7yi_scene_nightie_window_out_set_020_011_by_shaw_1 film_7yi_scene_nightie_window_out_set_020_012_by_shaw_1 film_7yi_scene_nightie_window_out_set_020_013_by_shaw_1 
1954_syi_2 1954_syi_2a

> photographies de Sam Shaw
syi_sc10_on_set_010_1_by_sam_shaw_1 syi_sc10_on_set_010_1_by_sam_shaw_1a syi_sc10_on_set_010_1_by_sam_shaw_1b
syi_sc10_on_set_010_2_by_sam_shaw_1 syi_sc10_on_set_010_3_by_sam_shaw_1


- Marilyn à la fenêtre
syi_sc10_on_set_011_1 syi_sc10_on_set_012_1a 
syi_sc10_on_set_011_2 syi_sc10_on_set_012_1 syi_sc10_on_set_030_1

> photographie de Garry Winogrand
syi_sc10_on_set_by_garry_winogrand_1  

> photographies de Sam Shaw
syi_sc10_on_set_011_3_by_shaw_1 syi_sc10_on_set_013_1_by_sam_shaw_1 syi_sc10_on_set_013_1_by_sam_shaw_1b 
syi_sc10_on_set_020_1_by_sam_shaw_1 syi_sc10_on_set_020_1_by_sam_shaw_1a syi_sc10_on_set_020_1_by_sam_shaw_1b syi_sc10_on_set_020_1_by_sam_shaw_1c
syi_sc10_on_set_031_1_by_shaw_1 syi_sc10_on_set_031_1_by_shaw_1a syi_sc10_on_set_031_2_by_shaw_1  
syi_sc10_on_set_031_3_by_shaw_1 syi_sc10_on_set_031_4_by_shaw_1  

> photographies de Nick de Morgoli
syi_sc10_on_set_by_nick_de_morgoli_010_1 syi_sc10_on_set_by_nick_de_morgoli_010_2 syi_sc10_on_set_by_nick_de_morgoli_010_3
syi_sc10_on_set_by_nick_de_morgoli_010_4 syi_sc10_on_set_by_nick_de_morgoli_010_5 syi_sc10_on_set_by_nick_de_morgoli_010_6

> photographies de Bob Henriques
film_7yi_scene_nightie_window_out_set_010_013_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_039_by_shaw_1
film_7yi_scene_nightie_window_out_set_010_010_by_shaw_1 syi_sc10_on_set_by_bob_henriques_1 film_7yi_scene_nightie_window_out_set_010_011_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_012_by_shaw_1
film_7yi_scene_nightie_window_out_set_010_014_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_027_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_028_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_029_by_shaw_1
film_7yi_scene_nightie_window_out_set_010_030_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_015_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_016_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_017_by_shaw_1
film_7yi_scene_nightie_window_out_set_010_018_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_019_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_020_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_021_by_shaw_1
film_7yi_scene_nightie_window_out_set_010_022_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_023_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_024_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_025_by_shaw_1
film_7yi_scene_nightie_window_out_set_010_026_by_shaw_1 syi_sc10_on_set_by_bob_henriques_2 syi_sc10_on_set_by_bob_henriques_2a syi_sc10_on_set_by_bob_henriques_3
film_7yi_scene_nightie_window_out_set_010_031_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_032_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_033_by_shaw_1 syi_sc10_on_set_by_bob_henriques_4
film_7yi_scene_nightie_window_out_set_010_034_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_035_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_036_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_037_by_shaw_1
film_7yi_scene_nightie_window_out_set_010_038_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_040_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_041_by_shaw_1 
film_7yi_scene_nightie_window_out_set_010_042_by_shaw_1 film_7yi_scene_nightie_window_out_set_010_043_by_shaw_1  syi_sc10_on_set_by_bob_henriques_various_1 syi_sc10_on_set_by_bob_henriques_various_2 
syi_sc10_on_set_by_bob_henriques_contact_1954_09_13_a1 syi_sc10_on_set_by_bob_henriques_contact_1954_09_13_a2 syi_sc10_on_set_by_bob_henriques_contact_1954_09_13_c
syi_sc10_on_set_by_bob_henriques_contact_1954_09_13_b


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.  

11 août 2013

Sur le tournage de The Seven Year Itch 10 - partie 2

Sept ans de réflexion
Sur le tournage - scène 10

Tournage de la scène de Marilyn Monroe en nuisette dans l'appartement situé au 164 East 61 Street, à Manhattan, New York.

Filming the scene of Marilyn Monroe in white gown in the apartment located at 164 East 61 Street, Manhattan, New York City.

