09 août 2013

15/09/1954 NYC - Sur le tournage de The Seven Year Itch scène 11

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, New York City.
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".


syi_sc11_on_set_011_1Le soir du 14 septembre 1954, la police dressa des barrières de bois devant le cinéma "Trans-Lux Theater", au carrefour de Lexington Avenue et de la 52nd Street. Le département publicité des studios n'avait pas manqué l'occasion de prévenir la presse en communiquant le lieu exact du tournage et en garantissant que la circulation serait bloquée. 
Vers une heure du matin (donc le 15 septembre 1954), alors que le tournage devait débuter, plusieurs centaines de photographes et journalistes se bousculaient pour prendre place, au milieu d'une foule de milliers de spectateurs (d'après Billy Wilder, il y avait près de 5 000 personnes; mais un journal avança le nombre d'environ 1 000 personnes), qui appréciait chaque moment en poussant des hourras et en criant avec frénésie "Plus haut! Plus haut!", chaque fois que la jupe de Marilyn Monroe s'envolait. Le tournage dura cinq heures et il y eut quinze prises.

On the evening of September 14, 1954, police erected barriers of wood in front of the movie theater "Trans-Lux Theater" at the intersection of Lexington Avenue and 52nd Street. The advertising department studios had not missed the opportunity to prevent the press in communicating the place of the shooting and ensuring that traffic was blocked.
About one o'clock in the morning (so September 15), while filming was to begin, hundreds of photographers and journalists jostled to take place in the middle of a crowd of thousands of spectators (from Billy Wilder, there were nearly 5,000 people; but a newspaper talked about 1,000 people), who enjoyed every moment cheering and shouting
"higher! higher!" with excitement whenever the skirt of Marilyn Monroe flew. The shoot lasted five hours and there were fifteen takes.

> Marilyn Monroe, Tom Ewell, Billy Wilder

syi_sc11_on_set_010_1 syi_sc11_on_set_010_1a syi_sc11_on_set_010_2   
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syi_sc11_on_set_044_3 syi_sc11_on_set_050_3 syi_sc11_on_set_044_4
syi_sc11_on_set_044_5  syi_sc11_on_set_045_1  syi_sc11_on_set_045_2
syi_sc11_on_set_045_1a  syi_sc11_on_set_048_1
syi_sc11_on_set_048_1a syi_sc11_on_set_048_2 syi_sc11_on_set_048_3 
syi_sc11_on_set_046_3 film-syi-035 syi_sc11_on_set_047_1
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film-7yi-set-1
syi_sc11_on_set_046_2 syi_sc11_on_set_054_2 syi_sc11_on_set_052_7 

1954-09-15-246147_0  
syi_sc11_on_set_053_1 syi_sc11_on_set_053_2 syi_sc11_on_set_053_3
syi_sc11_on_set_053_4_tag syi_sc11_on_set_053_4  syi_sc11_on_set_053_5 
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syi_sc11_on_set_051_3 syi_sc11_on_set_052_1_1 syi_sc11_on_set_052_1_2 syi_sc11_mag_coronet1
syi_sc11_on_set_052_2_by_weegee syi_sc11_on_set_052_3 syi_sc11_on_set_052_4
syi_sc11_on_set_052_5 syi_sc11_on_set_052_6_1 syi_sc11_on_set_052_6_2 syi_sc11_on_set_052_6_3


Le vent était géré par une machine installée en-dessous de la grille d'aération du métro, sur laquelle Marilyn prenait place. Le responsable des effets spéciaux, Paul Wurtzel, avait fait placer un gigantesque ventilateur, afin que le courant d'air soit assez puissant pour soulever la robe de Marilyn et ainsi dévoiler ses jambes et sa culotte blanche. C'est pour cette raison que Marilyn, prévoyante, portait deux culottes blanches superposées, afin d'éviter tout effet de transparence, bien que certains ont suggéré le contraire (comme Bruno Bernard), affirmant qu'elle ne portait qu'une culotte transparente. Apparemment, les techniciens qui manipulaient le ventilateur perçurent des pots-de-vin pour permettre à certains spectateurs d'avoir une vue "dégagée" d'en dessous.

