I always feel stupid bringing up the matter of the Godfather

As a follow-up to the previous post, I am sharing a letter from Francis Ford Coppola to Marlon Brando, in which the director tries to persuade Brando to play the young Vito Corleone in The Godfather Part II (1974). Besides being a sequel to the first Godfather film, Part II also serves as a prequel, in flashbacks following young Vito from Sicily to New York where he eventually builds his mafia empire. Coppola wanted Brando in the role of young Vito, despite the fact that Brando was too old for the part. (At the time 49 years old, Brando was supposed to play Vito aged 25-30.) The actor turned down Coppola's offer, although he did agree to make a cameo appearance as Don Vito in the birthday flashback scene in the film's finale. On the day of shooting, however, Brando failed to show up and Coppola had to quickly rewrite the scene. 30-year-old Robert de Niro was cast in the role of young Vito instead of Brando, his performance eventually winning the Oscar for Best Supporting Actor.

Marlon Brando and Francis Ford Coppola on the set of The Godfather (1972), with Robert Duvall in the background.

Below is Coppola's letter to Brando, undated but postmarked 1 May 1973. Coppola was trying to convince Paramount executives Frank Yablans, Robert Evans and Charles Bluhdorn to cast Brando as the young Vito Corleone. At the time, Brando and Paramount were not on good terms, especially after the actor's refusal to accept his Oscar for The Godfather a few months earlier. Also, Brando was mad at Paramount for the salary he had received for the first film, feeling he had been underpaid (considering The Godfather was the highest grossing film in history up till then, its success in large part thanks to Brando). Out of protest against Paramount, Brando decided not to appear in Part II after all.

Incidentally, Coppola would not be "quitting the movie business", like he announces in the letter, and would even make another film with Brando, the 1979 Apocalypse Now. 

Source: RR Auction

Transcript:

Monday

Dear Marlon,

I heard you were back from the South Pacific; but I didn't want to call you because I always feel stupid bringing up the matter of the Godfather. I know you return my calls on a personal and friendly basis, and so I can't bring myself to misuse that and bring up what is bothering me.

My problem is simply that I am stalling and stalling because I have the inkling that it may be possible that you will play the young Vito Corleone. I've seen in the past, that even a slight possibility may blossom into a fact, and so I've tried to kindle this as best I could. I've become a real behind-the-scenes monster playing Yablans and Evans and Bludhorn [sic]; trying to get them to do what I want. I tell Yablans that he's the only one who can do it. Then I tell Evans the same thing. 

I tell them the movie cannot be made without you; I tell Yablans he has to apologize to you. Now Yablans says that he's trying to do this, and get together on the money and stuff, but you don't return his call. 

Evans wants to approach you; but Yablans is terrified that Evans might make it work, where he failed…so he keeps preventing that.

But what it really comes down to is me. Marlon I respect you enormously; and if you told me that you did not want to do it under any circumstances, whatsoever…of course I would accept that, and never mention it again. And if you liked, I wouldn't tell anyone else. 

I learned a lot from you…one thing being that it's only a movie, and what's that compared to everything else there is in the world. 

At times, I try really hard to imagine what you're like in your thoughts. I realized that you've been in this strange state of adoration and exhibition for 25 years now, intensely…and I think that would have driven me crazy. And the fact that you're really a good man, and warm, and love people is a tremendous achievement considering that you've been in a glass box for half your life. 

I always to tell you that,…although it has nothing to do with this letter. 

All I'm saying is that if you will be in this movie; I will do my very best to make it be good; and human, and express the notion that the Mafia is only a metaphor for America and capitalism, which will do anything to protect and perpetuate itself. (I will do this anyway, if you're not in the film…but if you were in it, it would be better, and you would help me with your ideas as I work on the script.)

If you will not be in it, I will love you no less. All I ask is to please tell me without the shadow of a doubt. 

I am very happy; having a terrific time up here. After this film I am quitting the movie business, and will do other things that I am excited about (that may involve film). 

Sincerely, 

Francis 

My number is 563 2632 

_____

While Marlon Brando would not reprise his role in The Godfather Part II, several of the old cast members would, among them Al Pacino, Robert Duvall, Diane Keaton and James Caan (the latter in a cameo appearance in the birthday flashback scene). As with the first film, Coppola worked on the screenplay with author Mario Puzo. Although less successful commercially and critically than its predecessor, Part II was still very well received and won even more Oscars, six in total. Oscars went to Best Picture (Francis Ford Coppola, Gray Frederickson and Fred Roos), Best Director (Coppola), Best Supporting Actor (Robert de Niro), Best Adapted Screenplay (Coppola and Puzo), Best Art Direction (Dean Tavoularis, Angelo P. Graham and George R. Nelson) and Best Original Dramatic Score (Nino Rota and Carmine Coppola). 

