What took you so long

Here is an exchange of two short messages between John Wayne and Ray Milland. Wayne replies in a funny way to a congratulatory telegram Milland and his wife Muriel had sent him. It doesn't say what he was congratulated for, but my guess is that it was for winning the Oscar for Best Actor for his role in True Grit (1969). It was the only Oscar of Wayne's career-- a long-overdue prize handed to him at the Oscar Ceremony in April 1970. Ray Milland also received only one Oscar in his career, but as early as 1946 for his lead performance as an alcoholic in The Lost Weekend; the note from Wayne (of which a file copy is shown below) is a reference to that. Incidentally, Wayne and Milland made one movie together, Reap the Wild Wind (1942), and the Millands signed the telegram with what were apparently their nicknames, Mal and Jack.

John Wayne and Ray Milland --here in a scene from "Reap the Wild Wind"-- got on very well during filming.

Image: heritage auctions (reproduced with permission)

Transcript:

BEVERLY HILLS CALIF

=JOHN WAYNE. BAY SHORES. DONT PHONE=

NEWPORT BEACH CALIF=

CONGRATULATIONS FROM US BOTH WHAT TOOK YOU SO LONG=

MAL AND JACK.= (Milland)

________

2686 Bayshore Drive

Newport Beach, Calif. 92660

July 15, 1970

Dear Mal and Jack:

Thanks for your telegram.

You asked me what took so long?

There was some drunken bum on

a lost weekend ahead of me!

My best,

Mr. and Mrs. Ray Milland

10664 Bellagio Road

Los Angeles, Calif. 90024

Ray Milland and Muriel Weber were married from 1932 until Milland's death in 1985. They had a son and an adopted daughter. 

Let's hurry this up, Mr. Selznick!

When we talk about the fabulous films of the 30s, it would be hard to ignore the decade's most successful film, Gone with the Wind (1939). Immensely popular upon release, Gone with the Wind broke attendance records everywhere, becoming the highest grossing film up until then and remaining so for the next 27 years (in fact, after inflation adjustment, it still is the biggest box-office hit of all time). It was thé winner at the Academy Awards, wiping out that year's wonderful competition by taking home a total of ten Oscars (eight competitive and two honorary).

But probably even more legendary than the film itself was the making of Gone with the Wind. Although actual filming did not begin until December of 1938, pre-production had already started in 1936, not long after producer David O. Selznick had purchased the film rights for $50,000. For two years, filming was delayed not only because of Selznick's problems to secure Clark Gable for the role of Rhett Butler --Gable was under exclusive contract to MGM-- but even more because of the search for a suitable Scarlett O'Hara. For the most coveted female role in film history, Selznick considered many established and less established actresses, screen-tested 31 of them, whilst interviewing another 1,400 unknowns. And all the while, the public was waiting impatiently for filming to finally begin.

The three letters for this post --each of them written in 1938-- come from the Gone with the Wind fan mail database housed at the Harry Ransom Center. Addressed to David Selznick and written respectively by Lilli Goldblatt, James G. Towery and Marjorie Shoals, the letters are just a few of many showing the impatience of the public who wanted Selznick to get on with it (and the two women writers also do some casting suggestions).

The letters will be shown in transcript only. Transcripts used with permission of the Harry Ransom Center; click for the original images on the link below each letter.

Monday, Jan 10.

Dear Mr. Selznick: 

I have kept the enclosed clipping on my desk for weeks, waiting to hear about the picture. What on earth is keeping you from producing it? Clark Gable is not the man I would pick for Rhett Butler.

I would suggest by all means Gary Cooper as Rhett Butler. And can't you find any Scarlett? Why, by golly, I'll play it for you. Maybe, this would be an asset to you - listen! 50 year old mother of 5 sons to take lead in "Gone With The Wind". I will be 50 years old next May, and with a little [?] under each ear for the neckline, I'd make a scarlet Scarlett. 

I'll enclose a snapshot taken last September with my 2 youngest boys. My oldest son is 25 years old and is in Los Angeles. His name and address is, Joseph Goldblatt c/o J. Miller, 448 South Catalina St. 

Maybe you would have something for my son to do in pictures or otherwise, but what ever you do, for heaven's sake get busy and make that picture.

With all my best wishes 

(Mrs.) Lilli Goldblatt

[source]

December 1939, the premiere of GWTW in New York City with crowds gathering outside the Astor Theatre on Broadway (above), and (below) David Selznick going over the script with Vivien Leigh, Olivia de Havilland and Leslie Howard.