> 2ème partie: A la fenêtre - dans l'appartement

syi_sc10_set_window_in_012_1_from_Movieland__July_1955_a syi_sc10_set_window_in_012_1_from_Movieland__July_1955_b syi_sc10_set_window_in_012_2 syi_sc10_set_window_in_012_3 
syi_sc10_set_window_in_013_1
film-7yi-window-moviesecrets2553 syi_sc10_set_window_in_013_1c  
syi_sc10_set_window_in_040_2 syi_sc10_set_window_in_040_5  

film-7yi-window-moviesecrets2555  film-7yi-window-photoplay10562 

> photographies de Garry Winogrand
syi_sc10_set_window_in_011_2_by_garry_winogrand_1 syi_sc10_set_window_in_012_4_by_garry_winogrand_1 syi_sc10_set_window_in_021_1_by_garry_winogrand_1 syi_sc10_set_window_in_040_3_by_by_garry_winogrand_1  
syi_sc10_set_window_in_012_5_by_garry_winogrand_1 

> photographie de Nick de Morgoli
syi_sc10_set_window_in_040_4_by_nick_de_morgoli_1

> photographies de Bob Henriques 
syi_sc10_set_window_in_041_2_by_bob_henriques_1 syi_sc10_set_window_in_041_2_by_bob_henriques_1b Bob_Henriques_1 

> photographies de Sam Shaw
 syi_sc10_set_window_in_010_1_by_shaw_1 syi_sc10_set_window_in_010_2_by_shaw syi_sc10_set_window_in_010_3_by_shaw_1
syi_sc10_set_window_in_011_1 syi_sc10_set_window_in_011_1a syi_sc10_set_window_in_011_3_by_shaw 
syi_sc10_set_window_in_020_1_by_shaw_1 syi_sc10_set_window_in_030_1_by_shaw_1 syi_sc10_set_window_in_050_1_by_shaw_1 
syi_sc10_set_window_in_040_1_by_shaw_1  
syi_sc10_set_window_in_043_1_by_shaw_1 syi_sc10_set_window_in_043_2_by_shaw_1 syi_sc10_set_window_in_043_3_by_shaw_1
 syi_sc10_set_window_in_051_1
film-syi-lot1111-H3257-L78860322 syi_sc10_set_window_in_052_1_by_shaw_1

> photographies de Sam Schulman
syi_sc10_set_window_in_041_1_by_shaw_1 syi_sc10_set_window_in_041_1_by_shaw_1a  

MONROE__MARILYN_-_SEVEN_YEAR_ITCH_SAM_SCHULMAN_SEPT_1_94461 MONROE__MARILYN_-_SEVEN_YEAR_ITCH_SAM_SCHULMAN_SEPT_1_12471

> photographies de George Barris
syi_sc10_set_window_in_by_barris_011_1 syi_sc10_set_window_in_by_barris_011_2 syi_sc10_set_window_in_by_barris_011_3
syi_sc10_set_window_in_by_barris_011_4 syi_sc10_set_window_in_by_barris_011_5 syi_sc10_set_window_in_by_barris_011_6
syi_sc10_set_window_in_by_barris_010_1 syi_sc10_set_window_in_by_barris_010_1a syi_sc10_set_window_in_by_barris_010_2
syi_sc10_set_window_in_by_barris_010_3 syi_sc10_set_window_in_by_barris_010_4 syi_sc10_set_window_in_by_barris_010_5
syi_sc10_set_window_in_by_barris_010_6 syi_sc10_set_window_in_by_barris_010_7 

film-syi-nuisette-3  film-syi-nuisette-2 


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

07 août 2013

15/09/1954 NYC - Sur le tournage de The Seven Year Itch partie 2

Sept ans de réflexion
Sur le tournage - scène 11   

Date: le 15 septembre 1954, à une heure du matin.
Lieu: entre la 51 et 52st Street, au croisement de Lexington Avenue.
Scène: il s'agit d'une scène mythique, l'une des plus célèbres de l'histoire du cinéma, qui reste sans doute la "scène la plus vue au monde", celle où la robe blanche de Marilyn se soulève entraînée par l'air d'une grille de métro. La presse en parla comme de "l'exhibition la plus intéressante depuis Lady Godiva".

Date: September 15, 1954, at one o'clock.
Location: between 51 and 52st Street on the corner of Lexington Avenue.
Scene: it is a mythical scene, one of the most famous in the history of cinema, which is probably the "most scene view in the world," the one where the white dress of Marilyn Monroe rises, driven by the blow of the subway grate. The press spoke of as "the most interesting exhibition since Lady Godiva".


Marilyn Monroe, Tom Ewell, le réalisateur Billy Wilder (homme en noir, chapeau noir), Johnny Graham (homme en costume, chapeau et cigar), manager de production de la Côte Est qui organisa la logistique pour le tournage des scènes à New York, et Natasha Lytess, la coach de Marilyn.