The wind was managed by a machine set below the subway gate, on which Marilyn took place. The special effects supervisor Paul Wurtzel, had placed a huge blower so that the air stream is enough powerful to lift the dress of Marilyn and thus reveal her legs and her white panties. It is for this reason that Marilyn, provident, wore two white panties superimposed to avoid transparency effect, although some have suggested otherwise (as Bruno Bernard), claiming she was wearing a transparent panties. Apparently, the technicians who handled the blower took money by some viewers, who had in return, an "open" view from below.

> Un technicien sous la grille - photo de Sam Shaw
syi_sc11_on_set_by_sam_shaw_machiniste_1 


  Avant que le tournage ne débuta avec les acteurs, on fit des essais avec des doublures: c'est Gloria Mosolino qui répéta, en huit prises, la scène de Marilyn afin de régler les lumières et l'air propulsé, et elle ne toucha que 20 Dollars et un repas pour ces répétitions. 
 Before filming with the actors, tests were made with actors' stand-in: Gloria Mosolino repeated, in eight takes, the scene of Marilyn to adjust the lights and air powered, and touched only 20 Dollars and a meal for these rehearsals.

> Gloria Mosolino
syi_sc11_set_gloria_mosolino_1954_08_19_by_frank_mastro


   > captures
syi_sc11_set_cap01_1 syi_sc11_set_cap01_2 syi_sc11_set_cap01_3
syi_sc11_set_cap02_1 syi_sc11_set_cap02_2 syi_sc11_set_cap02_3
syi_sc11_set_cap03_1 syi_sc11_set_cap03_2 syi_sc11_set_cap03_3
syi_sc11_set_cap04_1 syi_sc11_set_cap04_2 syi_sc11_set_cap04_3 

1954-09-15-ny-tsyi-set-cap_by_jules_schulback-01-1 1954-09-15-ny-tsyi-set-cap_by_jules_schulback-01-2 1954-09-15-ny-tsyi-set-cap_by_jules_schulback-01-3 
1954-09-15-ny-tsyi-set-cap_by_jules_schulback-01-4 1954-09-15-ny-tsyi-set-cap_by_jules_schulback-01-5 1954-09-15-ny-tsyi-set-cap_by_jules_schulback-01-6 

> videos



> dans la presse
syi_sc11_mag_se_septans syi_sc11_mag_mmmg 


>> 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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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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20 juillet 2013

On the set of New York: The Seven Year Itch (2)

otsonylogoThe Seven Year Itch Apartment
en ligne sur onthesetofnewyork.com

thesevenyearitchFilm: The Seven Year Itch
Home: Richard Sherman (and the girl upstairs)
Address: 164 East 61st Street, Manhattan.

Richard Sherman lives in a fully furnished apartment on the Upper East Side with his wife Helen and their young Son, Ricky.

thesevenyearitch02 

Like many other Manhattan husbands, Richard Sherman sends his wife and son to the country for the summer, while he stays behind and revels in temporary bachelor freedom, a lifestyle that often causes him to overactive, over-vivid his imagination. On one particular summer, a delightfully unconventional, voluptuous blonde moved into the upstairs apartment. Upon returning home, Richard had the fortune of meeting the girl, who was in town to make a television commercial for a toothpaste. During the same evening, while proof reading a book by psychiatrist Dr. Brubaker, claiming that a significant proportion of men have extra-marital affairs in the seventh year of marriage, Richard narrowly missed being hit on the head by a tomato plant that had come crashing down from the apartment above. The girl apologised to Richard and in return he had invited her to come down for a drink. In the days that followed, Richard and the girl grew closer. His resolve to resist temptation in all of its many forms fuelled his fear that he had succumb to the 'Seven Year Itch'. The increasing fantasies had turned Richard into a paranoid wreck, and after a crazed confrontation with McKenzie, whom Helen has asked to drop by to pick up Ricky's canoe paddle, Richard final came to his senses and told the girl that she could stay at his air conditioned apartment for the rest of the summer as he was leaving the city.

thesevenyearitch03 
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otsoNY Comments: The property on East 61st Street was only used for exterior shots. All interior shots were done in a Hollywood studio, although the property was used for entrance and window shots. Today, the apartment building is still there for fans to see with the only visual difference being the missing window blinds and the colour of the exterior wall.