August 1, 1938 

Mr. David O. Selznick 

Hollywood, California 

Dear Mr. Selznick: 

The radio and the press of the past few hours have announced to the world that Norma Shearer has decided not to play the role of Scarlett in "Gone With The Wind". I need not comment on the fact that this was a wise decision. 

But your continual delay in producing this picture is definitely hurting your standing as a great producer and lessening to a considerable degree the possibilities of the picture being a success. For nearly two years the public has been waiting to see the film version of the story, and during that time nothing but the preliminary stages seemed to have been completed.

I realize that it takes some time for a picture of his type to get underway, but surely after this length of time the early stages of actual production should be in progress. I do not know just how much progress has been made if any, but I do know that as far as the public is concerned the manuscript is still on the shelf. 

In and around Atlanta I have heard expressed the belief that unless the picture is made and released at an early date it will be a complete failure. And this is my own conviction in the matter. Every day of delay finds the public's interest becoming less and less and the possibility of success for the picture also growing less and less. The people of Atlanta want to see their story on the screen. The people of the world want to see this picture on the screen. And every day you delay putting it on the screen is certainly not helping matters. 

The only reason I have heard through the press for this delay is that no suitable actress has been found to play the role of Scarlett. Do you mean that after nearly two years of scouting and testing possibilities that you have failed to find a suitable player? Do you mean that of all the thousands of young women who have besieged you, your studio, the author, her friends, and have undergone tests, you have failed to discover the necessary talent? It really doesn't seem possible. 

But after all, your find will come eventually from the ranks of the experienced actresses. You cannot afford to trust so important role to an amateur. To do so would probably be fatal. 

In the meantime, your thunder is being stolen by other producers, and your reputation is definitely at stake. And the interest of the public is waning daily. But I believe you can still come through with a successful picture, IF you get busy and produce the picture that the world has been waiting too long already to see. 

Sincerely yours, 

James G. Towery 

[source]

25. S. Lafayette 

Grand Rapids, Mich.

August 5, 1938

David O. Selznick, 

Hollywood, Calif.

My dear Mr. Selznick: 

You may "believe it or not", but this is my first letter to the movie industry, and I'll bet you can't guess, or can you, what prompted me in writing you - it's that interesting novel "Gone With The Wind". Sad but true, the many millions who read this book are too tired to write you, after waiting for it to appear on the screen.

Now your selection of Clark Gable as Rhett is just right, but when you attempt Norma Shearer as "Scarlett", you are using very poor judgment to cast this beautiful and sweet person in this role. What you need is a darn good assistant, and here's a lady from Michigan, who has never seen Hollywood, but could come right out there and pick your star. There is no one who could play this part like Bette Davis, and you all know it. She has real acting ability, can make the public hate her, and that's what this role demands, and what I would call real acting ability, now don't you? 

Let's hurry this up Mr. Selznick, or I'll have to read this story over again to remember it. 

Yours for finer pictures, and best wishes 

Sincerely 

Mrs. Marjorie Shoals 

[source]

This post is my contribution to the Fabulous Films of the 30s Blogathon hosted by The Classic Movie Blog Association. Click here to check out all the other entries!

Glamour photography by George Hurrell

Used as a marketing tool to promote the stars, glamour portrait photography was of vital importance to the studios during Hollywood's Golden Age. One name that will always be associated with the Hollywood glamour portrait is George Hurrell. Hurrell was probably the most famous of the Hollywood portrait photographers of the 1930s and 40s, playing a considerable role in shaping the careers of the stars. He was hired by MGM at the end of the 1920s and changed the way the stars had been photographed up till then. His use of dramatic poses, lighting and shadows gave Hollywood photography a new look. Hurrell photographed every star under contract to MGM including Norma Shearer, Jean Harlow, Clark Gable and Carole Lombard. In the early 1940s, he went to Warner Bros. where he photographed, amongst others, Errol Flynn, Bette Davis, Olivia de Havilland and Humphrey Bogart. He also worked for Columbia (where he worked with stars like Rita Hayworth) as well as independently.

Photography by George Hurrell-- top row from left to right: Bette Davis, Norma Shearer and Errol Flynn; bottom row: Humphrey Bogart, Barbara Stanwyck and Gary Cooper.