>> Photographies de George Barris
syi_sc11_on_set_by_barris_030_1 syi_sc11_on_set_by_barris_030_2 
syi_sc11_on_set_by_barris_040_1 syi_sc11_on_set_by_barris_040_1a
syi_sc11_on_set_by_barris_040_2 syi_sc11_on_set_by_barris_040_2a
syi_sc11_on_set_by_barris_010_1 syi_sc11_on_set_by_barris_010_1a syi_sc11_on_set_by_barris_010_2
syi_sc11_on_set_by_barris_020_1 syi_sc11_on_set_by_barris_020_2 syi_sc11_on_set_by_barris_020_3 syi_sc11_on_set_by_barris_020_4 

tsyi-299  tsyi-300  tsyi-301
syi_sc11_on_set_by_barris_021_1a syi_sc11_on_set_by_barris_021_2 syi_sc11_on_set_by_barris_021_3
syi_sc11_on_set_by_barris_021_4 syi_sc11_on_set_by_barris_021_5 syi_sc11_on_set_by_barris_021_6
syi_sc11_on_set_by_barris_021_6a syi_sc11_on_set_by_barris_022_1 


>> Photographies de Sam Shaw
syi_sc11_on_set_contact_by_shaw_1 syi_sc11_on_set_by_sam_shaw_010_1  
syi_sc11_on_set_by_sam_shaw_011_1 syi_sc11_on_set_by_sam_shaw_011_2 syi_sc11_on_set_by_sam_shaw_011_3
syi_sc11_on_set_by_sam_shaw_020_1 
syi_sc11_on_set_013_1  syi_sc11_on_set_by_sam_shaw_021_1 
syi_sc11_on_set_by_sam_shaw_030_1 syi_sc11_on_set_by_sam_shaw_030_2 syi_sc11_on_set_by_sam_shaw_031_1
 syi_sc11_on_set_by_sam_shaw_031_2 syi_sc11_on_set_by_sam_shaw_031_3 syi_sc11_on_set_by_sam_shaw_041_2 
syi_sc11_on_set_by_sam_shaw_033_1 syi_sc11_on_set_by_sam_shaw_033_1a syi_sc11_on_set_by_sam_shaw_033_2
syi_sc11_on_set_by_sam_shaw_040_1 syi_sc11_on_set_by_sam_shaw_040_2 syi_sc11_on_set_by_sam_shaw_041_1 
syi_sc11_on_set_by_sam_shaw_042_1 syi_sc11_on_set_by_sam_shaw_050_1 syi_sc11_on_set_by_sam_shaw_050_1c


>> Photographie de Matthew Zimmerman
syi_sc11_on_set_by_Mathew_Zimmerman_010_1 


>> Photographie de Sam Goldstein
syi_sc11_on_set_by_sam_goldstein_1 


 >> Photographies de Weegee
syi_sc11_on_set_by_weegee_1 syi_sc11_on_set_by_weegee_2


>> Photographie de Tom Caffrey 
syi_sc11_on_set_by_tom_caffrey_1


>> Photographies de Kas Heppner
 syi_sc11_on_set_by_Kas_Heppner_1


>> Photographies de Frank Worth
1954_SYI_on_set_with_billy_wilder_010_by_frank_worth_1 


>> Photographies de Milton Greene
syi_sc11_on_set_by_greene_02_1 syi_sc11_on_set_by_greene_marilyn_monroe_7yr_04 syi_sc11_on_set_by_greene_marilyn_monroe_7yr_05 syi_sc11_on_set_by_greene_01_1
syi_sc11_on_set_by_greene_marilyn_monroe_7yr_21
film-7yi-by_mhg-juliens-mmauction2014-lot789 
syi_sc11_on_set_by_greene_marilyn_monroe_7yr_22 syi_sc11_on_set_by_greene_marilyn_monroe_7yr_23
syi_sc11_on_set_by_greene_marilyn_monroe_7yr_24 syi_sc11_on_set_by_greene_marilyn_monroe_7yr_25 syi_sc11_on_set_by_greene_marilyn_monroe_7yr_26