The final installment in the Godfather series, The Godfather Part III (1990), would be the least successful of the three films, and while nominated for seven Oscars it won none.

After Brando had declined the role of young Vito Corleone, Coppola offered it to Robert de Niro, with whom he is pictured here on the set. De Niro is great as the young Vito, a much better choice than the older Brando would have been. 

I think you’re the only actor who can play the Godfather

Published in 1969, Mario Puzo's novel The Godfather tells the story of the (fictional) Corleone mafia family, headed by patriarch Vito Corleone. The book covers the years 1945 until 1955, with its main storyline following son Michael who eventually succeeds his father as head of the mafia clan. Puzo's novel became a huge success, remaining on The New York Times bestseller list for 67 weeks and selling more than nine million copies in just two years. 

Before Mario Puzo had even finished his novel, Paramount Pictures bought the film rights for $80,000, on the basis of a 60-page treatment. To direct the film, Paramount hired Francis Ford Coppola after several other directors had declined (including Sergio Leone, Peter Bogdanovich and Otto Preminger). Coppola would work on the script with author Puzo, the latter hired by the studio in April 1970. They worked on the script separately, Puzo in Los Angeles and Coppola in San Francisco. While writing their respective screenplays, the men kept in touch with each other, their combined efforts ultimately resulting in a completed script in March 1971.

From the start, even before he was hired by Paramount to work on the picture, Puzo already knew who should portray the family's patriarch —Marlon Brando. (Brando was also Coppola's first choice.) In order to entice Brando to play the role, on 23 January 1970 Puzo wrote him the following letter.

Source: Gotta Have Rock and Roll

Transcript:

Jan 23

Dear Mr Brando

I wrote a book called THE GODFATHER which has had some success and I think you’re the only actor who can play the part Godfather with that quiet force and irony (the book is an ironical comment on American society) the part requires. I hope you’ll read the book and like it well enough to use whatever power you can to get the role.

I’m writing Paramount to the same effect for whatever good that will do.

I know this was presumptuous of me but the least I can do for the book is try. I really think you’d be tremendous. Needless to say I’ve been an admirer of your art.

Mario Puzo

A mutual friend, Jeff Brown, gave me your address

_____

Brando was not interested in the role despite Puzo's letter. The actor later said in his autobiography Songs My Mother Taught Me (1994): "Alice Marchak [Brando's secretary] remembers my throwing [Puzo's letter] away and saying, "I'm not a Mafia godfather". I had never played an Italian before, and I didn't think I could do it successfully. By then I had learned that one of the biggest mistakes an actor can make is to try to play a role for which he is miscast .... But Alice took the book home, read it and said she thought I should take the part if it was offered me. She didn't change my mind, though I did call Mario without having read the book and thanked him for his note." 

While working on the screenplay, Puzo called Brando every now and then, pleading with him to reconsider his decision. Puzo was also lobbying at Paramount on Brando's behalf (without the actor's knowledge) but his attempts proved futile. The studio didn't want Brando for the role, partly due to his notorious bad behaviour on set and his recent box-office failures. Paramount's preferred choice was reportedly Orson Welles, and other actors who were being considered include Laurence Olivier, Anthony Quinn and Ernest Borgnine. Unable to make the Paramount executives change their minds, Puzo typed this letter to Brando in March 1970.

Source: RR Auction

Mario Puzo and Marlon Brando on the set of The Godfather, pictured here with Red Buttons (left). (Buttons and Brando had become good friends after co-starring in the 1957 Sayonara.)

In the end, after reading both the novel and the screenplay, Brando decided he wanted to play Don Corleone after all. Paramount finally regarded him as a serious option but wanted to do a screen test first. Afraid that a test would offend Brando, Coppola thought of a way to do one secretly. He visited Brando at his home with a video camera and told him, after first having discussed the role, that he wanted to test some things on tape. With Kleenex stuffed in his cheeks and shoe polish in his hair, Brando then did his interpretation of Don Corleone for Coppola, not realising he was being screentested. The footage impressed Paramount and they finally agreed to Brando playing the role. Brando was cast in January 1971, just a few months before production was to start. His performance turned out to be one of the most iconic of his career, earning him the Oscar for Best Actor (which he famously declined).

The Godfather (1972) was a huge success, both with critics and audiences. The film won the Academy Award for Best Picture (Albert S. Ruddy), Best Actor (Brando) and Best Adapted Screenplay (Puzo and Coppola). It was followed by two sequels, The Godfather Part II (1974) and The Godfather Part III (1990). Brando appeared only in the first Godfather film. 