Another star George Hurrell had worked with was MGM diva Joan Crawford. Hurrell shot a total of 33 portrait sessions with her, of which he later said: "Each sitting was a new experience for both of us. She constantly altered her appearance, the color of her hair, eye makeup, eyebrows, mouth". Amongst the thousands of photos Hurrell took of Crawford he naturally had his personal favourites. In the letter for this post --written by George Hurrell to Joan Crawford in April 1976-- he talks about one of these favourites. The photo referenced in the letter is shown below.

This 1930s portrait of Joan Crawford was one of George Hurrell's personal favourites.

Source: the best of everything: a joan crawford encyclopedia

Transcript:

April 16, 1976

Dear Joan, 

I've always thought the soulful, tender beauty in the attached print was among our best efforts.

The depth of feeling and emotion you expressed in this pose has a dramatic quality that only a great actress could reveal.

I will be honored if you will send two or three lines about my work to go along with it.

The deadline is accute, so your early reply will be greatly appreciated.

Love and kisses.

Sincerely

(signed George)

GEORGE E. HURRELL

telephone 764-0683

George Hurrell

Joan Crawford by George Hurrell

Sell Bogart romantically

During the first part of his career, Humphrey Bogart played mainly one-dimensional gangsters in supporting roles. The best roles all went to Warner Brothers' other contract players such as James Cagney, Paul Muni and George Raft. Even after the immense success of Petrified Forest (1936) -- in which Bogie played an escaped killer, a performance which earned him much praise -- Warners had no intention of turning Bogie into a star. But this all changed in July 1940. Bogie was getting good reviews for his role in They Drive by Night and had also landed his first leading role with High Sierra (after Raft declined). Meanwhile, Paul Muni, one of Warners' greatest stars, left the studio after a contract dispute. Thus, with Muni gone and Bogie's star on the rise, Warners saw in Bogie its new leading man.

On 17 July 1940, S. Charles Einfeld, director of advertising and publicity for Warner Bros., sent a fascinating letter to publicist Martin Weiser, telling him to undo Bogie's gangster image and turn him into a romantic lead. Einfeld told Weiser to give the matter priority, calling Bogie "one of the greatest actors on the screen today". Although Bogie would still play a gangster (with a soft heart) in his next film High Sierra (1941), the film set in motion the undoing of his gangster screen persona. A year and several films later, Bogie would play his first real romantic (and arguably most romantic) role as nightclub owner Rick Blaine. The film, of course, was Casablanca.

Source: university of delaware library

Transcript:

July 17 1940

Marty Weiser

Mr. Martin Weiser

Warner Bros. Pictures

1701 Wyandotte Street

Kansas City, Mo.

Dear Marty:

I want you to give the utmost concentration to the building of Humphrey Bogart to stardom in as quick a time as possible.

Bogart has been typed through publicity as a gangster character. We want to undo this. For Bogart is one of the greatest actors on the screen today and has demonstrated this with his parts in "Petrified Forest," "Dark Victory," "It All Came True," and "They Drive By Night." The fellow is a master of technique and can do anything. In "Dark Victory" he showed a type of sex appeal that was unusual and different from that of any other actor on the screen today.

Sell Bogart romantically. Sell him as a great actor. Let us see if within the next two or three months we cannot have the country flooded with Bogart art, --and column breaks lauding Warner Bros. for their recognition of Bogart's talent, and predicting great success for him as a star.

This is one of the most important jobs you have before you in the next few months. I know I can count on you and please let me know how you fare.

Sincerely yours,

S. Charles Einfeld

Director of Advertising and Publicity

Humphrey Bogart in the films mentioned in Einfeld's letter --clockwise from top left: "The Petrified Forest" (1936) with Leslie Howard and Bette Davis; "Dark Victory" (1939) with Bette Davis; "They Drive by Night" (1940) with Ann Sheridan and George Raft and "It All Came True" (1940) with Ann Sheridan.

Jean Arthur says cheese

Except for this little note, I could find no correspondence of Jean Arthur. She was an extremely private person and didn't leave much behind in the way of correspondence. Written in July 1974 to Victor Scherle and William Levy (authors of The Films of Frank Capra (1977)), this note doesn't really say much other than that Jean loved cheese, cheddar in particular. Incidentally, Jean apparently also loved chocolate fudge; her recipe can be seen on the wonderful website Silver Screen Suppers (here). 

Jean Arthur and co-star John Wayne taking a bite of a (cheese?) burger in the 1943 "A Lady Takes a Chance".

Source: ebay

Transcript:

Dear Mr. Scherle + Levy,

Thank you so much for the present. I wish I could lie- so I could have another one. It's the best cheddar I've ever tasted.