1954-syi-by_gr-1-2  lot129d  


>> Photographies de George S. Zimbel
syi_sc11_on_set_by_george_s_zimbel_010_1 syi_sc11_on_set_by_george_s_zimbel_011_1 syi_sc11_on_set_by_george_s_zimbel_012_1
syi_sc11_on_set_by_george_s_zimbel_020_1 syi_sc11_on_set_by_george_s_zimbel_021_1 syi_sc11_on_set_by_george_s_zimbel_022_1 syi_sc11_on_set_by_george_s_zimbel_022_1a
syi_sc11_on_set_by_george_s_zimbel_023_1 syi_sc11_on_set_by_george_s_zimbel_024_1 syi_sc11_on_set_by_george_s_zimbel_025_1
 
syi_sc11_on_set_by_george_s_zimbel_042_1 syi_sc11_on_set_by_george_s_zimbel_024_1a syi_sc11_on_set_by_george_s_zimbel_043_1
syi_sc11_on_set_by_george_s_zimbel_030_1 syi_sc11_on_set_by_george_s_zimbel_031_1 syi_sc11_on_set_by_george_s_zimbel_032_1 syi_sc11_on_set_by_george_s_zimbel_033_1
syi_sc11_on_set_by_george_s_zimbel_040_1 syi_sc11_on_set_by_george_s_zimbel_041_1
syi_sc11_on_set_by_george_s_zimbel_044_1 syi_sc11_on_set_by_george_s_zimbel_044_2 syi_sc11_on_set_by_george_s_zimbel_joe_leaving
syi_sc11_on_set_by_george_s_zimbel_045_1 syi_sc11_on_set_by_george_s_zimbel_046_1 syi_sc11_on_set_by_george_s_zimbel_047_1
syi_sc11_on_set_by_george_s_zimbel_047_2 syi_sc11_on_set_by_george_s_zimbel_047_3 syi_sc11_on_set_by_george_s_zimbel_050_1


>> Photographies de Elliot Erwitt
syi_sc11_on_set_by_elliott_erwitt_020_1 syi_sc11_on_set_by_elliott_erwitt_020_2 syi_sc11_on_set_by_elliott_erwitt_020_3
syi_sc11_on_set_by_elliott_erwitt_020_4 syi_sc11_on_set_by_elliott_erwitt_020_5 syi_sc11_on_set_by_elliott_erwitt_020_6 syi_sc11_on_set_by_elliott_erwitt_020_7 
syi_sc11_on_set_by_elliott_erwitt_021_2 syi_sc11_on_set_by_elliott_erwitt_021_1 syi_sc11_on_set_by_elliott_erwitt_021_1a syi_sc11_on_set_by_elliott_erwitt_010_1
1954_eliott_erwitt_syi__2_ 1954_eliott_erwitt_syi__3_ 1954_eliott_erwitt_syi__4_ 1954_eliott_erwitt_syi 

by_elliott_erwitt-THE-SEVEN-YEAR-ITCH-CONTACT-SHEET-1954-1-BHC0352 


>> Photographies de Garry Winogrand
syi_sc11_on_set_by_garry_winogrand_1_1 syi_sc11_on_set_by_garry_winogrand_5
1954-syi-by_garry_winogrand_pp_20  
syi_sc11_on_set_by_garry_winogrand_2_1 syi_sc11_on_set_by_garry_winogrand_2_2 syi_sc11_on_set_by_garry_winogrand_3 syi_sc11_on_set_by_garry_winogrand_4 

1954-syi-by_garry_winogrand_pp_17   1954-syi-by_garry_winogrand_pp_18 


>> Photographies de Charles Hagedorn
syi_sc11_on_set_by_charles_hagedorn_1 syi_sc11_on_set_by_charles_hagedorn_2 syi_sc11_on_set_by_charles_hagedorn_3


>> Photographies de John Randolph Hearst
syi_sc11_on_set_by_John_Randolph_Hearst_1 


>> Photographies de Bill Kobrin
syi_sc11_on_set_by_bill_kobrin_1 syi_sc11_on_set_by_bill_kobrin_2 syi_sc11_on_set_by_bill_kobrin_3
syi_sc11_on_set_By_Bill_Kobrin_4 syi_sc11_on_set_by_bill_kobrin_photos 


>> collection de Frieda Hull
1954-09-15-ny-collection_frieda_hull-246146_0  1954-09-15-ny-collection_frieda_hull-246148_0 
1954-09-15-ny-collection_frieda_hull-246145_0  1954-09-15-ny-collection_frieda_hull-246146_0b 


>> Photographies de Bruno Bernard
syi_sc11_on_set_by_bruno_bernard_1 syi_sc11_on_set_by_bruno_bernard_2 