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Richard Sherman's apartment is on the Upper East Side is a neighbourhood in the borough of Manhattan in New York City, btw Lexington and 3rd Avenues and has a gross square footage of 5,800. The five story property sits on a 20 foot by 101 foot lot and is built 20 feet by 90 feet on the first floor. Floors 2 through 5 are built 20 feet by 50 feet.

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Posté par ginieland à 11:53 - - Commentaires [0] - Permalien [#]
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On the set of New York: The Seven Year Itch

otsonylogoThe Seven Year Itch (1955)
en ligne sur onthesetofnewyork.com

7yearitchposterIn summertime in Manhattan, the plain and average Richard Sherman (Tom Ewell) sends his wife and son for vacation in the country. Sherman is the key man of a publishing firm, Brady & Company, which publishes cheap pocket books. The faithful Sherman has a routine life with his family and never steps outside of his standing desk or beyond the office door, but dreams on being successful with women. When a beautiful and sexy blonde (Marilyn Monroe) lodges the upstairs apartment of his small building, Sherman first opens the front door for her and then he invites her to have a drink with him after the fall of her tomato vase on his chair. Along the days, he spends some time with the girl and feels tempted by her, but later he misses his family and travels to meet them.

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otsoNY Comments: The classic shot of Marilyn Monroe's dress blowing up around her legs as she stands over a subway grating was originally shot on Manhattan's Lexington Avenue at 52nd Street on Sept. 15, 1954 at 1 AM. There were so many onlookers whistling and cheering through the takes as Marilyn repeatedly missed her lines that the original footage shot on that night in New York never made it to the screen. The noise of the crowd had made it unusable. Billy Wilder re-staged the scene on the 20th Century Fox lot, on a set replicating Lexington Avenue, and got a more satisfactory result.

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Posté par ginieland à 11:42 - - Commentaires [0] - Permalien [#]
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26 juin 2013

1954 Marilyn à New York

Marilyn Monroe en voiture (dans un taxi),
à New York, vers 1954.
Photographies de Sam Shaw.

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ph_shaw_car_1 ph_shaw_car_Marilyn_Monroe_photo_by_Sam_Shaw_126

Marilyn Monroe in a car (in a taxi)
New York, circa 1954.
Photographs by Sam Shaw.


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

Posté par ginieland à 12:02 - - Commentaires [0] - Permalien [#]
Tags : , ,


22 juin 2013

13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 2

Sept ans de réflexion
Sur le tournage - scène 15

Le 13 septembre 1954, Marilyn Monroe devant l'immeuble 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 in front of the the building at 164 East 61 Street, in New York, where she shoots a scene of the movie "The Seven Year Itch".

> 2ème partie: Devant l'immeuble
syi_sc15_set_front_010_1 syi_sc15_set_front_010_1a
syi_sc15_set_front_023_1
syi_sc15_set_front_011_1 
film-7yi-peignoir 
syi_sc15_set_front_021_1 syi_sc15_set_front_022_1 syi_set_peignoir
syi_sc15_set_front_032_1 syi_sc15_set_front_032_1a syi_sc15_set_front_041_1