Sincerely,

Jean Arthur

Keep punching and keep adoing!

Here is a correspondence between James Cagney and John Wayne from early 1979 when both men (then respectively 79 and 71 years old) were having health problems. While Cagney was suffering from a harmless but painful sciatica, Wayne had been diagnosed with stomach cancer for which he underwent surgery (in 1964 he was diagnosed with lung cancer, but had been declared cancer free since 1969). On 19 January 1979, Cagney wrote to Wayne in the hospital, saying that everybody was pulling for him and also bringing him regards from Frank McHugh, Wayne's co-star in the 1933 The Telegraph Trail. Cagney also mentioned his own medical problems for which he was treated in hospital in late March. Hearing about his pal's condition, Wayne, in turn, sent Cagney a mailgram on 2 April which showed he had kept his sense of humour despite all the misery. Sadly, Wayne died a few months later -on 11 June 1979- after his cancer had spread; Cagney eventually died of a heart attack in 1986 at age 86.

James Cagney (above) and John Wayne (below) in their younger days-- the two actors never made a movie together.

Transcript:

VERNEY FARM

STANFORDVILLE, NEW YORK

January 19, 1979

Dear Duke,

The news that you had all kinds of promise in this bout came as good news to all of us.

You may be sure we were all overjoyed when you recovered so beautifully from the first rap, and then when you put the second one behind you this really set us up. It takes a great deal of fortitude to handle it as you have.

For the past few weeks I've been nursing a damnable sciatica. Miss that one if you can. The cold weather here is not helping it I can tell you. We had ten degrees below this morning. Then the weather forecasts are being consistent as they promise nothing but below freezing weather for some days to come.

Keep punching and keep adoing. We are all pulling for you and I bring you regards from Frank McHugh, with whom you worked many, many years ago. He remembers you very warmly. 

All the best to you. 

As Ever,

(signed)

Jim Cagney

Transcript:

04/02/79

BATJAC PRODUCTIONS PS

9570 WILSHIRE BLVD SUITE 400

BEVERLY HILLS CA 90212

THIS MAILGRAM IS A CONFIRMATION COPY OF THE FOLLOWING MESSAGE:

JAMES CAGNEY, CARE GOOD SAMARITAN HOSPITAL

1212 SHATTO

LOS ANGELES CA 90017

DEAR JIMMY,

I HOPE YOU'RE [sic] SCIATIC PROBLEM IS NOT SERIOUS. IT WAS PROBABLY CAUSED BY BUMPING YOUR BUTTOCKS ALONG THE BASEMENT FLOOR IN THAT EXERCISE YOU SHOWED US YEARS AGO. GET HEALTHY AND COME SAY HELLO

SINCERELY

DUKE

PS THAT EXERCISE NEVER TOOK ANY WEIGHT OFF THE CHEEKS OF MY "RARETABOOMDEAY"

21:32  EST

Images of Cagney's letter and Wayne's mailgram courtesy of Heritage Auctions

For all the good it may do you

In the early 1950s, Alfred Hitchcock met with journalist Otis L. Guernsey Jr. to discuss Guernsey's idea for a film about a salesman who is mistaken for a master spy. Guernsey's idea was based on a true story involving British secretaries in WWII who had invented a fictitious spy for fun and then watched the Nazis follow him around. Although Hitch was immediately intrigued by the idea, it would take several years before he turned it into a film. 

In 1957, Hitch was working with screenwriter Ernest Lehman on the film adaptation of the novel The Wreck of the Mary Deare. Both men had reservations about the project and decided to do a different film instead. Hitch had been toying with the master spy idea suggested by Otis Guernsey years earlier and discussed it with Lehman who, as an admirer of Hitch's "wrong man"-films, was immediately interested. Thus, the two men abandoned The Wreck of the Mary Deare, and Hitch bought Guernsey's 65-page treatment for $10,000. The film they eventually made was, of course, North by Northwest (1959).

Above: Hitch on the set of "North by Northwest" with leading man Cary Grant. Below: Hitch with screenwriter Ernest Lehman who wanted to write "the Hitchcock picture to end all Hitchcock pictures".

Below you'll find two letters from Otis Guernsey to Alfred Hitchcock in which Guernsey talked about his script idea. Unable to develop the idea further himself, Guernsey handed it over to Hitch and said he could do with it whatever he liked. The first letter is undated but presumably written in the early 1950s, the second one was written on 14 October 1957. 

