1956, Londres - Dédicace pour Jiggs Jaeger
Extrait de page d'un carnet d'autographes et dédicaces de plusieurs acteurs du film "Le Prince et la Danseuse" (Laurence Olivier, Marilyn Monroe, Arthur Miller, Jeremy Spencer, Richard Wattis, et Sybil Thorndike sur une autre page) dont le tournage se déroule de juillet à novembre 1956 aux studios Pinewood de Londres. Ce carnet appartient au Lt Colonel Jiggs Jaeger du groupe The Irish Guards, l'orchestre à cordes qui jouait et apparaissait pendant la scène de la salle de bal du film. Deux des signatures sont dédicacées à sa fille Maureen.
Le carnet contient aussi une photo de son père sur le plateau de tournage avec Marilyn et une courte lettre de Maureen elle-même détaillant l'histoire des autographes.
Extract of pages of a notebook of autographs and dedications of several actors of the film "The Prince and the Showgirl" (Laurence Olivier, Marilyn Monroe, Arthur Miller, Jeremy Spencer, Richard Wattis, and Sybil Thorndike on another page) whose shooting takes place from July to November 1956 at Pinewood studios in London. This notebook belongs to Lt Colonel Jiggs Jaeger of The Irish Guards, the string orchestra that played and appeared during the ballroom scene of the film. Two of the signatures are dedicated to his daughter Maureen.
The notebook also contains a picture of her father on set with Marilyn and a short letter from Maureen herself detailing the autographs story.
(source: vendu sur Memoribilia UK )
extrait du film Le prince et la danseuse: la scène de bal
extract of movie The Prince and the Showgirl: ballroom scene
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copyright text by GinieLand.
My Week (and a bit) With Marilyn
My Week (and a bit) With Marilyn
April 11, 2019 - By Colin Clark - sur The Oldie
In 1956 Laurence Olivier and Marilyn Monroe were both incredibly famous. When it was announced that they were going to make a film together, it caused amazement and concern of a sort that is hard to imagine today. After all Miss Monroe was the epitome of the busty-but-brainless Hollywood blonde and Sir Laurence was the greatest classical actor of his generation etc, etc. It was really unthinkable that I should just walk into the offices of Laurence Olivier Productions, at the age of twenty-three, and demand a job. But that is what I did and, in the end, I got one.
My father, Kenneth Clark, was quite well known in intellectual circles then, and he and my mother were friends of ‘Larry & Vivien’. Even so I must have been pretty brash – what my elder brother, Alan, still calls ‘youthfully foolish’ when I do something particularly stupid. It worked out well, though. The film was an incredible adventure despite the battles between the two so different cultures.
It was really a struggle between the old and the new. Despite his work in Hollywood, Olivier always thought of a film as a photographed play. And Marilyn, who had actually appeared in as many films as Olivier had at that time (25), was totally unaware of theatrical conventions, like learning lines in advance, and coming in on cue. The crew of the film, hand-picked by Olivier, thought of anything from America as vulgar and upstart (this was the Fifties, don’t forget) and the idea of treating the movies as a brand-new medium was very threatening. I started by getting on very well with Marilyn and the whole American team. But I was always firmly in the Olivier camp, and just as well, for I was to remain as his personal assistant in the theatre for the next two years. I see now that it was Marilyn who was the ‘film star’, Marilyn, erratic as she was, who was the future.
Monday 16th July 1956
Problems – too much fakery: peroxide hair, dead white makeup, heavy lipstick, but that is her image. She looks confused too, lost, troubled. That’s the MM [Marilyn Monroe] image too, I know, but even when she’s shut the door on the reporters, she still looks in distress, not just acting it.
She doesn’t seem to be able to shrug off the image in private, to throw off her coat, slump down on the sofa and say: ‘Phew, let’s have a drink.’
She gazes at AM [Arthur Miller] as if he is a superhero, but I don’t think he is that nice. He’s clearly very handsome and very attractive, but good-hearted, no. And she hasn’t really got anyone else to depend on. A girl like that really needs her mum, but I’m told her mum is in a bin. Milton [Greene, executive producer] is clearly dependent on her, rushing round like all the others trying not to upset her, frightened of her even.
SLO [Sir Laurence Olivier] is much too remote. He’s going to be her director and that should be a close relationship, but he is quite clearly not in any way concerned with her personally. He is the supreme professional, expecting and assuming that everyone else will be professional too...
I wish SLO could be cosy with MM. He’s strong and romantic with most women but he only gets ‘cosy’ with men.
Wednesday 18th July
It goes without saying that she was late – but not very late, only half an hour... When MM did arrive we all got a shock – except Whitey [Allan Snyder, MM’s personal makeup man], I suppose. She looked absolutely frightful. No makeup, just a skirt, a tight blouse, head scarf and dark glasses. Nasty complexion, a lot of facial hair, shapeless figure and, when the glasses came off, a very vague look in her eye. No wonder she is so insecure.