Extraits du journal de Bruno Bernard:
- Le magazine Redbook engagea Bruno Bernard pour couvrir le tournage de Marilyn dans The Seven Year Itch.
- New York - 14/09/1954. Si cela n'avait pas été pour mon travail (la couverture de Redbook) et Marilyn, dix chevaux ne m'auraient pas traîné sur le tournage de Seven year Itch. Zut. J'ai attendu trois heures au milieu des odeurs transpiration et des cris de la foule et d'une bande de paparazzis (...). Soudain, la foule a poussé un formidable hurlement. Marilyn apparaissait en chair et en os. Lorsque Billy Wilder, le metteur en scène, a dit "On tourne", Marilyn est sortie du théâtre, a fait quatre pas sur la gauche avant de s'arrêter juste au-dessus d'une grille d'aération. A ce moment précis, on doit imaginer qu'un métro quitte la station, l'air qu'il déplace soulevant la jupe de Marilyn. Pour mieux contrôler l'action, les accessoiristes ont disposé un ventilateur directement sous la grille. Dans certaines prises, la jupe blanche de Marilyn s'est soulevée au point de lui couvrir le visage, à la grande joie des spectateurs hystériques. D'après le scénario, Marilyn doit simplement dire: "Ah, quel soulagement ! N'est-ce pas délicieux ?!" tandis qu'elle prend plaisir à sentir cet air frais. 
La scène a été refaite trente fois parce que Marilyn se trompait à chaque fois dans son texte. Sous sa robe, elle ne portait qu'une petite culotte de soie blanche transparente. (...) DiMaggio, qui se trouvait juste en face de moi et près de walter Winchell, regardait le spectacle. Je me rendais nettement compte que la gêne de DiMaggio tournait à la fureur. Je me frayais rapidement un chemin à travers la foule, dans l'espoir de le calmer. Mais, avant que je n'arrive près de lui, il avait déjà quitté les lieux très en colère. Winchell (...) m'a dit que DiMaggio était parti "apaiser son tempérament de macho italien au Toot's Shor's". Roy Croft nous rejoignit: "Nous devrions plutôt nous réjouir qu'elle porte au moins quelque chose dessous".
L'absence de DiMaggio ne la troubla pas, et la déesse de l'amour poursuivit ses interminables prises devant son public new-yorkais extasié.
- J'ai vraiment besoin de faire ces photos de Joe et Marilyn pour boucler mon article. Depuis le couloir de leur appartement du Saint Regis, je peux entendre les éclats d'une querelle passionnée suivie par des pleurs hystériques. Je suis parti et je n'ai pas fait mes photos. (...) J'étais abbatu et silencieux. Rencontrant Roy dans l'ascenceur, il tenta de me consoler: "Tout n'est pas perdu. Comme il y avait trop de bruits de fond en extérieur, Wilder a décidé de refaire toute la scène à Hollywood." 


>> sources:
- Livres: Bernard of Hollywood's Marilyn / De Norma Jean à Marilyn, de Susan Bernard / Marilyn among friends, Sam Shaw / L'Encyclopédie d'Adam Victor / Marilyn Monroe et les caméras, de Georges Belmont / Les trésors de Marilyn Monroe, de Jenna Glatzer / Les vies secrètes de Marilyn Monroe, d'Anthony Summers.


All photos are copyright and protected by their respective owners. 
copyright text by GinieLand.

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23 juin 2013

13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 1

Sept ans de réflexion
Sur le tournage - scène 15

Le 13 septembre 1954, Marilyn Monroe tourne ce qui sera la scène finale du film "Sept ans de réflexion", celle où elle est en peignoir dans l'appartement de Richard Sherman (Tom Ewell); et lui lance ses chaussures par la fenêtre. Il s'agit de la première scène tournée en extérieur, à New York, dans l'appartement situé au 164 East 61 Street. Près de 1000 personnes (des photographes, gens de la presse et beaucoup de passants et de fans), se sont amassés devant l'immeuble.

In September, 13, 1954, Marilyn Monroe shoots what will be the final scene of "The Seven Year Itch", the one where she is in a white robe in the apartment of Richard Sherman (Tom Ewell); and she throws his shoes from out the window. This is the first scene shot on location in New York, in an apartment located at 164 East 61 Street. Nearly 1,000 people (photographers, press people and a lot of shoppers and fans), were raised in front of the building.

> 1ère partie:
- Tournage de la scène
 
film_7yi_scene_robe_window_out_set_020_014_by_shaw_1   film_7yi_scene_robe_window_out_set_020_015_by_shaw_1
 film_7yi_scene_robe_window_out_set_020_013_by_shaw_1 syi_sc15_on_set_filming_010_1_in_1954_09_13 syi_sc15_on_set_filming_011_1 syi_sc15_on_set_filming_013_1
syi_sc15_on_set_filming_012_1 syi_sc15_on_set_filming_012_1a syi_sc15_on_set_filming_014_1