Source: the hitchcock zone

Transcript:

Dear Hitch:

This note has been long in coming, and I hope that the delay has not caused you any embarassment [sic]. I wanted to make sure of my ground before I got in touch with you again about the script idea we talked over in "21".

Kay Brown got in touch with me, and she has been very patient and helpful about the whole thing. She has stressed the need for speed in this matter, and that is why I am writing you although nothing constructive has been accomplished.

As you remember the idea was originally this: that a diplomatic controvery [sic] exists in a Near Eastern country, involving, possibly, something active like the smuggling-in of American arms collected in Europe where they were sold or abandoned and brought in to create a sub rosa rebellion; that the "Good Guys", in order to decoy the "Bad Guys" espionage, create a fictitious character of a masterspy; that a young, ingenuous American salesman, entering the country for respectable purposes is saddled by accident with this identity; that, subject to this unexpected melodrama he turns like the American worm always does and tries to clear himself; that, in the course of his searches he meets a girl who is part of the "Good Guys" plan to establish the fictional masterspy, and, finally, that he contributes to the downfall of the bad guys in a flurry of denouement and romance.

The idea of an innocent man suddenly saddled with a highly romantic and dangerous identity still sounds to me like a good one for a picture. But it does not seem to stand up under development. I have worked for a considerable time on it, covering some 65 pages with notes and detail in four different approaches. 

It still does not seem to work, instead developing faults of a) logic b) corn or c) overcomplicated devices in order to establish situations. 

I admit the possibility that the flaws only exist in the eyes of the beholder; that it does not suffer development simply because I personally am unable to develop it. After many frustrations I can only say that I'm not sure, but I am not yet convinced that it is I who am at fault.

There's no point going into detail about the plot avenues I have explored, except to say that I can think of yet one more possibility that has not at this writing shown the signs of cracking apart under the strain of development. I haven't given up, and I intend to continue working on it until I run out of ideas.

At the same time, I don't want to hold you up by pretending that I have the perfect outline just waiting to go to the typist's. Do whatever you wish with the idea-- abandon it, or cause it to be worked on. In the meantime, I will keep my nose to the grindstone and if I come up with anything I'll forward it to you via Kay Brown. 

In the meantime, best of luck to you and yours and don't fail to let me know when you pass through this metropolis.

Yours,

Otis (signed)

Cary Grant as advertising executive Roger Thornhill hiding on board the train in "North by Northwest" (above), and Grant with Eve Marie Saint (below).

Source: the hitchcock zone

Transcript:

Otis Guernsey

October 14, 1957

Mr. Alfred Hitchcock
c/o M-G-M
1540 Broadway
New York, New York

Dear Hitch,

A few years ago I suggested to you an idea for a movie, vaguely based on something which actually happened in the Middle East during World War II. At that time, a couple of secretaries in a British embassy invented--for the fun of it and to relieve the boredom of an inactive post--a fake masterspy. They gave him a name, and a record and planted information around to lure the Nazis onto his trail.

To their delight and astonishment, the enemy gobbled the bait and spent some valuable time and energy trying to hunt down the non-existent operative.

I suggested to you that this escapade might be built into a good movie melodrama in any one of a number of ways. The actual treatment we discussed at the time involved an ingenuous young American--probably a traveling salesman--who has the fake identity pinned on him by accident and finds that he cannot get rid of it. He is on the spot: the enemy is trying to capture and kill him, and his friends cannot help him because they cannot afford to have their ruse exposed. 

However you plan to use the idea at this time, I hereby hand it over to you, blithely and with best wishes, with all rights and privileges, etc., etc., with no purpose of evasion or mental reservations, etc., etc., for such consideration as may have been discussed between my agent and yours, for all the good it may do you which I hope will be plenty.

Cordially yours,

(signed)
Otis L. Guernsey Jr.

Dear turkey foot

Marilyn Monroe and photographer Andre de Dienes met in 1945 when Marilyn, 19 years old and still known as Norma Jeane, was working as a model for Emmeline Snively's Blue Book Model Agency. After Marilyn had been suggested by the agency to De Dienes, she did her first modelling job for him, and then they later went on a road trip together so he could photograph her in natural settings. Apart from having a working relationship (until 1953), they also briefly had an affair. Today De Dienes' photographs of Marilyn are amongst the best and most famous ever taken of her. 

Marilyn Monroe photographed by Andre De Dienes on Tobay Beach, 1949.

In its issue of April 1960, fashion magazine McCalls published a biography on Marilyn Monroe but never mentioned Andre de Dienes' name. Annoyed but not surprised by this flagrant omission, De Dienes took out his typewriter and wrote Marilyn the following letter.

