Description
CINEMA. Charles SPAAK (1903-1975). Autograph manuscript signed (initials) and 4 photos with autograph notes on back; and 53 letters to him, mostly L.A.S., 1938-1961. Nice set concerning the screenwriter, with numerous letters from filmmakers and actors.* L'Arbitrage Victor Francen. Reflections on a serious dispute between Spaak and actor Francen, and the fate of the screenplay for La Porte du large, plus the minutes of the arbitration before a jury of honor, signed by Charles Burguet, Charles Martinelli, Georges Lourau and Jean Renoir. Photos of Spaak and Lucien Kapler (Moscow, 1958), Jacques Feyder ("to whom I owe all the happiness of my life", but with whom he fell out, "stupidly"), Marcel Achard in academician's garb (with quatrain to Achard), and Spaak, Francen and Groulous, "who dreamed of producing a film on the life of Rubens"... * Philippe de Broca (authorization to make a novel about Cartouche), André Cayatte (2, including one about Nous sommes tous des assassins, the other deploring a rift between them, after his decision to make a film with Aurenche and Bost), François Chalais (""the best critic" is the one who is first deprived of the right to write"), Maurice Chevalier, Christian-Jaque (4, friendly and admiring), René Clair (2, including one concerning his option on Les Musiciens du Ciel), Henri Decoin (4, refusing sketches because of a film for Jouvet, and expressing his enthusiasm for Charmants garçons; plus telegram), Jean Dréville (5, on a lecture by Spaak and the difficulties of shooting Normandie-Niemen in the USSR), Jean Ferry (expressing his admiration), Victor Francen (his impression of the "intense and curious poetry" of La Fin du jour, happy to have acted in it with Duvivier), Lucien Kapler (in Russian), José André Lacour (2), Jean-Paul Le Chanois (3), Fernand Ledoux (wishing to produce a play from Premier bal), Marcel L'Herbier (violent indictment of gossip and lies published by Spaak), Jean Meckert (4, including one renouncing collaboration), Simone Renant, Jean Renoir (2, including one on La Grande Illusion and the other expressing his desire for a new collaboration with Spaak), Gilbert Sigaux (4, support after an accusation of plagiarism), Maxence Van der Meersch (4, on L'Empreinte du dieu, and the possible adaptation of Quand les sirènes se taisent), Georges Van Parys (3, on the revenue from his film compositions and his financial difficulties), Denise Vernac (on Erich von Stroheim's funeral, and Spaak's radio tribute), Pierre Véry (on Lettre à mon juge), Bernard Zimmer (2).
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CINEMA. Charles SPAAK (1903-1975). Autograph manuscript signed (initials) and 4 photos with autograph notes on back; and 53 letters to him, mostly L.A.S., 1938-1961. Nice set concerning the screenwriter, with numerous letters from filmmakers and actors.* L'Arbitrage Victor Francen. Reflections on a serious dispute between Spaak and actor Francen, and the fate of the screenplay for La Porte du large, plus the minutes of the arbitration before a jury of honor, signed by Charles Burguet, Charles Martinelli, Georges Lourau and Jean Renoir. Photos of Spaak and Lucien Kapler (Moscow, 1958), Jacques Feyder ("to whom I owe all the happiness of my life", but with whom he fell out, "stupidly"), Marcel Achard in academician's garb (with quatrain to Achard), and Spaak, Francen and Groulous, "who dreamed of producing a film on the life of Rubens"... * Philippe de Broca (authorization to make a novel about Cartouche), André Cayatte (2, including one about Nous sommes tous des assassins, the other deploring a rift between them, after his decision to make a film with Aurenche and Bost), François Chalais (""the best critic" is the one who is first deprived of the right to write"), Maurice Chevalier, Christian-Jaque (4, friendly and admiring), René Clair (2, including one concerning his option on Les Musiciens du Ciel), Henri Decoin (4, refusing sketches because of a film for Jouvet, and expressing his enthusiasm for Charmants garçons; plus telegram), Jean Dréville (5, on a lecture by Spaak and the difficulties of shooting Normandie-Niemen in the USSR), Jean Ferry (expressing his admiration), Victor Francen (his impression of the "intense and curious poetry" of La Fin du jour, happy to have acted in it with Duvivier), Lucien Kapler (in Russian), José André Lacour (2), Jean-Paul Le Chanois (3), Fernand Ledoux (wishing to produce a play from Premier bal), Marcel L'Herbier (violent indictment of gossip and lies published by Spaak), Jean Meckert (4, including one renouncing collaboration), Simone Renant, Jean Renoir (2, including one on La Grande Illusion and the other expressing his desire for a new collaboration with Spaak), Gilbert Sigaux (4, support after an accusation of plagiarism), Maxence Van der Meersch (4, on L'Empreinte du dieu, and the possible adaptation of Quand les sirènes se taisent), Georges Van Parys (3, on the revenue from his film compositions and his financial difficulties), Denise Vernac (on Erich von Stroheim's funeral, and Spaak's radio tribute), Pierre Véry (on Lettre à mon juge), Bernard Zimmer (2).
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