-Marilyn à la fenêtre
syi_sc15_on_set_window_020_1  syi_sc_window 
syi_sc15_on_set_window_020_2 syi_sc15_on_set_window_010_1
 
syi_sc15_on_set_window_051_1 syi_sc15_on_set_window_021_1 syi_sc15_on_set_window_022_1
syi_sc15_on_set_window_023_1 syi_sc15_on_set_window_024_1
syi_sc15_on_set_window_031_1  
syi_sc15_on_set_window_030_1  syi_sc15_on_set_window_050_1 
 syi_sc15_on_set_window_040_1
film-7yi-window syi_sc15_on_set_window_041_1
 syi_sc15_on_set_window_050_2a syi_sc15_on_set_window_050_2b syi_sc15_on_set_window_050_2c 
syi_sc15_on_set_window_052_1 syi_sc15_on_set_window_052_2 

> photographies de George Barris
syi_sc15_on_set_window_by_barris_010_1 syi_sc15_on_set_window_by_barris_010_2 
syi_sc15_on_set_window_by_barris_011_1 syi_sc15_on_set_window_by_barris_011_2 syi_sc15_on_set_window_by_barris_011_2a
syi_sc15_on_set_window_by_barris_011_3 syi_sc15_on_set_window_by_barris_011_3a
syi_sc15_on_set_window_by_sam_shaw_serie1_013_1 syi_sc15_on_set_window_by_sam_shaw_serie1_013_2
syi_sc15_on_set_window_by_barris_012_1 syi_sc15_on_set_window_by_barris_012_1a syi_sc15_on_set_window_by_barris_013_1
syi_sc15_on_set_window_by_barris_020_1 syi_sc15_on_set_window_by_barris_020_2 syi_sc15_on_set_window_by_barris_020_3
syi_sc15_on_set_window_by_barris_020_4 syi_sc15_on_set_window_by_barris_020_5
syi_sc15_on_set_window_by_barris_020_6 syi_sc15_on_set_window_by_barris_020_7 
syi_sc15_on_set_window_by_barris_021_1 syi_sc15_on_set_window_by_barris_021_2 syi_sc15_on_set_window_by_barris_021_3

> photographies de Bob Henriques
syi_sc15_on_set_window_by_bob_henriques_1_1 syi_sc15_on_set_window_by_bob_henriques_1_2 syi_sc15_on_set_window_by_bob_henriques_1_3

> photographies de Garry Winogrand 
syi_sc15_on_set_window_by_gary_winogrand_1  
syi_sc15_on_set_window_by_gary_winogrand_2  

> photographies de Myron Ehrenberg
film-7yi-by_MYRON_EHRENBERG_SEVEN_YEAR_ITCH176 

> photographies de Milton H. Greene
syi_sc15_on_set_window_by_mhg_020_1  
syi_sc15_on_set_window_by_mhg_010_1

> photographie de Sam Schulman
syi_sc15_on_set_window_by_sam_schulman_1 

 > photographies de Sam Shaw  
syi_sc15_on_set_window_by_sam_shaw_serie1_010_1 syi_sc15_on_set_window_by_sam_shaw_serie1_010_2 syi_sc15_on_set_window_by_sam_shaw_serie1_010_3
syi_sc15_on_set_window_by_sam_shaw_serie1_011_1 syi_sc15_on_set_window_by_sam_shaw_serie1_012_1 syi_sc15_on_set_window_by_sam_shaw_serie1_012_2

syi_sc15_on_set_window_by_sam_shaw_serie1_011_1a syi_sc15_on_set_window_by_sam_shaw_serie1_014_1a
film_7yi_scene_robe_window_out_set_031_010_by_shaw_1 syi_sc15_on_set_window_by_sam_shaw_serie1_017_1a
syi_sc15_on_set_window_by_sam_shaw_serie1_014_1 syi_sc15_on_set_window_by_sam_shaw_serie1_015_1 syi_sc15_on_set_window_by_sam_shaw_serie1_016_1
syi_sc15_on_set_window_by_sam_shaw_serie1_018_1 syi_sc15_on_set_window_by_sam_shaw_serie1_018_1a syi_sc15_on_set_window_by_sam_shaw_serie4_010_1  
syi_sc15_on_set_window_by_sam_shaw_serie2_010_1 syi_sc15_on_set_window_by_sam_shaw_serie2_010_1a syi_sc15_on_set_window_by_sam_shaw_serie2_011_1
syi_sc15_on_set_window_by_sam_shaw_serie2_012_1 syi_sc15_on_set_window_by_sam_shaw_serie3_010_1 syi_sc15_on_set_window_by_sam_shaw_serie3_010_1a

> photographie de Walter Jacobsen 
syi_sc15_on_set_window_by_walter_jacobsen_1 

> photographie de Elliott Erwitt
by_elliott_erwitt-MARILYN-MONROE-NEW-YORK-1956-2-BHC0340 