Via: mostly marilyn monroe

Transcript:

March 29, 60

Dear turkey foot:

I glanced through your biography in the April issue of Mccall's and as usually, I did not find my name somewhere where it should have been mentioned- after all, I was a turning point in your life I always belived [sic], and you yourself know it very well. 

But I am not surprised you never mention me, for years now you did that same thing- got even with me. I shall never forget the incident when one Sunday we were driving along and had a short dispute about something and I told you angrily "you will never be an actress" and you got out of the car at the next corner. Well, that's what did it I know, and perhaps other things.

I have no hard feelings toward you even if you never think of me, however I think it is a little bit funny that you did not mention all the lovely photos I took of you back in 45, 46, 47, 49, and so on.

Some day, when I will have time I will write my memoires also, and will be kinder than you are and will mention you in it.

I have always been a disreet [sic] person, did not want to make a lot of hallaballoo [sic] about things- I was wrong I admit it- while you made such an enormous story about yourself -or rather- others did it for you.

Well, that's the way life goes sometimes.

Incidentally, I left a short letter to you at your hotel, a few weeks ago, wanted to photogaph [sic] you for a magazine. You have probably left already, or was bored to do it, or perhaps you thought thosose [sic] kind of lousy photos like I saw in Life Magazine a week or so ago when the strike began at the studio- will do you more good. Well, you looked pretty thin and old, and so did the other actors too in that layout. I was kind of peeved, how a great magazine like Life could send out a photographer to shoot such miserably looking photos.

Have to run now. Bless you, little mushroom- will see you some day- Am going up north this summer, through the redwoods, will think of you in the big forests. 

Regards,

(signed)

Note: De Dienes' memoirs were published after his death in 2002 (click here to read excerpts concerning his relationship with Marilyn).

Andre de Dienes

Photographs by Andre de Dienes

Vincent Price: the man behind the villain

Although Vincent Price played a variety of roles in various film genres throughout his long career, he is probably best remembered for his macabre, villainous roles in horror films. His most memorable portrayals include the deranged sculptor in House of Wax (1953), the tormented Roderick Usher in House of Usher (1960) and the insane torturer's son in The Pit and the Pendulum (1961). Price relished playing a villain and once said: "I sometimes feel that I'm impersonating the dark unconscious of the whole human race. I know this sounds sick, but I love it."

In real life Vincent Price was a far cry from the villains he portrayed on the screen. He is said to have been a sweet and funny man, who was not just an actor but also an art lover and collector who gave lectures and wrote popular books on fine art. Furthermore, he was a noted cook and the author of several cookbooks. Price's kind, charming personality made him popular with many people including his colleagues in the industry. Antony Carbone, who had played with Price in The Pit and the Pendulum, called him ".. a marvel, just a professional, fantastic man who was always prepared, always ready, always with a sense of humor." Richard Matheson, screenwriter of House of Usher, said that Price was "truly the nicest man I ever met in my days in Hollywood, a perfect gentleman and a most genial friend". And there were many others who had nothing but good things to say about him. In 1960, Mark Damon co-starred with Price in House of Usher and afterwards wrote him a letter to praise him for his off-screen behaviour. Damon's letter, which shows just how much Price was admired and respected by his fellow actors, can be seen below.

Vincent Price in a publicity still for "House of Usher" (1960).

Vincent Price and co-star Mark Damon in a scene from "House of Usher" (on the right Harry Ellerbe).

Source: heritage auctions (reproduced with permission)

Transcript:

Dear Vincent:

This is an "actor-to-actor" note before the picture has been released. My comments are therefore not on your performance, which I don't have to see on the screen to appreciate, but on your off-screen behavior, which has taught me much.

You remember, I asked you if you had learned anything working on this picture, and you told me that you had. I didn't tell you what I had learned. I learned just how gracious, cordial, and warmly human a star of your calibre could be. You set an example I hope I may follow through the rest of my acting career. Thank you for that.

Thank you, also, for your advice, your help, your unselfishness, and for all the wisdom you imparted to me. I have benefitted greatly by working with you, and I am very grateful to you. 

I hope I will have the pleasure of seeing you again very soon.

Your good friend,

Mark (signed)

February ninth

Beverly Hills

This post is my contribution to The Great Villain Blogathon hosted by Silver Screenings, Speakeasy and Shadows and Satin. Click on either link to check out all the other wonderful entries!