On the set of The Godfather with director Francis Ford Coppola (left), Marlon Brando and Al Pacino, the latter playing the role of Vito Corleone's youngest son, Michael.

My work is the only trustworthy hope I have

In late 1954, Marilyn Monroe broke her contract with 20th Century-Fox and left Hollywood for New York. Wishing to be taken seriously as an actress, Marilyn soon started attending classes at the prestigious Actors Studio run by Lee Strasberg. Strasberg became Marilyn's acting coach and mentor --due to her shyness Marilyn was also privately tutored at his home-- and was ultimately one of the most important influences in Marilyn's life. When it came to her acting, Marilyn completely trusted Strasberg and at his suggestion even underwent psychotherapy to become a better actress. Marilyn's third husband Arthur Miller disapproved of the strong hold Strasberg had on Marilyn and called Marilyn's dependency on him "nearly religious". 

Above: Marilyn attending classes at the Actors Studio in New York, photographed by Roy Schatt. Below: Marilyn and Lee Strasberg photographed by Elliott Erwitt in 1960 while watching the rushes of The Misfits (1961).

1961 was a very difficult year for Marilyn, having to deal with her divorce from Arthur Miller in January, her admission to the Payne Whitney Psychiatric Clinic in February as well as several health issues. During the last months of the year, Marilyn tried to take control of her life again and in December wrote to Lee Strasberg about wanting to make a new start ("I have hopes of finally establishing a piece of ground for myself to stand on, instead of the quicksand I have always been in"). Marilyn wanted to set up a new independent production unit* and needed Strasberg to join her in California, feeling that without him she could not succeed. She had also contacted Marlon Brando to help her set up this new venture. Written eight months before her death, Marilyn's letter to Strasberg is quite interesting but also sad, as it clearly shows Marilyn's desperation to get her life back on track-- something which, as we know, never happened.

Apart from the letter to Strasberg, also shown below are a scribbled note from Marilyn to Marlon Brando (which was later sent as a telegram) and Brando's reply to her via telegram, both messages from January 1962. Marilyn wanted Brando's opinion about her plan to make Lee Strasberg settle in California, her message undoubtedly related to her letter to Strasberg a month earlier. Apparently Brando tried to phone Marilyn after receiving her message, but as he couldn't reach her he sent her a telegram instead.

Marilyn photographed by George Barris in 1962

 

December 19, 1961

Mr. Lee Strasberg
135 Central Park West
New York 23, New York

Dear Lee: 

This is an important personal letter and please don’t start to read it until you have the time to give it your careful thought. This letter concerns my future plans and therefore concerns yours as well since my future development as an artist is based on our working together. All this is an introduction; let me outline the recent events, my ideas and my suggestions. 

As you know, for years I have been struggling to find some emotional security with little success, for many different reasons. Only in the last several months, as you detected, do I seem to have made a modest beginning. It is true that my treatment with Dr. Greenson has had its ups and downs, as you know. However, my overall progress is such that I have hopes of finally establishing a piece of ground for myself to stand on, instead of the quicksand I have always been in. But Dr. Greenson agrees with you, that for me to live decently and productively, I must work! And work means not merely performing professionally, but to study and truly devote myself. My work is the only trustworthy hope I have. And here, Lee, is where you come in. To me, work and Lee Strasberg are synonymous. I do not want to be presumptuous in expecting you to come out here for me alone. I have contacted Marlon on this subject and he seems to be quite interested, despite the fact that he is in the process of finishing a movie. I shall talk with him more thoroughly in a day or two. 

Furthermore, and this must be kept confidential for the time being, my attorneys and I are planning to set up and [sic] independent production unit, in which we have envisaged an important position for you. This is still in the formative phase, but I am thinking of you in some consultative position or in whatever way you might see fit. I know you will want enough freedom to pursue your teaching and any other private interests you might want to follow. 

Though I am committed to my analysis, as painful as it is, I cannot definitively decide, until I hear from you, because without working with you only half of me is functioning. Therefore, I must know under what conditions you might consider coming out here and even settling here. 

I know this might sound quite fantastic, but if you add up all the possible advantages it should be a quite rewarding venture. I mean not only for Marlon and me-- but for others. This independent production unit will also be making pictures without me-- this is even required for legal reasons. This will offer an opportunity for Susan if she should be interested and perhaps even for Johnny. And Paula* would have a great many opportunities for coaching. As for you, Lee, I still have the dream of you some day directing me in a film! I know this is a big step to take, but I have the wish that you might realize out here some of the incomplete hopes that were perhaps not fulfilled for you, like Lincoln Center, etc. 