 


 > planche contact
syi_sc15_set_contact_sevenyear13 


> dans la presse
syi_sc15_on_set_window_mag_danois_norma_ray_04 


> captures
syi_sc15_set_cap_01 syi_sc15_set_cap_02 syi_sc15_set_cap_03
syi_sc15_set_cap_04 syi_sc15_set_cap_05 syi_sc15_set_cap_06
syi_sc15_set_cap_07 syi_sc15_set_cap_08 syi_sc15_set_cap_09
syi_sc15_set_cap_10 syi_sc15_set_cap_11 syi_sc15_set_cap_12
syi_sc15_set_cap_13 syi_sc15_set_cap_14 syi_sc15_set_cap_15
syi_sc15_set_cap_from_the_legend_of_MM_01 syi_sc15_set_cap_from_the_legend_of_MM_02 syi_sc15_set_cap_from_the_legend_of_MM_03
syi_sc15_set_cap_from_the_legend_of_MM_04 syi_sc15_set_cap_from_the_legend_of_MM_05 syi_sc15_set_cap_from_the_legend_of_MM_06
syi_sc15_set_cap_from_marilyn_in_manhattan_01 syi_sc15_set_cap_from_marilyn_in_manhattan_02 syi_sc15_set_cap_from_marilyn_in_manhattan_03
syi_sc15_set_cap_from_marilyn_in_manhattan_04 syi_sc15_set_cap_from_marilyn_in_manhattan_05 syi_sc15_set_cap_from_marilyn_in_manhattan_06
syi_sc15_set_cap_from_marilyn_in_manhattan_07 syi_sc15_set_cap_from_marilyn_in_manhattan_08 syi_sc15_set_cap_from_marilyn_in_manhattan_09
syi_sc15_set_cap_from_the_legend_of_MM_07 syi_sc15_set_cap_from_the_legend_of_MM_08 syi_sc15_set_cap_from_the_legend_of_MM_09 

1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-1 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-2 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-3 
1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-4 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-5 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-6 


> video

> video (color footage in Kodachrome by Jules Schulback)


> source captures:
Documentaires "The Legend of Marilyn Monroe", "Marilyn in Manhattan".


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

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21 juin 2013

13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 4

Sept ans de réflexion
Sur le tournage - scène 15

Le 13 septembre 1954, Marilyn Monroe à la fenêtre de l'appartement situé au 164 East 61 Street, à New York, où elle tourne une scène du film "Sept ans de réflexion".

In September, 13, 1954, Marilyn Monroe at the window of the apartment located at 164 East 61 Street, in New York, where she shoots a scene of the movie "The Seven Year Itch".

> 4ème partie: A la fenêtre - dans l'appartement

syi_sc15_set_window_in_010_1 syi_sc15_Peig20 syi_sc15_set_window_in_014_1
syi_sc15_set_window_in_011_1 syi_sc15_set_window_in_012_1 syi_sc15_set_window_in_013_1

> photographies de George Barris
syi_sc15_set_window_in_by_barris_010_1 syi_sc15_set_window_in_by_barris_010_2 syi_sc15_set_window_in_by_barris_010_2a
syi_sc15_set_window_in_by_barris_011_1 syi_sc15_set_window_in_by_barris_012_1 syi_sc15_set_window_in_by_barris_012_2
syi_sc15_set_window_in_by_barris_013_1 syi_sc15_set_window_in_by_barris_013_2 syi_sc15_set_window_in_by_barris_013_2a

> photographies de Bob Henriques
syi_sc15_set_window_in_by_bob_henriques_1 syi_sc15_set_window_in_by_bob_henriques_010_1 syi_sc15_set_window_in_by_bob_henriques_010_2

> photographies de Elliott Erwitt
syi_sc15_set_window_in_by_elliot_erwitt_1_1 
syi_sc15_set_window_in_by_elliot_erwitt_1_2 
film-syi-by_erwitt-5  

> photographie de Garry Winogrand
syi_sc15_set_window_in_by_garry_winogrand_1 

 > photographie de Sam Shaw  
syi_sc15_set_window_in_by_sam_shaw_1 
syi_sc15_set_front_040_1_in_1954_09_13 


> dans la presse 
syi-sc15-mag1a  syi-sc15-mag1b 


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand. 

19 juin 2013

13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 5

Sept ans de réflexion
Sur le tournage - scène 15

Le 13 septembre 1954, Marilyn Monroe tourne ce qui sera la scène finale du film "Sept ans de réflexion", celle où elle est en peignoir dans l'appartement de Richard Sherman (Tom Ewell). Il s'agit de la première scène tournée en extérieur, à New York, dans l'appartement situé au 164 East 61 Street.