> photographies de Sam Shaw
syi_sc15_set_front_by_sam_shaw_1 syi_sc15_set_front_by_sam_shaw_1a syi_sc15_set_front_by_sam_shaw_1b

syi_sc15_set_contact_7year 

syi_sc15_set_front_030_1 syi_sc15_set_front_031_1 

> photographies de George Barris
syi_sc15_set_front_by_barris_010_1 syi_sc15_set_front_by_barris_010_2
syi_sc15_set_front_by_barris_011_2 syi_sc15_set_front_by_barris_1_2_in_1954_09_09 syi_sc15_set_front_by_barris_2_2  
syi_sc15_set_front_by_barris_011_1
syi_sc15_set_front_by_barris_1_1 
syi_sc15_set_front_by_barris_012_1 syi_sc15_set_front_by_barris_012_2
syi_sc15_set_front_by_barris_012_3 syi_sc15_set_front_by_barris_012_4
syi_sc15_set_front_by_barris_012_5 syi_sc15_set_front_by_barris_012_6 syi_sc15_set_front_by_barris_012_7
syi_sc15_set_front_by_barris_020_1 syi_sc15_set_front_by_barris_020_2

- avec Billy Wilder
film-7yi-with_wilder

 > photographies de Bob Henriques
1954-by_bob-MONROE__MARILYN_-_BOB_HENRIQUES_1954628  
syi_sc15_set_front_by_bob_henriques_2_1 

 > photographies de Elliott Erwitt
syi_sc15_set_front_by_elliott_erwitt_1 syi_sc15_set_front_by_elliott_erwitt_2 


> captures
syi_sc15_set_cap_front_01 syi_sc15_set_cap_front_02 syi_sc15_set_cap_front_03 
syi_sc15_set_cap_front_04 syi_sc15_set_cap_front_05 syi_sc15_set_cap_front_06
 
1954-09-13-ny-tsyi-set-cap_by_jules_schulback-01-1 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-01-2 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-01-3 


> video


© 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 3

Sept ans de réflexion
Sur le tournage - scène 15

Le 13 septembre 1954, Marilyn Monroe dans l'immeuble 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 in the building at 164 East 61 Street, in New York, where she shoots a scene of the movie "The Seven Year Itch".

> 3ème partie:
- Dans le hall
syi_sc15_set_hall_1954_09_13_leaving_hotel_1 syi_sc15_set_hall_1954_09_13_leaving_hotel_1a 

> photographie de Sam Schulman
syi_sc15_set_hall_1954_09_13_leaving_hotel_by_sam_schulman

- Dans les escaliers
syi_sc15_set_hall_stairs_1_1 syi_sc15_set_hall_stairs_2_1 syi_sc15_set_hall_stairs_3_1

> photographies de George Barris
syi_sc15_set_hall_stairs_by_barris_1_1 syi_sc15_set_hall_stairs_by_barris_2_1 syi_sc15_set_hall_stairs_by_barris_2_1a

> photographies de Bob Henriques
syi_sc15_set_hall_stairs_by_bob_henriques_1
film-7yi-The_seven_year_itch_04 
1954 

> photographies de Sam Shaw
syi_sc15_set_hall_stairs_by_sam_shaw_1_1 syi_sc15_set_hall_stairs_by_sam_shaw_2_1
film_7yi_scene_robe_inside_set_010_stairs_021_by_shaw_1 syi_sc15_set_hall_stairs_by_sam_shaw_3_1


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

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.

13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 6

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. 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). 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.

> 6ème partie: Marilyn dans l'appartement

syi_sc15_set_room_010_1 syi_sc15_set_room_020_1
syi_sc15_set_room_030_1 syi_sc15_set_room_040_1 

> photographie de Bob Henriques
syi_sc15_set_room_by_bob_henriques_1 
film-7yi-The_seven_year_itch_01
film-7yi-The_seven_year_itch_02 film-7yi-The_seven_year_itch_03 

> photographies de Sam Shaw
film_7yi_scene_robe_inside_set_020_wall_010_by_shaw_1  syi_sc15_set_room_010_2 
syi_sc15_set_room_by_sam_shaw_1 syi_sc15_set_room_by_sam_shaw_1a syi_sc15_on_set_by_shaw_010_1


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