So I don’t know how else to persuade you. I need you to study with and I am not alone in this. I want to do everything in my power to get you to come out --within reason-- as long as it is to your advantage as well as mine. So, Lee, please think this over carefully; this is an awfully important time of my life and since you mentioned on the phone that you too felt things were unsettled, I have dared to hope. 

I have meetings set up with Marlon and also with my attorneys and will phone you if there are any important new developments. Otherwise, please get in touch with me. 

My love to all of you,

(signed)

Marilyn 

Sources: RR Auction and The Marilyn Monroe Collection (for the original image of the letter). 

Marilyn Monroe and Marlon Brando were both students of Lee Strasberg and had met at a party for the Actors Studio in the 1950s. They had a brief affair and afterwards remained friends until Marilyn's death in 1962.

Source: Bonhams

Transcript:

CR 12151 Western Union 

Dear Marlon 

I need your opinion about a plan for getting Lee out here on more than a temporary basis. Please phone me as soon as possible. Time is of the essence.

Marilyn

Source: Bonhams (image via CNN International)

Transcript:

BEVERLY HILLS CALIF  13 1222 P P ST=
1962 JAN 13 PM 1 06
MARILYN MONROE
822  882 NORTH DOHENY APT 4 3 LOSA=

TRIED TO REACH YOU BY FONE [sic] MUST LEAVE CITY THIS WEEKEND
SORRY=
MARLON.


* Notes:
-Marilyn Monroe had her own production company, being the third woman in Hollywood after Lois Weber and Mary Pickford. Tired of the dumb-blonde roles 20th Century-Fox kept offering her and of being underpaid at $1,500 per week, Marilyn founded 'Marilyn Monroe Productions Inc.' with friend and photographer Milton Greene in New York late 1954. As Marilyn was still under contract to Fox, a legal battle between her and the studio followed. By the end of 1955, following the immense success of The Seven Year Itch (1955), Fox (not wanting to lose its biggest star) had signed Marilyn to a new contract on hér terms, agreeing to give her more money, the right to pick her own projects, directors and cinematographers, and for each finished film with Fox Marilyn was free to make one film with her own company. In the end, Marilyn Monroe Productions produced only two pictures, i.e. Bus Stop (1956) which was co-produced with Fox and The Prince and the Showgirl (1957), MMP's only independent production. In 1957, Marilyn and Greene parted ways due to disagreements, after which Marilyn bought Greene's share of the company. MMP was to co-produce Something's Got To Give with Fox in 1962, but Marilyn died before the film was finished.

-Lee's wife Paula also taught Marilyn and was her personal on-the-set acting coach and confidante during the production of several films; like her husband, Paula was a major influence in Marilyn's life. Susan and John were the Strasberg children (both actors), Susan being a good friend of Marilyn's.

I'm not insane about Brando for this

When offered the lead role of dockworker Terry Malloy in Elia Kazan's On the Waterfront (1954), Marlon Brando initially rejected it. Brando, who had worked with Kazan before on A Streetcar Named Desire (1951) and Viva Zapata! (1952), didn't want to work with Kazan again due to the director's damaging testimony before the House of Un-American Activities Committee. In April 1952, Kazan had been a "friendly" witness for HUAC, naming names of eight colleagues who were former Communists and thereby ruining their careers. Kazan was heavily criticised for his actions and it is generally believed that On the Waterfront was his way of justifying them (read more here).

Following Brando's rejection, Frank Sinatra (who had just made From Here to Eternity) was approached to play Terry Malloy in September 1953. Sinatra was eager to play the role and made a verbal agreement with producer Sam Spiegel. Elia Kazan, however, had doubts about Sinatra due to his limited availability. Then Brando decided to play the part after all and Kazan went with his first choice, also because casting Brando meant having a bigger budget and more shooting time. Sinatra was extremely upset about not getting the part, and Spiegel then offered him the role of Father Barry which in fact had already been promised to Karl Malden. When Kazan refused to let Malden go in favour of Sinatra, Sinatra sued Spiegel for $500,000 damages. (The matter was later settled out of court.) 

The three letters for this post (or rather, excerpts from letters) were written by Elia Kazan in connection with the casting of Terry Malloy. The first letter is addressed to Budd Schulberg (the film's screenwriter who also named names before HUAC), showing that Kazan wasn't too enthusiastic about Brando at first; Kazan also talks about another alternative to Brando, an actor named Paul Newman who had just made his Broadway debut in Picnic. (Newman did a screentest with Joanne Woodward in the role of Edie, the role that later went to Eva Marie Saint.) In the second letter, written to Marlon Brando, Kazan tried to persuade Brando to take the role, even though he still considered Brando "not right for this part"; noteworthy is that Kazan admits that the script shows parallels with his HUAC experience. And the final letter is addressed to Abe Lastfogel, Frank Sinatra's agent, in which Kazan explains his choosing Brando over Sinatra.