In September, 13, 1954, Marilyn Monroe shoots what will be the final scene of "The Seven Year Itch", the one where she is in a white robe in the apartment of Richard Sherman (Tom Ewell). This is the first scene shot on location in New York, in an apartment located at 164 East 61 Street.

> 5ème partie: Marilyn sur le sofa

syi_sc15_set_sofa_010_1_reading_script_1954_09_12 syi_sc15_set_sofa_021_1
syi_sc15_set_sofa_022_1 syi_sc15_set_sofa_030_1 syi_sc15_set_sofa_031_1
syi_sc15_set_sofa_020_1 syi_sc15_set_sofa_040_1 syi_sc15_set_sofa_050_1 
syi_sc15_set_sofa_071_1  film-syi-peignoir-2
syi_sc15_set_sofa_060_1 film-syi-peignoir-1 syi_sc15_set_sofa_070_1
film-7yi-1954 

> Marilyn avec Natasha Lytess
syi_peignoir_lytess 

> photographies de George Barris
syi_sc15_set_sofa_by_barris_010_1 syi_sc15_set_sofa_by_barris_010_2 
syi_sc15_set_sofa_by_barris_011_1 syi_sc15_set_sofa_by_barris_011_3 tsyi-robe-1954 
syi_sc15_set_sofa_by_barris_012_1 tsyi-robe-sofa-fmf__barris__1954 syi_sc15_set_sofa_by_barris_012_2 
syi_sc15_set_sofa_by_barris_012_1b  syi_sc15_set_sofa_by_barris_012_2a  syi_sc15_set_sofa_by_barris_020_1 

> photographies de Bob Henriques
syi_sc15_set_contact_by_bob_henriques_1 syi_sc15_set_sofa_by_bob_henriques_1_1 syi_sc15_set_sofa_by_bob_henriques_1_3
syi_sc15_set_sofa_by_bob_henriques_2_1 syi_sc15_set_sofa_by_bob_henriques_1_4 syi_sc15_set_sofa_by_bob_henriques_1_5 syi_sc15_set_sofa_by_bob_henriques_5_2
syi_sc15_set_sofa_by_bob_henriques_1_2 film-7yi-__57__2_ syi_sc15_set_sofa_by_bob_henriques_5_1 
film-7yi-The_seven_year_itch_05  film-7yi-The_seven_year_itch_06 
film-7yi-The_seven_year_itch_07  film-7yi-The_seven_year_itch_08 
syi_sc15_set_sofa_by_bob_henriques_4_1 syi_sc15_set_sofa_by_bob_henriques_4_4 syi_sc15_set_sofa_by_bob_henriques_4_3

> photographies de Elliott Erwitt
film-syi-by_erwitt-1 film-7yi-1954 film-syi-by_erwitt-4
syi_sc15_set_sofa_by_elliott_erwitt_1_1 film-syi-by_erwitt-2 syi_sc15_set_sofa_by_elliott_erwitt_3_1
syi_sc15_set_sofa_by_elliott_erwitt_2_1 syi_sc15_set_sofa_by_elliott_erwitt_2_2 syi_sc15_set_sofa_by_elliott_erwitt_2_3
syi_sc15_set_sofa_by_elliott_erwitt_4_1  by_elliott_erwitt-MARILYN-MONROE-NEW-YORK-1956-2-BHC0342 
by_elliott_erwitt-CONTACT-SHEET-571-1956-1-BHC0351  by_elliott_erwitt-CONTACT-SHEET-NUMBER-573-1956-1-BHC0350 
syi_sc15_set_sofa_by_elliott_erwitt_contact_1 syi_sc15_set_sofa_by_elliott_erwitt_contact_2 1954

> photographies de Tom Caffrey
syi_sc15_set_sofa_by_tom_caffrey_1_1 syi_sc15_set_sofa_by_tom_caffrey_1_2 syi_sc15_set_sofa_by_tom_caffrey_1_3

> photographies de Garry Winogrand
syi_sc15_set_sofa_by_garry_winogrand_1  
syi_sc15_set_sofa_by_garry_winogrand_2 syi_sc15_set_sofa_by_garry_winogrand_3_1 syi_sc15_set_sofa_by_garry_winogrand_3_2

> photographies de Sam Shaw 
syi_sc15_set_sofa_by_sam_shaw_010_1 syi_sc15_set_sofa_by_sam_shaw_010_2 syi_sc15_set_sofa_by_sam_shaw_010_3
syi_sc15_set_sofa_by_sam_shaw_010_4 syi_sc15_set_sofa_by_sam_shaw_010_5
 syi_sc15_contact_ebseven3 
film-7yi-by_shaw  


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.