ALGREN, NELSON. 1909-1981. Producer Charles Feldman's extensive production archive of Walk on the Wild Side (Columbia 1962), housed in six boxes as follows:

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Lot 225
ALGREN, NELSON. 1909-1981.
Producer Charles Feldman's extensive production archive of Walk on the Wild Side (Columbia 1962), housed in six boxes as follows:

US$ 12,000 - 18,000
£ 9,800 - 15,000
ALGREN, NELSON. 1909-1981.
Producer Charles Feldman's extensive production archive of Walk on the Wild Side (Columbia 1962), housed in six boxes as follows: Box 1: Typed carbon, screenplay by Merle Miller, 182 pp, May 16, 1958 with title, page count, and "Miller" in pen on spine, bound in brads in brown wrapper, annotated in pencil, one page taped together, with yellow revised pages, typed label on cover with delivery information.
Mimeographed manuscript, treatment by Miller, 111 pp, June 1, 1957, bound in brads in red leatherette wrapper.
Typed carbon, screenplay by Lee Sabinson, 188 pp, October 29, 1959, labeled "3rd Sabinson script" on spine, bound in brads in Charles K. Feldman wrapper.
Mimeographed manuscript, screenplay by Raphael Hayes, 190 pp, September 1, 1960, bound in brads in brown Charles K. Feldman Productions wrapper, with WGAW registration receipt stapled to title page.
Duplicate copy of Hayes script, housed in pale yellow Charles K. Feldman Productions wrapper.
Typed carbon, screenplay by CLIFFORD ODETS, 153 pp, n.d., bound in brads in blue wrapper, pencil notes on cover: "Sleeping Scene" etc., annotated in pencil, four pages are loose and also annotated.
Mimeographed manuscript, screenplay by JOHN FANTE and Edmund Morris, 159 pp, bound in brads in brown Charles K. Feldman Productions wrapper, with WGAW registration receipt stapled to title page, includes five pages of alternate versions of scenes.
Mimeographed manuscript, screenplay by Fante, Morris, and Edward Dmytryk, 172 pp, bound in brads in brown Charles K. Feldman Productions wrapper.

Box 2: Typed carbon, no credits (probably Odets), 164 pp, n.d., signed "C.K. Feldman" on front wrapper and first blank page, bound in brads in blue wrapper. Labeled "Odets, Believe" on spine.
Seven copies of the final draft, no credits (probably Fante and Morris), 166 pp, March 14, 1961, with variations in revised colored pages, bound in brads, most with green wrappers, some annotated.

Box 3: Mimeographed manuscript, screenplay by Fante and Morris, 159 pp, November 27, 1959, bound in beige Charles K. Feldman Productions wrapper.
Mimeographed manuscript with inlaid typed revisions, screenplay by Fante and Morris with "Whitelaw revisions" labeled on spine, 159 pp, n.d., bound in brads with no wrappers.
Mimeographed manuscript, no credits (probably Fante and Morris), 167 pp, July 10, 1961, temporary final shooting draft, bound in brads in brown wrappers, with various colored revised pages.
Mimeographed manuscript, screenplay credited on label to Dmytryk and Ben Hecht, 177 pp, n.d., bound in brads in beige wrappers.
Mimeographed manuscript, temporary final by Odets, revised pages 49 through 164, April 6, 1961, bound in brads with yellow front wrapper, with various colored revised pages.

Box 4: Production correspondence files and alphabetized contracts, housed in seven envelopes labeled in pencil "1957-1958," "1958-1959," four labeled "1961," and "1961-1963."

Box 5: Extensive production-related correspondence with the film's screenwriter ; also paperwork concerning Capucine's publicity build-up.

Box 6: Script supervisor Charlsie Bryant's annotated continuity script, mimeographed manuscript, 166 pp with approximately 21 additional pages of detailed production notes, packet marked "Matching Stills" containing 54 on-set costume and makeup continuity photographs most measuring 4 x 5 inches.
Mimeographed manuscript, final draft, 167 pp, no credit, final draft, March 14, 1961, bound in brads in green wrappers, with various colored revised pages, note in marker on cover "Dummy for / shooting script / copied / 7/7/61," note clipped to cover.
"General Scrapbook" of press clippings related to the film, dated from February 17, 1961 to April 12, 1964, 74 pages, bound in brads in a beige Charles K. Feldman Productions wrapper; memos from Capucine and Richard Sylbert; trade ad clippings for the film.

Producer/agent Charles Feldman spent years developing Nelson Algren's torrid novel A Walk on the Wild Side for the screen, hiring at least six screenwriters—including Clifford Odets, Ben Hecht, and Raphael Hayes, all uncredited—to adapt it. The project's controversial subject matter—prostitution and lesbianism—made it a tough sell to backers and censors.
This massive archive of Feldman's files follows the film's complex screenwriting and filming processes from approximately 1957 until its release and beyond. These include script supervisor "Charlsie" Bryant's heavily annotated continuity script featuring a large attached file of black and white on-set wardrobe and makeup photographs of the film's stars.
The production paperwork present here includes contracts signed by Barbara Stanwyck, Laurence Harvey, and Anne Baxter; Clifford Odets and the other screenwriters; Nelson Algren's contract (unsigned); extensive legal correspondence regarding the budgeting, distribution, retakes, etc.; detailed typed and handwritten letters from the film's production designer, Academy Award®-winner Richard Sylbert; correspondence with Ben Hecht, the film's director Edward Dmytryk, Darryl F. Zanuck, and many others; a scrapbook of the film's press clippings; and more.
Almost from the start, the project was a troubled one. A 1959 letter from co-screenwriter John Fante to Feldman reads: "I could be wrong, but it seems to me Nelson Algren's novel is quite a bad work which by no stretch of the imagination can be spun out into a film ... I not only disagree with what [Algren] writes, I hate it, I resent it; I am temperamentally and intellectually opposed to it. This guy writes with bloody fingernails clutching a switch-blade knife. It is a sickening business." Fante goes on to say, "Why waste money trying to put this on film?" adding, "I marvel that a man of your astute perspective, your charm, intelligence and good taste can become involved with such turkeys as these. Your standards are too high for this kind of stuff." Fante's instincts proved correct: according to Feldman's correspondence, their film didn't recoup its investment.
Feldman tailored Walk on the Wild Side as a vehicle for his mistress, co-star Capucine, and the papers here reveal the massive media push he gave her. Present also is a four-page memo from Capucine relating a series of allegedly heated on-set disputes between the actress, Laurence Harvey, and Edward Dymytryk.
Designer Saul Bass's tour-de-force title sequence is arguably the film's highlight. Included is Bass's correspondence regarding the iconic "black cat" titles and an "Adverting and Editorial Art" award certificate Bass received. Composer Elmer Bernstein's title song received an Academy Award® nomination and Brook Benton's recording of it hit the Billboard Hot 100 chart. Benton's and Bernstein's signed contracts are present here, along with Feldman's enthusiastic correspondence about the score.
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