In late July 1953, Elia Kazan wrote Budd Schulberg the following:

I'm not insane about Brando for this. In fact in my opinion he is quite wrong. But he's a fine actor and if he's really excited about it and will work like a beginner trying to get a start, he can be fine. [....] At any rate he arrives in town Sunday the second of August and leaves on the fifth, and it is imperative repeat imperative that he read the script and give us his yes or no. He cannot take the script to Europe with him. Our time is running short and we cannot wait for his majesty to get comfy in Paris and send us an answer when he feels it... If we don't get Brando, and I think it most likely we won't, I'm for Paul Newman. This boy will definitely be a film star. I have absolutely no doubt. He's just as good looking as Brando and his masculinity which is strong is also more actual. He's not as good an actor as Brando yet, and probably will never be. But he's a darn good actor with plenty of power, plenty of insides, plenty of sex. He and Malden are working on two scenes to show to Sam and yourself. I'm for him without seeing more.

Budd Schulberg (l.) and Elia Kazan won Oscars for Best Screenplay and Best Director. On the Waterfront won a total of 8 Oscars, including Best Picture (Sam Spiegel), Best Actor (Marlon Brando) and Best Supporting Actress (Eva Marie Saint). 

Also in late July 1953, Kazan wrote to Marlon Brando:

I cant pretend that its easy or simple to write you. Ultimately, in our little world, everyone hears everything. I will always feel most warmly and devotedly for you, but this does not blot out the things unsaid between us. I will for the time leave them unsaid. I will write you here professionally, and you can behave as you wish from whatever criteria you wish to act from. That's your business and even your problem. I'm sending you the script of a movie in a state of preparation. I'm very very hopeful of the script. I've worked very hard on it, and I'm going to do a lot more work on it. But you're a sensitive person and you will realize its not finished, you will sense its intention and the hope involved in it. Its yet not realized, though its a great deal closer than what you read before. Its meant very seriously. It is taken from living people, though distilled and compacted. The problem which it mirrors still exists and the moral problem it treats - the social responsibility of a citizen as it comes into conflict with his personal allegiances- is one of the oldest and most universal of all problems a man can face. My own point of view towards this problem and Budd's too, is clearly set forth. But the script is more of an involvment in the problem than an exhortation of any kind.  Make no mistake about it, there is a parallel inference to be drawn to the Inquiries into Communist Activities. This parallelism is not the main value of the script. This is the story of a human in torment, and in danger. The first thing I would do if you did become interested would be to take you over [to] HOBOKEN and introduce you to Tony Mike DeVincenzo who went thru exactly what our TERRY goes thru. This is a confrontation which would put flesh and blood on the issue on which our script is built. I've spent three evenings with him and its like being in the presence of a denizen of Dante's Purgatorio. And finally with him and with the whole waterfront of New York Harbor, the issue is not decided, and will probably be in the process of being decided as we shoot the picture.

I dont want to say more about the picture's theme. Just one word about the part. By the common measure which producers and directors use for casting, you are not right for this part. But you weren't right for the Williams Play either and you weren't right for Zapata. This boy is a former fighter, half pure, half hoodlum. He is a boy who has lost his sense of inner dignity or self-worth. At the beginning of our story he doesn't know when he lost it or how. He only discovers that he is behaving like a hoodlum and he has been a contributor to a murder. Slowly thru the unfolding of the incidents of the story and thru his relationship with a girl he discovers the shameful estate to which he has sunken. The body of the story has to do with his effort to find his own dignity and self esteem once more. He's a boy who suffers at the slightest introspection or self examination. He goes thru hell. Finally he acts to make himself respect himself, first putting his life in danger and secondly even going out to meet a violent end, so that he will re-establish himself in the sight of his own inner eye. With this "inside", there is a jaunty exterior which is the pathetic remnant of a career where he was once the white haired boy of the neighborhood, and etc.  There's much more to say, but you can go on from here, if you care to. I think its a giant of a part and a tremendous challenge. 