She bolted into her dressing-room with Milton and Whitey and stayed there for twenty minutes. Eventually they coaxed her out, looking very tense indeed, and walked her to the small studio. The whole idea is to film her first without makeup on, so she sat on a stool, under the bright lights, like a prisoner of war...
Thursday 19th July
MM late again but this time no one cared. Everyone was only thinking about the 'rushes' – the film that was shot yesterday. At 9.30 Milton and SLO led the way into the viewing theatre, and we all held our breath. Jack [Cardiff, lighting cameraman] and Whitey had already seen it together, early on. They were looking pretty smug but said nothing...
The film was magical, and there’s no other way to describe it. The stuff we shot in the morning, although it resembled a police line-up mug shot, was quite heartbreaking. MM looked like a young delinquent girl, helpless and vulnerable under the harsh lights. The afternoon footage was even more extraordinary. What an incredible transformation. Now MM looked like an angel – smooth, glowing, eyes shining with joy (Jack’s lights), perfect lips slightly parted, irresistible. Quite a few people had wandered in to look and they were stunned. We all fell in love there and then.
Tuesday 14th August
Dame S [Sybil Thorndike] had a long line about Eleanor Duse being a much greater actress than Sarah Bernhardt. MM simply could not remember when to reply. Dame S is babbling on and ends with a rhetorical question: ‘You agree. No?’
All MM had to say was ‘No’ at the right moment, but today even this proved too complicated... Halfway through, SLO tried a controlled explosion. MM was stunned, as usual, but SLO had reckoned without Dame S who promptly gave him a good ticking off. ‘Don’t you realise what a strain this poor girl is under? She hasn’t had your years of experience. She is far from home in a strange country, trying to act in a strange part. Are you helping or bullying?’ Poor SLO, who naturally thinks he is the injured party, was stunned.
MM was radiant. ‘Oh thank you so much, Dame Sybil. But I mustn’t forget my lines. I promise I’ll try to remember them from now on.’ And she was good as gold for the rest of the afternoon.
Wednesday 15th August
I suppose you could say that today was a red-letter day. This morning I definitely saw more of MM than I ever expected to, and she went up in my estimation in more ways than one. She arrived really early, for her, and nearly caught us on the hop at 7.30 am. She was still in a jolly mood – I expect she and AM had had a good laugh over SLO’s discomfiture.
As lunchtime drew near David [Orton, assistant director] caught me in the corridor, and told me to look for MM’s marked script which was missing. I assumed this meant MM was on the set so I just barged into her dressing-room and straight into the inner sanctum. What David had not told me was that filming had already ended.
There stood MM, completely nude, with only a white towel round her head.
I stopped dead. All I could see were beautiful white and pink curves. I must have gone as red as a beetroot. I couldn’t even turn and rush out, so I just stood there and stared and stammered.
MM gave me her most innocent smile. ‘Oh Colin,’ she said. ‘And you an Old Etonian!’ How did she stay so cool? And how did she know which school I had gone to and what it meant? When I managed to get out of the room and pull myself together, I realised that behind the fog MM could be a bit brighter than we all think.
Monday 19th November
When MM left the studio, she did so quickly and furtively. She is supposed to come back tomorrow but we all know she won’t. She didn’t say goodbye to anyone, not even her personal dresser, who has been so loyal and patient, or to Gordon, her hairdresser.
We knew we would never see her again and, sad to tell, it was an immense relief.
Poor Milton is very depressed. He feels a failure, but he would have needed the strength of ten men to have succeeded in all his roles. He had been warned about what he was taking on by other producers of MM’s films. But her appeal is so great that he shrugged them off.
Even MM is not to blame. The great engine of publicity that surrounds her is unstoppable. Like some awful curse of the gods, it stalks her every moment, and one day it will crush her.
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by The Oldie.
5 grands clashs dans l'histoire d'Hollywood
Cinq fameuses relations Hollywoodiennes sous très hautes tensions
23/06/2017
en ligne sur allocine.fr
A l'image de la série "Feud", qui s'intéresse dans la saison 1 à la légendaire rivalité entre les fameuses actrices Bette Davis et Joan Crawford, il y a eu d'autres relations légendaires sous très hautes tensions à Hollywood. En voici cinq.
1. Bette Davis Vs Joan Crawford
2. Olivia de Havilland Vs Joan Fontaine
3. Laurence Olivier vs Marilyn Monroe
4. Orson Welles Vs William Randolph Hearst
5. Gene Kelly & Debbie Reynolds
Laurence Olivier et Marilyn Monroe
Laurence Olivier est, avec son confrère britannique John Gielgud, l'acteur shakespearien par excellence. Immense comédien, Laurence Olivier était semble-t-il d'un tempérament difficile, en plus d'être réputé pour sa capacité à lâcher des commentaires peu amènes sur ses confrères; un peu à la manière d'un Orson Welles. L'intéressé dira par exemple de sa partenaire dans Rebecca, Joan Fontaine, qu'elle était "détestable", tandis qu'il trouvait l'actrice Merle Oberon "stupide et amatrice"... Sympa. "C'est quelqu'un d'assez déplaisant" dira de lui l'illustre Alec Guinness; "et même quelqu'un de vindicatif".