 [this letter was a draft letter and possibly never sent]

And on 2 November 1953, Kazan wrote to Abe Lastfogel:

Obviously from my point of view the decision to go ahead with Frank was a severe compromise. Not on artistic grounds. I was quite happy that way. Frank would have been fine in the part. Brando was my first choice, but since I could not have him and had completely abandoned hope of having him, Frank was a happy choice for me.... The alternate to Frank was an unknown boy in the cast of PICNIC. His release was a dubious matter. [.....] Then, after Frank was all set, Brando walked in one day, to my complete surprise, and said he wanted to go ahead. I wanted him. Not just Sam. I wanted him. Not that I was unhappy with Frank. But with Brando there would be no time pressure. My guess is that this picture will take 42 days, even possibly a few more. We now have a decent budget.... I dont like to get hurt and I hate to hurt any one. Nor do I feel that the thing was handled well by Sam. Sam says that's the only way he could have done it. I'm not all sure it was. I'm, on the other hand, not sure it wasn't. One thing sure: the change was necessary. We had done something desperate in accepting Frank with 27 days, desperate and foolish. Its terrible and regrettable that Frank had to be hurt. But couldn't the hurt be partially assuaged by having Frank announce that he withdrew because the schedule did not permit. And couldn't another part of his hurt be softened by my writing him and assuring him that the basis of the change WITH ME was time. I had gotten myself in a foolish and desperate (But by me, necessary) spot, and I had to get out of it when I saw a way out. I'm not callous to Frank's feelings. But say this much for us: when we went into it with Frank we went in on complete good faith. In fact our demands were craven. We begged him to give us a few more days. He was unable to, so I got us three more on the phone with Lew. We did not ask him to give up the Fox musical or anything like that. We were beggars. And we begged. But too much work and pain and time from Budd and myself are riding on this thing-- to do anything else than what we allowed Sam to do. I wish Sam had done it differently but Abe I want you to know I'm glad right now that we have Marlon. And make no mistake about that. 

Excerpts taken from The Selected Letters of Elia Kazan, edited by Albert J. Devlin with Marlene J. Devlin; published in 2014 by Alfred A. Knopf.

I'm praying that you'll buy On the road

When Jack Kerouac's novel On the Road was published in 1957, it was an immediate success. Presumably that same year, Kerouac --wanting to see his novel made into a film-- wrote the following letter to Marlon Brando (at the time one of Hollywood's biggest stars) suggesting that Brando buy the film rights and that he himself and Brando play the lead roles. Kerouac never got an answer from Brando. It wasn't until after Kerouac's death that the film rights were bought by director/producer Francis Ford Coppola (in 1980 for $95,000); Coppola's production of On the Road was eventually released in 2012, directed by Walter Salles with Garrett Hedlund and Sam Riley in the leads. 

Source: wikimedia commons

Transcript:

Jack Kerouac 

1418½ Clouser St 

Orlando, Fla 

Dear Marlon

I'm praying that you'll buy ON THE ROAD and make a movie of it. Don't worry about the structure, I know how to compress and re-arrange the plot a bit to give perfectly acceptable movie-type structure: making it into one all-inclusive trip instead of the several voyages coast-to-coast in the book, one vast round trip from New York to Denver to Frisco to Mexico to New Orleans to New York again. I visualize the beautiful shots could be made with the camera on the front seat of the car showing the road (day and night) unwinding into the windshield, as Sal and Dean yak. I wanted you to play the part because Dean (as you know) is no dopey hotrodder but a real intelligent (in fact Jesuit) Irishman. You play Dean and I'll play Sal (Warner Bros. mentioned I play Sal) and I'll show you how Dean acts in real life, you couldn't possibly imagine it without seeing a good imitation. Fact, we can go visit him in Frisco, or have him come down to L.A. still a real frantic cat but nowadays settled down with his final wife saying the Lord's Prayer with his kiddies at night...as you'll seen when you read the play BEAT GENERATION. All I want out of this is to be able to establish myself and my mother a trust fund for life, so I can really go roaming around the world writing about Japan, India, France etc. ...I want to be free to write what comes out of my head & free to feed my buddies when they're hungry & not worry about my mother. 

Incidentally, my next novel is THE SUBTERRANEANS coming out in N.Y. next March and is about a love affair between a white guy and a colored girl and very hep story. Some of the characters in it you know in the village (Stanley Gould etc.) It easily could be turned into a play, easier than ON THE ROAD. 

What I wanta do is re-do the theater and the cinema in America, give it a spontaneous dash, remove pre-conceptions of "situation" and let people rave on as they do in real life. That's what the play is: no plot in particular, no "meaning" in particular, just the way people are. Everything I write I do in the spirit where I imagine myself an Angel returned to the earth seeing it with sad eyes as it is. I know you approve of these ideas, & incidentally the new Frank Sinatra show is based on "spontaneous" too, which is the only way to come on anyway, whether in show business or life. The French movies of the 30's are still far superior to ours because the French really let their actors come on and the writers didn't quibble with some preconceived notion of how intelligent the movie audience is, the talked soul from soul and everybody understood at once. I want to make great French Movies in America, finally, when I'm rich...American Theater & Cinema at present is an outmoded Dinosaur that ain't mutated along with the best in American Literature.