Lorsqu'il tourna en 1957 Le Prince et la danseuse, Olivier pris en grippe Marilyn Monroe. La comédienne était nerveuse sur le tournage, au point de passer aussi peu de temps que possible en compagnie des autres acteurs / actrices du film. Olivier méprisait son usage de la Method Acting et la présence permanente sur le plateau du coach de l'actrice, Paula Strasberg. Le -fameux- directeur de la photographie du film, Jack Cardiff, déclara d'ailleurs : "dès le départ, il était évident que Marilyn allait être un problème pour Larry".
Il faut dire que la comédienne a aussi la réputation d'être ingérable et capricieuse sur les plateaux de tournage. "Elle était tout le temps en retard, négligée, elle n'arrivait jamais à dire deux fois de suite sa réplique de la même manière" affirma l'une des comédiennes du film, Jean Kent, dans une interview donnée en 2012. Qui enfonce le clou : le casting s'était carrément mis à boire pour se motiver pour tourner les scènes avec Marilyn, tandis que Laurence Olivier "pris 15 ans" tellement le tournage fut douloureux pour lui. Marilyn Monroe, de son côté, ne pardonnait pas au comédien shakespearien de lui avoir dit "essayez donc de jouer et soyez sexy !" Ambiance...
Les Affiches de The Prince and the Showgirl
Le prince et la danseuse
Les Affiches
Les Affiches Ciné dans le monde
> Danemark
> Finlande 
> Belgique 
> France 
> Italie 
> Japon 
> Pologne 
> USA
> Travail d'ébauche d'affiches - par Milton Greene 
> Videos / Dvds
Photos d'exploitation de The Prince and the Showgirl
Le prince et la danseuse
Photos d'exploitation cinéma
- lobby cartes USA série 1 - 
- lobby cartes USA série 2 - 
- lobby cartes USA série 3 - 
- lobby cartes USA série 4 -
- lobby cartes USA série 5 -
- lobby cartes USA série 6 - 
- lobby cartes USA série 7 - 
- lobby cartes Allemagne - 
- lobby cartes Mexique - 
Portraits Studio Prince and Showgirl - par Greene 1
Le prince et la danseuse
Photos Publicitaires
Marilyn Monroe et Laurence Olivier photographiés par Milton H Greene en 1957.
Photographies publicitaires pour "Le Prince et la Danseuse".
Marilyn Monroe and Laurence Olivier photographed by Milton H Greene, in 1957.
Publicity sitting for "The Prince and the Showgirl".
All photos are copyright and protected by their respective owners.
Copyright text by GinieLand.
Portraits Studio Prince and Showgirl - par Greene 2
Le prince et la danseuse
Photos Publicitaires
Marilyn Monroe et Laurence Olivier photographiés par Milton H Greene en 1957.
Photographies publicitaires pour "Le Prince et la Danseuse".
Marilyn Monroe and Laurence Olivier photographed by Milton H Greene, in 1957.
Publicity sitting for "The Prince and the Showgirl".
> Photos de la session "PR": "Prince & the Showgirl"
> couvertures de magazines 
> Laurence Olivier
All photos are copyright and protected by their respective owners.
Copyright text by GinieLand.
Photos de "The Prince and the Showgirl" sc 1
Le prince et la danseuse
Photos scène 1
> Photographies de Milton Greene
Photographs of Milton Greene
- Northbrook (Richard Wattis) 
- le régent Charles (Laurence Olivier) salue les danseuses du Coconut Girl Club 
- Fanny (Daphne Anderson) et Elsie (Marilyn Monroe) attendent leur tour
- le régent Charles (Laurence Olivier) rencontre Elsie (Marilyn Monroe)
- Fanny (Daphne Anderson) et Elsie (Marilyn Monroe) rejoignent leurs loges 
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Sur le tournage de "The Prince and the Showgirl" 1
Le prince et la danseuse
Sur le tournage - scène 1
> Photographies de Milton Greene
Photographs of Milton Greene
- Marilyn Monroe entre les prises 
- Marilyn Monroe et Gladys Henson 
- Marilyn Monroe avec Laurence Olivier et Jack Cardiff 
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Photos de "The Prince and the Showgirl" sc 2
Le prince et la danseuse
Photos scène 2
> Photographies de Milton Greene
Photographs of Milton Greene
- le régent Charles (Laurence Olivier) rentre dans son palais 
- Elsie (Marilyn Monroe) se déshabille dans les coulisses:
- Elsie (Marilyn Monroe) découvre la lettre d'invitation du régent Charles,
avec sa copine Betty (Vera Day): 
- Betty (Vera Day) aide Elsie (Marilyn Monroe) à choisir sa tenue;
le serviteur Northbrook (Richard Wattis) les attend: 
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