If you really want to go ahead, make arrangements to see me in New York when you next come, or if you're going to Florida here I am, but what we should do is talk about this because I prophesy that it's going to be the beginning of something real great. I'm bored nowadays and I'm looking around for something to do in the void, anyway—writing novels is getting too easy, same with plays, I wrote the play in 24 hours. 

Come on now, Marlon, put up your dukes and write! 

Sincerely, later, Jack Kerouac (signed) 

Happy Holidays!

Here are a few Season's Greetings from Hollywood stars sent to their fellow actors and friends. First up are four telegrams from Greta Garbo to Clifton Webb. Garbo would send Webb a holiday telegram every year on Christmas Eve, signing them with "Harry Brown" (short for Harriet Brown), the pseudonym she used while travelling. The telegrams shown are from 1946, 1953, 1955 and 1962.

Source: first image heritage auctions (reproduced with permission)/ second image: telegrams from last century

Transcript:

BEVERLY HILLS CALIF 

1946 DEC 24

CLIFTON MABELE [sic] WEBB=

SAVOY PLAZA NYK=

HAPPY XMAS AND NEW YEAR=

HARRY BROWN.

Note: Mabel was Webb's mother whom he lived with.

Transcript:

NEW YORK NY= 1953 DEC 24

CLIFTON WEBBS=

1005 REXFORD DR BEVERLY HILLS CALIF =

MILLIONS OF GREETINGS

HARRY BROWN=

Source: both images heritage auctions (here and here) / reproduced with permission

Transcript:

NEW YORK NY =1955 DEC 24

CLIFTON WEBB=

1005 REXFORD DR BEVERLY HILLS CALIF=

HARRY BROWN SEND LOVE=

UNSIGNED=

Transcript:

DEC 24 62
NEW YORK NY
CLIFTON WEBB

1005 REXFORD DR BEVERLY HILLS CALIF

FONDEST GREETINGS

HARRY BROWN.

One of my earlier posts showed a fan letter from Clara Bow to Marlon Brando (here). This is a Christmas card Bow sent her idol somewhere in the 1950s (I can't make out the postmark on the envelope, so I don't know from what year this card is exactly).

Source: heritage auctions/ image reproduced with permission

Transcript:

Dear Mr Brando:

A belated thanks for your most gracious note, and the autographed picture of your son- it is on my den wall in the place of honor- I will always cherish it, so thanks once again for your kindness. I do hope you and yours enjoy the happiest of holidays! good luck to you always! 

Sincerely and gratefully,

Clara Bow

And two notes sent to Joan Crawford. The first one is a belated New Year's greeting from Anne Baxter, followed by a note from Barbara Stanwyck.

Source: heritage auctions/ image reproduced with permission

Transcript:

Dear Joan-

Your Christmas greeting was forwarded to me on tour.

It is always so heart warming to feel your kind thoughts reaching out to all of your far-flung friends and acquaintances.

Have the best New Year in the world.

Fondly always,

Anne Baxter (signed)

Miss Joan Crawford

150 East 69th Street

New York, N.Y. 10021

January 12, 1974

Source: the best of everything: a joan crawford encyclopedia

Transcript:

Joan dear,

What a beautiful Christmas basket just arrived filled with so many wonderful things! You are a dear generous friend and I thank you so very very much and I hope and pray the New Year will bring you all you desire-

Love always,

Missy

Dec 24/75

Clara Bow & her fan letter to Marlon Brando

Clara Bow was one of the greatest stars of the 1920s. She was the ultimate flapper, the original "It girl" and Hollywood's first sex symbol. An extremely popular actress in her time, Bow received more than 45,000 fan letters per month, a number seldom equalled. Born in 1905 in Brooklyn, New York, Bow grew up in poverty with a sexually abusive father and a schizophrenic mother. To escape her miserable life, Bow found comfort in movies ("For the first time in my life I knew there was beauty in the world"). She dreamed of being an actress and, after winning an acting contest, made her film debut at age 16. Between 1922 and 1933, she starred in 57 films, including box-office hits like Mantrap (1926), It (1927) and Wings (1927). It was the film that made her a star and gave her the nickname the "It girl".

Although Clara Bow was adored by the public, she was shunned by Hollywood. Actors like Douglas Fairbanks jr., Mary Pickford and Marion Davies, who belonged to Hollywood's high society, distanced themselves from her, thinking she was vulgar and bad-mannered. And Bow's studio, Paramount, was none too happy with her unconventional lifestyle and the scandals that surrounded her (scandals that involved her public love affairs, her gambling addiction etc.). The tabloids, meanwhile, were having a field day covering Bow's life in detail. Eventually, Bow couldn't handle the pressures of Hollywood anymore and retired from acting in 1933 at age 28. She left California and moved to Nevada with actor husband Rex Bell with whom she had two sons. By that time, Bow had already been showing signs of mental illness and was ultimately diagnosed with schizophrenia (like her mother). In 1950, Bow separated from her husband, moved back to California and spent the last 15 years of her life in seclusion, all the while struggling with her mental health. She died of a heart attack in 1965, 60 years old.

In the early 1950s, Clara Bow became a fan of upcoming star Marlon Brando. Until then, Bow's favourite actor had been Gilbert Roland (her ex-fiancé), but in Brando she found a new favourite actor. According to David Stenn (author of Clara Bow: Runnin' Wild (1988)), Bow met her new idol somewhere in the mid-50s. After she discovered that Brando was a fan of hers, she visited him at his home (leaving her house was something she would only rarely do). Bow and Brando reportedly enjoyed their meeting, and Brando later sent the retired actress a signed photo with the inscription: "For Clara Bow Bell, a memorable personality who has given so much to so many. With sincere respects, Marlon Brando". 

Written before they met, Clara Bow sent the following letter to Marlon Brando in December 1954 (it's actually a lengthy message written on a Christmas card). In it, Bow asks Brando for a new autographed photo. Apparently Brando had sent her one in 1952, but the ink on it had faded ("You didn't by any chance write with vanishing ink, did you?"). What is quite interesting is that, apart from being a fan letter, Bow also touches upon her Hollywood days, mentioning her wild behaviour, Paramount and Hollywood's social elite.

Source: heritage auctions/ image reproduced with permission

Transcript:

1954

Dear Mr. Brando,

May I at this time, again, congratulate you on your superb performances in "On the Waterfront" and "Desiree".
I know how busy you are with your career, but if in the future, you take ten, I'd appreciate a new autographed photo from my favorite artist. The one you autographed and sent me almost two years ago is still framed and on my dressing table, but the writing on it has almost vanished- for what reason I can't understand- thus the above request. You didn't by any chance write with vanishing ink, did you? Although we have never met personally I feel as we did. I know two of your friends, however, and they told me how much you enjoyed playing tricks on them. I adore a good sense of humor, wit and whimsy in people, so I would not mind a past photo written in vanishing ink. -When I was in my teens and even older I did things that most people considered crazy, wild and unconvential [sic]! Paramount raised hell when they found out I was rolling-skating [sic] on the streets of Beverly Hills. I still went on skating, nevertheless, I liked doing it and could not understand the consternation I provoked in the studio- heads hearts [??] I don't need to tell you that the so-called social elite of Hollywood snubbed me, and you know what- I didn't give a hoot!
Don't forget that new photo and this time- no ink that disappears into thin air- please Marlon B.
Sincerely, Clara Bow

A rare photo of Clara Bow from the 1950s, and Bow's idol: hunky Marlon Brando

*I must admit that I never knew much about Clara Bow. I am no fan of silent films and have so far only seen a couple of Charlie Chaplin pictures. But my curiosity is now piqued and I will definitely check out her films! 

This is my contribution to the CMBA Blogathon "Forgotten Stars". Click here to see all the other entries!

Don't be afraid of being afraid

Suffering from ill health and depression, Marilyn Monroe voluntarily admitted herself to a psychiatric hospital in February 1961. During her hospital stay, which she would later call a 'nightmare', Marilyn received a telegram from Marlon Brando. The two had met at a party for the Actors' Studio in the 1950s and, according to Brando's autobiography Songs my mother taught me (1995), they had an affair seeing each other on and off till Marilyn's death in August 1962. 

Here is Brando's supportive note to Marilyn, written on 27 February 1961.

Source: letters of note

Transcript:

TELEGRAM  Feb.27th

Marilyn Monroe

Nurological [sic] Institute Clinic

Presbyterian Hospital

168th & Broadway
New York City, N.Y.

Dear Marilyn:

The best reappraisals are born in the worst crisis. It has happened to all of us in relative degrees. Be glad for it and don't be afraid of being afraid. It can only help. Relax and enjoy it. I send you my thoughts and my warmest affections.

Marlon